What a Waste!

The 250 Outside the Frame promotional postcards arrived and they look great! It's such a shame that they will sit in the box unused ... what a waste! C'est la vie (BIG SIGH).
:)DeDe

48forLarry Update

Larry is back in the hospital ... he went in on Saturday however he isn't sure what happened so I really cannot be more forthcoming as to his present condition. He had been working on the getting the shipping information out to the artisans that contributed to the 48forLarry Silent Auction so that they can ship their items out to the highest bidder, however, he cannot resume this effort until he has returned home as the information cannot be accessed from the computer is using at the hospital. Again, I must ask you to be patient and hopefully Larry will be home soon and back at it. Thanks,
:)DeDe

Clearing the Air

I’ve received a number of emails asking me about the recent BHR format change and how this affects Outside the Frame and more specifically me so I am posting this FAQ to set the record straight.

How far in advance did you know about the format change?
I had no advance warning. I found out when it was aired on Monday night right along with the BHR listeners. Whether or not other hosts knew in advance of the format change, I cannot say. There was an email sent out to the yahoo host group but I received that email after the announcement was made on air.

Can you apply for Workman’s Comp?
No. The hosts were not paid positions – we were all volunteers. Nor did we receive any compensation or perks in the form of free advertising or the like. I paid just like any other listener for my Artisan Showcase, Artisan Directory, Sponsorship/voice plug spots and any other banner ads on the site (except for the 1 week banner spot that I won on the Thursday night Scavenger Hunt with Huck). The Outside the Frame show plug itself was free but that was it.

What about sales through BHR?
I didn’t make any sales through BHR nor did I expect to make sales. The BHR audience was very much handcraft oriented when I came on board, however, the goal was to cultivate an audience that was more fine art oriented over time. At least that is what Rod and I discussed when I first came on board. Outside the Frame as a show has crossover appeal and was beneficial to artists regardless of their primary venue; in fact, many of the Indie musicians and other freelance professionals were finding the show beneficial for their businesses. I’m very pleased and thankful to have received such wonderful feedback from the listeners and fans of the show.

Does BHR own Outside the Frame?
No. I am the sole creator, author and copyright holder to the content contained within Outside the Frame in all forms of media. The show’s content from researching to scripting to recording to recap is mine, however, the opening and closing music for the show was written and performed by guitarist Shane Cox. BHR just provided the broadcasting venue and time slot.

Can BHR get another host for Outside the Frame?
According to Rod’s announcement on Monday night, BHR is going to be a 24/7 music only station featuring Independent Musicians and will no longer air any shows. I’m speculating here by saying that it is possible that sometime in the future they may revert back to airing shows and at that time will likely acquire hosts for such shows. However, they will not be able to get any other host for Outside the Frame, as it is my property.

Is there a feud between you and BHR?
Certainly not from my end! I feel no animosity toward Rod or Huck and hold no grudge. It was the BHR philosophy and commitment to “exposing independent artisans to the world” along with the rapport between Rod & Huck and the hosts, as well as, their respect of the artisan community that made me want to join the BHR team. I have come to care for them a great deal and considered them to be my friends. However, I must admit that this recent event coupled with assurances that turned out to be falsehoods have caused me some concern and I'd be lying if I said or implied otherwise. The way in which the hosts were notified about the format change (especially in such a public manner) along with the subsequent statements made by Rod that by ridding itself of artisan shows, BHR would be a far better station certainly did not reflect that philosophy and indeed it showed a genuine lack of regard for the hosts which in all honesty stunned and saddened me greatly. I understand the reasons behind what they did especially with regards to their family situation however I do feel that they could have handled it differently. Still I wish nothing but the best for Rod, Huck, their family and the station.

Are you boycotting BHR?
Absolutely Not! However, I did fall in love with BHR because of the shows, the hosts, and the artisans. The music was secondary for me. Don’t get me wrong, I still love Chris Huff, Sean Gill and Strange Land, Underwhelmed, G. Tom Mac, Kelly Richey, The Stone Coyotes and will continue to support them. But the artisan shows kept me coming to BHR and while I do visit from time to time when there are no shows on air … usually the reason I tuned in was while waiting for a show to come on or continued listening after a show had finished. Therefore, while I’m definitely not boycotting BHR, I likely will not be as active there as I have been in the past.

What about the artisans?
I have had the pleasure to meet so many great people through BHR … including my fellow hosts, as well as, the artisans I met through 48forLarry and those who hang out in the BHR chatroom. I hope to stay in touch with each of you – if not in the BHR chatroom; then definitely via plurk, twitter, skype, email or blogpost. I will continue to support the artisans as I’ve been introduced to your wonderful creations and will need to replenish my stash from time to time.

What is the future for you?
I will continue to do what I did before I approached BHR about airing Outside the Frame. I will continue to find gallery venues to exhibit and sell my art, continue to create illustrations for clients in the U. S. and abroad, as well as, continue to create custom fine art originals for homes, offices, corporations and the like. I will continue to write columns and articles for arts-related publications about the business of art, as well as, continue to write and develop my various book projects. I will continue to market and promote my work and keep my eyes open for the next opportunity. I will try to find time to do the much-needed updates to my various online sites. Above all, I will get back into the studio and create more art! So as you can see, I’ll continue to have plenty to keep me busy.

Will you continue with Outside the Frame?
Yes, definitely. Outside the Frame has been a labor of love for a number of years and has been presented live in workshop form, via video, via online workshop, in print, and now via radio. It was a challenge, especially for a visual person like myself, to take a visual topic like art and present it orally without the use of visual aids. I don’t know what shape it will take on next but I do know that a podcast on my blog will not be an adequate alternative to the radio show so it will not continue in that form. For now, all I can say is we have to wait and see.

I had such a great time doing my radio show on BHR and am so thankful to Rod for the opportunity.
:)DeDe

Outside the Frame August 12 Episode #13

I'm not sure how this is going to work as I am accustomed to having the show broadcast at a specified time while I am in chat to answer questions or comments that arise. As this is a podcast, I'm thinking I should make it available for listening prior to Wednesday at 1PM so that if you have questions or comments you can come to the BHR Chatroom at 1PM on Wednesday while I am there. The player should start automatically. If there is a problem, please let me know.

Exposure:Do You Feel a Draft?

Outside the Frame, Wednesday's Show on BHR (sort of)

This week's episode of Outside the Frame, Wednesday August 12 at 1PM will be about Exposure: Do You Feel a Draft? Learning how to dispatch with an offer to work for exposure that will leave you shirtless in the end, while remaining open to legitimate opportunities that will advance your career is similar to walking a tight-rope for most artists. Tune in to Outside the Frame where we cover the basic rules and guidelines that will serve as your safety net.

It was announced to listeners and hosts alike last night on Blockhead Radio that the station will no longer be airing the various talk shows such as Outside the Frame in favor of changing to a 24/7 music only station. Therefore, this week's episode will be the final episode of Outside the Frame on BHR ... well sort of; what I mean by this is that a podcast of Outside the Frame will be available on my Outside the Frame blog that will be linked from the BHR front page. Additionally, during the time that my show is usually aired, Wednesday at 1PM eastern, I will be available in the BHR chat room for questions or comments, as well as, to say good-bye to listeners who wish to pop in. I've enjoyed having the opportunity to bring Outside the Frame to you through Blockhead Radio and hope that you, the listener, have benefited as much from the show as your emails and PMs have indicated. Thanks.

Blockhead Radio
Outside the Frame Blog

Regards,
:)DeDe

Outside the Frame, August 5 show recap

On Wednesday’s episode of Outside the Frame we discussed Artist Representatives and Agents: What should you look for in a rep, what you can expect from your rep and what they expect from you. We began by discussing terminology, Artist Representative or Agent … which one? Both terms are interchangeable. Although, agents do tend to be more readily associated with the publishing, entertainment, and sports worlds whereas representatives tend to be more readily associated with fine art. Representatives and Agents perform the same types of jobs it’s just that some prefer to be called “Artist Representatives” while others prefer the term “Agent”. No matter the title used, the important thing is to find the rep or agent that handles your particular industry or market.
Oh and a word of caution, don’t be confused by the term “Artist Agent” especially if you are conducting your search via the Internet as this term is used widely by agents representing singers and musicians in the music industry.

What Can I Expect From a Rep or Agent?
First, it is important to note that the Representative or Agent works for the artist. Without the Artist’s talent to sell, the Rep or Agent would not exist. On the flip side, though, the artist can sell their own works for themselves without the aid of a Rep or Agent. The rep or agent promotes the talent of a group of artists (also known as a “stable”). The rep will maintain a portfolio of the artists’ work to facilitate sales calls and/or to secure assignments for the artist/illustrator/photographer. Additionally, a rep will negotiate fees and contracts for the artist, bill clients for completed work, collect monies due the artist, and follow up on competed assignments to get samples of published work from the client in order to update artists’ portfolios. In most cases, the agent will bill the clients for work the artist has produced and will typically be writing checks to the artist. However, it is the artist who pays the rep in usually in the form of a commission which is typically anywhere from 25% to as high as 50% -- depending upon the reputation of the rep as well as the industry or market. Artist-Agent relationships are governed by contracts that work well for the parties involved. Therefore, there is no “generic” Artist-Agent contract to suit all artists’ needs but there is a certain standard of professional practices. Be sure that any contract you sign with your Representative or Agent specifies clearly what each party is responsible for in regards to advertising, promotion, portfolio samples and maintenance, as well as, ownership of samples, proportion of expenses split between artist and agent and in what percentage the profits are split.

The agent’s office expenses such as rent, phone, fax, computer and messenger services are usually considered part of the agent’s overhead and are not shared by the artist. Although, an agent may charge their artists a set rate or fee in order to have the artists’ work appear on the agent’s website. Promotion costs in the form of direct mailing efforts or directory advertisements are usually split between the artist (75%) and the agent (25%). The artist’s studio, materials, and framing supplies, as well as, office expenses are considered part of the artist’s overhead and are not shared by the agent. Any agent who wants payment up front for any of these costs is not acting professionally. Once you’ve signed with the rep or agent, likely you will need to pay for portfolio maintenance and/or promotional expenses right away in the manner that I stated earlier i.e. the 75%/25% artist-agent split. The artist should receive copies of all receipts for any and all expenditures that the agent incurs on the artist’s behalf. Make sure you have this statement in the contract.

What Should I Look for in a Rep?
The Artist-Agent relationship is much like a marriage and finding the right rep is much like finding Mr. or Ms. Right. You should sit down and make a list of the qualities you are looking for in order to find your “perfect” rep. Here are some areas to consider.

Market: Make sure the rep you approach works within the market to which you wish to sell your works. For instance, a fine art rep will not do you any good if you’re work is intended for the children’s book market nor will an agent who works primarily with major advertising.

Style: Make sure that the rep you approach handles material in your style. If you work in fashion illustration, you would not likely want a rep who deals mainly with cartoons. Your work should fit comfortably in the rep’s stable but not duplicate any current artist’s style as they will get the work, because they are a known quantity for the agent, and you will not.

Number of Artists: Unless there is more than one principle rep within the agency, stay away from reps who handle more than 15 - 20 artists. Usually what happens when you get with an agent with a large stable, the big-name artists get all the choice assignments while the lesser-name artists get the other jobs, if they get any at all.

Agent Accessibility: Does the agent try to answer my questions or ignore my concerns? Are her/his answers vague? Did the agent provide artist references? If I have a problem, can I get in touch with the agent? Be sure to ask for artists references and check them out . . . are they getting steady work through the agent, have they had trouble reaching their agent at key moments, or have they had any trouble getting their payments. When given the opportunity, I ask the agent permission to contact his oldest and his newest artists and/or the biggest name artist in his stable and the least known name in his stable. This will usually give you the clearest picture of how the agent can handle your career over several years and at various stages.

Agent Trust: Never sign with an agent you don’t trust. No matter how good the contract, how big the rep is, or how much they want to represent you; you will never feel truly comfortable with the rep if you do not trust her/him fully.

Am I Ready for a Rep?
It’s important to know whether or not you are ready for a rep before you start your search. Know exactly what you want from a rep. Ask yourself, what can a rep do for me that I cannot or am not doing for myself already? A rep will not define your style for you. A rep wants to see that you have developed a style suitable for the market(s) you intend to reach. Very few reps will take on emerging artists and are not in the business of training artists. Reps look for artists who have been in business a minimum of five (5) years and/or show a modicum of success at selling their own work. If you’re thinking about avoiding the business of selling art altogether by getting a rep, think again. The time to look for a rep is when you already have an established client base that your rep can build on by finding you new clients, new markets, and re-uses for your existing work.

Reps tend to go through cycles of taking on talent. They’ll tend to take on new talent in one period, and spend a year or possibly more developing them. Promoting talent is a very big part of their work. Any artist who is serious about wanting to sell their work would follow their lead. Artists who consistently send out promotional material to reps have a better chance of crossing the period when reps take on talent. Reps may keep images on file for years before they decide they want to approach an artist.

Where Can I Find a Rep?
There are several places to look. You can search through directories such as American Showcase, Creative Black Book, Creative Illustration, and RSVP. They all have a section for artist representatives with examples of the works by artists in their stables. You can look through these samples and see if your work would be a good fit. Communication Arts Magazine and other publications also feature advertisements by reps. Look through the publications to get a feel for which agencies handle the type of work you create and the type of markets you wish to approach. The Artist’s & Graphic Designer’s Market (AGDM) and Children’s Writer’s & Illustrator’s Market (CWIM) have listings for Art Reps which includes contact information, terms, guidelines for first contact, and tips for artists; although, the information provided is mainly text and not pictures. Another good way to find a rep is to ask for recommendations from art directors, clients, and other artists. And, of course, in age of the “information highway”, you can do a search on the Internet. Many reps have a website to showcase the work of their artists and to provide contact information for artists seeking representation. In my opinion, the best place to find a rep is to contact the Society of Photographers and Artists Representatives (SPAR), an organization for professional representatives whose members are required to maintain certain standards and follow a code of ethics. You can contact SPAR by mail at 60 E. 42nd Street, Suite 1166; New York, NY 10165 or by phone at (212) 779-7464. Bare in mind that this is a highly competitive business and it will take time – sometimes even years, to become the type of established art professional that art reps are seeking. Three things that can help you are: funds for promotions, patience, and a thick skin.

A Look at Sample Artist-Agent Agreements:
There are subtle differences between the Artist-Agent Agreement for the Fine Artist and the Artist-Agent Agreement for the Illustrator. Mainly in regards to the handling of samples; with the fine artist, oftentimes the samples are in the form of actual original artwork, whereas with the illustrator the samples are usually in the form of transparencies or other reproductions. Also for the illustrator, you will need to include a clause regarding promotional fees and/or specify the percentage required of each party. For this reason, I am providing a sample Artist-Agent Agreement for both the fine artist and illustrator. The first sample is the actual Agreement I signed with a fine artist representative back in 1998, however, I am no longer with this particular agent. I have not included the agent’s full name or address on the sample contract. The second sample Agreement is for illustration, again I have not included the agent’s full name or address. You can find these agreements as PDF files with notes on My Website in the column on the left under Episode 12 Worksheets.

Over the years, I have had several reps and have yet to find Mr./Ms. Right. The adage that you will not find anyone as invested in selling your art as you are is true. Sadly, most of the reps that I had did far less for me than I did for myself and garnered a happy percentage of my income in the bargain. There are times when I wistfully wish that I had someone dedicated to the business side of things so that I could just simply create art then I realize … I’d miss it. Besides, I wouldn’t have as much material for my show and articles. Tune in to Outside the Frame next week when will discuss Exposure: Do You Feel a Draft?

Outside the Frame Listener Appreciation Print for August

This is a matted canvas print of my painting titled, "Lighthouse", the Outside the Frame Listener Appreciation print for August.

Coming up this Wednesday on Outside the Frame ... Art Representatives and Agents: Can a Rep or Agent Amp Up Your Career?

Tune in to this week's episode of Outside the Frame, Wednesday August 5 at 1PM eastern on Blockhead Radio where we will cover Art Representatives and Agents.

Wednesday’s topic on Outside the Frame will cover what you should look for in a rep, what you can expect from a rep, and what they expect from you. We will also look at sample Artist-Agent Agreements and discuss the subtle differences between the agreements used by Fine Artists and those used by Illustrators.

Be sure to join us in the BHR chat room during the show to interact – ask questions or just chat with us. "Pop a player" and the chat screen is right there. Just type in your user name and click; no password is needed, no extra steps.

Hope to see you there!
:)DeDe