Like Sunday Like Rain
An underestimated good story movie. Movie was shot in 20 days but pretty enough. Surprisingly, I was crying when she received a parcel from him, then, they were playing instrumental together at the same time but different places, composed by him, as promised. A sentimental intersection of two lives.
27-07-2015
THE GRAND BUDAPEST 观后感
好爱这部电影的 COLOR, ACCESSORIES, SCENE。一切设计得非常好。
故事情节很妙,人物特殊,背景音乐也有趣。
不知从何说起。
好爱。对我而言,这是好棒的一部美电影。
26-07-2015
BOYHOOD 观后感
Boyhood 是一部 长达十二年的 真实人物岁月记录,故事并非属实,演员纯配合剧本。
没‘什么’,但这就是‘什么’,就是这个点。
眼眶近乎泛泪的一幕是,他母亲说的一句话,“I just thought that it would be more。”
人生就是 “life just gonna go, just like that” 不管多好多坏,总有起伏,但就是如此而已。
据我所知的人生道路有四个:
一,光明走向光明
二,光明走向黑暗
三,黑暗走向光明
四,黑暗走向黑暗
这部电影里的人物 是黑暗>光明>黑暗>光明>黑暗>光明>...?
人生就是 “life just gonna go, just like that” 不管多好多坏,总有起伏,但就是如此而已。
没‘什么’,但这就是‘什么’。Boyhood。
26-07-2015
BE GOOD, NEVER TOO LATE
Viewed a lot of art tutorials. I made notes. Trying to combine ideas. Have plan to make a living with art and living in art. Should do it consistently. As a human being, I do make mistakes and have idleness problem. Bare conscious action should be on the first place of mind, everyday and every moment.
Just done watching some fortune tele programs through youtube channel. Found out that life is quite ridiculous and became bored if you have a chance to reveal your future. All is nothing, need not to argue or clinging about the karma. Uncovered several past life won't make current life better directly if without right mind. By the end of current life, all come to a same death. And yet, along with a reborn. Please do feel positive, time waits for no one and have a kind heart to lend a hand for others every single moment As long as live in the moment, act with good intention, make wise decision, choose to be happy.
Be good. Never too late
15-07-2015
Just done watching some fortune tele programs through youtube channel. Found out that life is quite ridiculous and became bored if you have a chance to reveal your future. All is nothing, need not to argue or clinging about the karma. Uncovered several past life won't make current life better directly if without right mind. By the end of current life, all come to a same death. And yet, along with a reborn. Please do feel positive, time waits for no one and have a kind heart to lend a hand for others every single moment As long as live in the moment, act with good intention, make wise decision, choose to be happy.
Be good. Never too late
15-07-2015
无为 而有为
忽然之间 醒了。
其妙的感应,被开启了。 我想 这又会是暂时性的。
MINDFULNESS 的技术/工具 是 呼吸。
你可以执行 任何事请 只要你保持 平稳的 有意识的 呼吸。
荒废了许多时间,忽略了许多人事物。
这些天 我有意识的告诉自己 你可以做任何事 但要记住 每一呼 每一吸。
就这样 慢慢的 醒过来。
路途还很漫长 不怕慢 只怕站。
修行 无为 而有为。
聪明者/决策者 黑白分明 ; 有智者/当下人 万象包容。
23-06-2015 6:51am
其妙的感应,被开启了。 我想 这又会是暂时性的。
MINDFULNESS 的技术/工具 是 呼吸。
你可以执行 任何事请 只要你保持 平稳的 有意识的 呼吸。
荒废了许多时间,忽略了许多人事物。
这些天 我有意识的告诉自己 你可以做任何事 但要记住 每一呼 每一吸。
就这样 慢慢的 醒过来。
路途还很漫长 不怕慢 只怕站。
修行 无为 而有为。
聪明者/决策者 黑白分明 ; 有智者/当下人 万象包容。
23-06-2015 6:51am
语言重要 做人更重要
先发泄这几天对某些事的感受。工作上,注意力不佳时,对顾客不经意的话感到伤害,
“You can change other languages.” 刚刚读了脸书某素人的post,内容大概是 身为本国人,不会说好国语,也说不好英语,只会说好母语(华语),这让我感到非常汗颜。对于该文章,得到非常多人的赞同 和 留言。我对留言的内容极感好奇,刷了刷,无可否认的实际负面例子被写出。难道独中教育是 社会桥梁的障碍吗?
的确,我不敢说 自己能说出一口极流利的正式英语,也更不能随意操出一口流利国语,只能说好母语。Apparently, I am a mess. But, I shouldn't and never think of myself is living the edge of society. Hmmm... Maybe that's the reason. Apa lagi saya mampu buat, buatlah yang I sepatut buat, survive.
我觉得,事在人为。
独中教育,教育的是 精神。然而,每个人的体悟不一。凡事保持平常心,平等心,不危害社会,,不干扰社会安宁,活在当下,尽力就好。继续 学习去学习。
15-06-2015
“You can change other languages.” 刚刚读了脸书某素人的post,内容大概是 身为本国人,不会说好国语,也说不好英语,只会说好母语(华语),这让我感到非常汗颜。对于该文章,得到非常多人的赞同 和 留言。我对留言的内容极感好奇,刷了刷,无可否认的实际负面例子被写出。难道独中教育是 社会桥梁的障碍吗?
的确,我不敢说 自己能说出一口极流利的正式英语,也更不能随意操出一口流利国语,只能说好母语。Apparently, I am a mess. But, I shouldn't and never think of myself is living the edge of society. Hmmm... Maybe that's the reason. Apa lagi saya mampu buat, buatlah yang I sepatut buat, survive.
我觉得,事在人为。
独中教育,教育的是 精神。然而,每个人的体悟不一。凡事保持平常心,平等心,不危害社会,,不干扰社会安宁,活在当下,尽力就好。继续 学习去学习。
15-06-2015
Medical Illustration BFA
What is the field of medical illustration?
Medical illustration is a unique applied art discipline comprised of professional medical illustrators and animators. It falls within the more general field of biomedical communication.What is a medical illustrator / animator?
A medical illustrator is a professional artist with specialized training and advanced education in medicine, science, art, design, visual technology, media techniques, and in theories related to communication and learning. Collaborating with scientists, physicians, and other content specialists, medical illustrators serve as visual translators of complex technical information to support education, medical and life science research, patient care, patient education, public relations, and marketing objectives.As visualization specialists, they create imagery that advances medical science knowledge and empowers health literacy for patients and the public. They have the medical and scientific knowledge to grasp complex information, distill it down and communicate the story in a clear visual narrative that is accurate, educational and engaging.
In addition to producing such material, medical illustrators often function as content developers, creative directors, consultants and administrators within the general field of biocommunication. Many are business owners and entrepreneurs in the marketplace.
The definition of a medical illustration
A medical illustration is a visual representation that is the result of art skills expressed in a tangible or virtual medium that conveys medical or biological information. An illustration or animation is meant to explain and clarify a complex subject in ways that words alone cannot. Clear communication is a key feature of medical illustration that sets it apart from science-inspired fine art.Examples of molecular illustration by Fabian de Kok-Mercado (left) and a medical legal exhibit by Lindsay Coulter (right).
Where medical illustrations & animations are used
From the human genome to the latest robotic surgical technique, the demand for accurate, effective medical illustration is continuously expanding. Medical illustrations and animations appear in virtually all media and markets used to disseminate medical, biological and related information:- trade and consumer publications
- textbooks, journals, eBooks
- Web
- courtroom exhibits
- patient education
- continuing medical education (CME)
- interactive learning
- advertising
- mobile health apps
- health games
- trade shows
- museums
- veterinary and dental markets
- television and film
- augmented and virtual reality simulators
Attorneys use medical illustration to clarify complex medical information for judges and juries in personal injury and medical malpractice cases.
While medical illustrations are widely and consistently used for print and exhibits, the trend is toward greater use in multimedia and interactive designs, particularly those involving animation. Many, but not all, medical illustrators also work in three dimensions, creating sculptured anatomical teaching models and museum exhibits, models for simulated medical procedures and prosthetic parts for patients.
Skills required to be a medical illustrator / animator
Content and anatomical accuracy is paramount in the field of medical illustration; images are designed and created to communicate specific content. Therefore, it is most rewarding for detail-oriented individuals who genuinely enjoy and have natural ability in both art and science.A strong foundation in general, biological and medical science is also necessary to enable the illustrator to fully comprehend and then conceptualize complex biological and medical information. Subjects range from structures in the real world that can be directly observed to the theoretical and unseen, such as molecular processes. Highly developed visualization skills to transform such complex information into two-dimensional and three-dimensional images that communicate to diverse audiences are essential.
Those interested in medical illustration should enjoy working alone and in teams during problem-solving, and be able to work closely with clients to understand not only the project itself but the client's often unspoken needs as well. Writing, research and ancillary computer skills are also valuable.
A proven pathway to acquire the required skills and knowledge to be a professional medical illustrator in today's marketplace is to attend a graduate-level educational program that is dedicated to teaching medical illustration.
Education for a career in medical illustration
Most medical illustrators have a Master's degree from an accredited graduate program from one of four medical schools. There are currently three accredited programs in the United States and one in Canada, each accepting 20 or fewer students per year. Entrance into all of these schools is very competitive. Course work includes:- human gross anatomy
- physiology
- pathology
- histology
- neuroanatomy
- embryology
- surgery
Students concurrently take classes in everything from the use of electronic media in surgical and conceptual illustration to storyboard creation, interactive media development, web design, animation, 3D modeling, and prosthetics. Graduate programs in medical illustration are two years in length, and admission requirements vary from program to program. For further information on educational programs to obtain a degree in medical illustration, please see Education.
Where do medical illustrators work?
Medical illustrators and animators traditionally work at a:-
University, academic medical center
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Hospital, clinic, or healthcare institution
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Research center
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Publishing company (books or journals)
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Corporation, small business
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Medical legal or law firm
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Web, multimedia, or animation firm
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Veterinary school
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Pharmaceutical company
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Advertising agency
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Other (government, non-profits)
Today, many are self-employed while others set up small companies or work as an employee or owner in larger commercial enterprises designed to provide services to various markets.
A significant segment of the marketplace is devoted to medical legal illustration, which focuses on producing demonstrative evidence to support expert testimony in medical malpractice, personal injury, and product liability litigation. Fast growing fields of work for the medical illustrator are in computer modeling, animation and interactive design, all of which are in high demand in a wide variety of markets, and which often require larger teams of individuals.
Some medical illustrators specialize in a particular facet of medicine, such as forensic reconstruction, ophthalmological illustration, a specific surgical specialty, or the making of prostheses, often accumulating considerable recognition for their knowledge and abilities in that particular area. There is an expanding need for interactive e-learning programs for patient education, student courseware, physician education, and pharmaceutical/device sales training. Some illustrators become content experts and are authors and co-authors of textbooks or journal articles.
As more people demand information about their own bodies and healthcare options, the role of medical illustrations and animations in patient education and health literacy initiatives is vital to improving public health and patient outcomes. Indeed, a picture is worth a thousand words.
A growing number of medical animators work in research labs analyzing and modeling research data and molecular interactions to guide the data-exploration process as the scientific story is unfolding. Interdisciplinary knowledge in biochemistry, genomics, and computational molecular biology enable this close interaction and blur the lines between scientist and artist.
Earning potential
Earnings vary according to the experience and ability of the artist, the type of work, and the area of the country where one works. The title "Medical Illustrator" is a broad term. Depending on the type of employer and services provided, job skills may include animation, multimedia, interactive development, illustration, web and graphic design. In general, medical illustrators with diverse skills and more responsibility for concept development command higher salaries.The median salary for a medical illustrator or medical animator is $62,000 and can range up to $100,000. Those in supervisory and creative director positions earn a median of $85,000 and up to $175,000 (2013 AMI survey data). About 46% of salaried illustrators supplement their income with freelance work.Earning potential for self-employed medical illustrators varies widely depending on the type of work (e.g., pharmaceutical, medical-legal, advertising) and an individual’'s skill and reputation. Success as a self-employed medical illustrator does not result solely from the ability to create beautiful art. Business savvy and ability in marketing and self-promotion, pricing and negotiation, and business management are fundamental. Due to the vagaries of the marketplace and competitive forces, the earnings of self-employed illustrators may be less predictable than those who are salaried, but the highest earnings are generally made by those artists whose entrepreneurial expertise, art, and professionalism keep them in constant demand.
The median income for a self-employed medical illustrator is $82,000 and can range up to $580,000 per year (2013 AMI survey data).In addition to earnings from a salary or freelance projects, some medical illustrators receive royalties from secondary licensing of existing artwork. These reuse arrangements with stock art agencies, publishers, and clients can provide a supplemental, and sometimes significant, source of income.
Employment outlook
Currently, the employment outlook for medical illustrators is good due to the highly specialized nature of our work and the relatively limited number of medical illustrators graduating each year. The profession remains very viable due to growth in medical research that continually reveals new treatments and technologies that require medical illustrations and animations to explain them.According to the U.S. Bureau of Labor and Statistics, “Demand for multimedia artists and animators will increase as consumers continue to demand more realistic video games, movie and television special effects, and 3D animated movies. Additional job openings will arise from an increasing need for computer graphics in the growing number of mobile technologies. The demand for animators is also increasing in alternative areas such as scientific research and design services.”
Medical illustrators are also employed as research faculty within healthcare institutions where their unique aptitude is valuable in visualizing, interpreting and summarizing data as well as creating effective, testable patient education tools. Lastly, emerging technologies in informational media delivery systems such as mobile devices (tablets and smart phones), health gaming, and digital medical imaging systems require an expanding array of specially designed digital images and thus, the need for newer, more cutting-edge medical illustrations and animations to populate these devices.
Board certification
Many medical illustrators choose to enhance their careers by becoming board certified. Certification is a program endorsed by the AMI to encourage lifelong learning and to measure professional competency for practicing medical illustrators. This voluntary program is designed to provide the practicing medical illustrator with the recognizable and valuable Certified Medical Illustrator (CMI) credential, which assures stakeholders of their current competency in the profession.A Certified Medical Illustrator has successfully passed examinations dealing with business practices, ethics, biomedical science, drawing skills, and has undergone a rigorous portfolio review. Competencies are maintained by meeting specific continuing education requirements and must be renewed every five years. For more information see Board Certification.
Continuing education
Medical illustration is a profession in continual growth. Medical research is embedded in nearly every medical illustration assignment, sometimes requiring learning to use medical instrumentation, performing cadaver dissections, organizing computer searches or studying relevant medical articles.Like most other disciplines dependent on digital technology, medical illustrators also have to keep up with trends in emerging media as well as undergo periodic training to learn new platforms or software. To help the medical illustrator remain current, the AMI maintains a listserv, publishes a weekly AMI eNews, offers member tutorials and online courses, and co-publishes an academic journal The Journal of Biocommunication.
In order to maintain certification, however, more formal continuing education is available through the AMI as well as outside educational venues. Continuing Education Unit (CEU) credits are offered for workshops and educational sessions presented at AMI annual meetings, at AMI-sponsored regional meetings, and for educational experiences in outside venues that meet the criteria for CEUs.
The majority of medical illustrators in the profession have a master's degree from an accredited two-year graduate program in medical illustration. There are currently three programs in the United States and one in Canada that are accredited by the Commission on Accreditation of Allied Health Education Programs (CAAHEP). Each program accepts 16 or fewer students each year, so entrance into the schools is very competitive.
Course work varies somewhat from program to program, but all include an advanced course in human anatomy with dissection and may include a combination of other biomedical science courses such as pathology, microanatomy, physiology, embryology, and neuroanatomy, along with specialized applied art courses such as surgical illustration. Other classes may include color theory, instructional design, photography, interactive media development, 3-D modeling and web design, along with traditional drawing and computer applications.
Most programs require master's thesis or research projects and may have optional courses available in specialty fields such as advanced computer and video graphics, endoscopic illustration, or patient prosthetics.
High school preparation
High school students contemplating medical illustration as a career should take a college preparatory program with as much emphasis on art and science as possible.College preparation
In college, students should concentrate on art and biology. Art courses should include drawing, life drawing, painting, color theory, graphic design, illustration, and computer graphics. In the sciences, students should include general biology or zoology, vertebrate anatomy, developmental biology, physiology, chemistry, and cell biology. The science courses must be of the caliber required for science majors.Some graduate schools limit the percentage of studio art courses eligible for entrance into graduate programs. Please consult the schools to which you are applying for specific requirements.
Graduate Programs
Admission requirements for the accredited graduate programs in medical illustration vary from program to program. In general, a bachelor's degree with a major in art and a minor in the biological sciences, or a major in science with a minor in art, is preferred. In addition, a portfolio of artwork and a personal interview are required. The list of currently accredited graduate programs can be viewed here.A small but increasing number of medical illustrators are choosing to obtain doctoral degrees in related fields of science or education, particularly those working in academic settings.
Continuing Education
The nature of medical illustration demands that practitioners continue to keep up with new developments in both science and communications media. Formal continuing education is available through the AMI. Continuing education credits are offered for workshops presented at the AMI's annual meeting, for AMI-sponsored regional meetings throughout the United States, and for pre-approved courses offered through other educational organizations.Accredited Programs
History of Accreditation (1967 - present)
The Association of Medical Illustrators (AMI) developed the first set of Standards for accreditation and began accrediting programs in medical illustration in 1967. In 1987 these standards were modified to comply with Standards developed by the Committee on Allied Health Education and Accreditation (CAHEA) of the American Medical Association (AMA). The AMI and the AMA jointly adopted the resulting Essentials and Guidelines of an Accredited Educational Program for the Medical Illustrator. In October 1992, the AMA announced plans to discontinue sponsorship of CAHEA and programmatic accreditation for allied health education. The Accreditation Review Committee for the Medical Illustrator (ARC-MI) recommended and the AMI Board of Governors voted approval in 1993 to join CAHEA's successor organization, the Commission on Accreditation of Allied Health Education Programs (CAAHEP). As a result of joining CAAHEP, ARC-MI modified the Standards and Guidelines for an Accredited Educational Program for the Medical Illustrator to comply with CAAHEP Policy and the CAAHEP Standards and Guidelines Template. These Standards and Guidelines are reviewed/revised once every five years with input from all communities of interest. Prior to approval of the proposed Standards and Guidelines by the CAAHEP Board of Directors, a public hearing is held and public notice for comments is given no less than 30 days prior to the open hearing.ARTIST PORTFOLIO GUIDELINES
To become successful in today's art market, an artist must have a vision, they must master the technical skills required in your art medium, and the artist needs to understand of the business of art.
When presenting a portfolio, not only the artists work is being judged, the artist is also being judged. Is this artist or photographer serious? Will he or she succeed in the art world? Are they worthy of being represented?
Your artist portfolio should impress viewers with your vision and with how well you have mastered the technical aspects of photography. To go along with your portfolio, you should provide good artist support materials.
This site was designed to help you to understand the importance of good artist support materials and help you to understand the business side of art.
Photography Bookstore
For a good selection of photography and photography business books.
Click this link and visit our new Bookstore.
PERSPECTIVE
Remember, no matter what you've heard or read, your work doesn't stand alone. Whenever a gallery owner, museum curator, or art consultant reviews your portfolio, the memory of your photographs will be only part of what you leave behind. Just as packaging plays an increasingly important role in product marketing, you are as integral to your presentation as your images.A successful portfolio presentation is absolutely necessary if you expect to become represented gallery or make a lot of sales.
PORTFOLIO DESIGN
Your photographs must be presented in a professional manner. Choose only finished prints for your portfolio. Never show work prints or unspotted prints. Always show your best work. Plan your portfolio carefully. A good portfolio should have continuity and provide viewers with a clear idea as to what your vision is. It should be organized by subjects or different photographic styles. Horizontal and vertical images, as well as different size prints should be organized and grouped separately. Black and white images and color images should also be grouped separately for easier viewing.Your work should be presented in an appropriate portfolio case or shipping case. If you are presenting your work to a gallery, it is best to use a case specifically designed for fine art photography. Cases are usually available from good local photography or art supply stores. You can also purchase them through mail order companies.
Your photographs should be completely finished prints that are ready for sale. They should be overmatted, signed, dated, titled, numbered, and stamped with your print identification stamp. Before making your portfolio presentation, remove any tissue or plastic bags that protect the prints. Make sure that your overmats are clean and free of any finger prints.
Your window overmats should be well cut, with clean straight lines, and look as good as possible. If you are having problems cutting them, try a professional frame shop. Shop around for the best prices, and if money is a problem, consider trading art for matting.
EDITING YOUR ARTWORK
Your portfolio must be well-edited, and you may not be the best judge of your own work. Since it is often difficult to be objective about your own photographs, you might have someone you respect view and critique your portfolio prior to showing it to a gallery. This will ensure that the work you show is your strongest work.Limit the number of photographs you are showing to no more than twenty prints. You might even consider as few as ten prints. The main objective of your first visit is just to introduce your work to the gallery. Make the experience of looking at your work as pleasant and positive as possible so that you can come back another day. It could take several portfolio presentations before the gallery gets to know you and decides to represent you.
Present only one thematically unified or otherwise cohesive body of work. If you have more than one body of work to show, show your strongest work first and trust that your success will allow you to present your work again.
INTRODUCTION AND PRESENTATION
Start off on a positive note, make a complimentary comment about the gallery or the artworks on display. Thank the reviewer for taking the time to look at your work. Briefly introduce yourself and your photographic history. Keep it short, because your work is more important at this stage.Assume that the person looking at your work is a professional. Don't insist on white gloves or make a fuss about the handling of your work. If you are overly concerned, handle the work for the reviewer. Always keep in mind that you want to make it as easy as possible for the reviewer, so that you will be welcomed back again.
Don't interfere with normal business that might be going on during the portfolio review. Never interrupt a sales effort or impede a possible sale. Before you begin your presentation, let the reviewer know that you understand the importance of normal business, and that you will not mind an interruption if something comes up.
Listen carefully and don't hesitate to take notes if necessary. Try to identify the reviewers favorite photographs. You might want to show them again on another visit.
Keep your questions to a minimum. Try to eliminate negative responses from the reviewer, and always avoid questions that can be answered with a "no." Don't ask for representation, and don't ask for an exhibition, because you can assume that the person looking at your work knows what you want. The reviewer will discuss representation or exhibitions if they are available to you. Your main purpose in showing your portfolio is to have the gallery become familiar with your work.
If you have arranged for a thirty-minute appointment, time your presentation so that you will be ready to walk out the door in thirty minutes or less. Stretching your appointment, unless the reviewer requests it, will do you more harm than good.
If you have slides of additional work, have them ready and be prepared to show them if (and only if) the person reviewing asks to see more of your work. Slides are frequently used by galleries and art consultants to show clients images. Slides should always be of prints, not duplicates of slides. Mastering the art of making good quality slides will be a benefit to your career. If you are having difficulties making good slides, let a professional lab or someone who knows how to make them do it for you.
PREPARATION
Before contacting a gallery, find out what type of art they show. Look at the work of the artists they represent and make sure that your photographs will fit into the gallery's profile and positioning.Inquire about the gallery's current reviewing procedures and comply with the review methods requested. The best way to do this is to ask the gallery. Methods of review vary. You might have to leave your portfolio overnight, or you might have to leave it for a week. Some galleries will review only artist slides. Others may ask for a recommendation from a gallery artist or a collector. It is important to follow the gallery's review procedure, especially on your first review. Request a special review only as a last resort, only if you are absolutely unable to comply with the standard review process.
Find out the name and position of the person reviewing artists' portfolios and write down his or her name with correct spelling. This is important for future visits and correspondence with the gallery. If you expect the reviewers to remember who you are, have the same courtesy and remember them.
TIMING YOUR PORTFOLIO REVIEW
Call or write several weeks ahead of time requesting an opportunity to show your work. If writing, be sure to include a self-addressed envelope with a reply card. Always address your request to the person reviewing work. If you are not sure who that is, call the gallery and find out. Form letters are frequently sent to galleries and typically are not well-received.Avoid short-notice appointments ("I'm in town for only one day! Can you look at my work?"). Never "cold call" that is drop in without an appointment and ask for a review on the spot.
On the day of your portfolio presentation, call to confirm your appointment and ask, "Is this still a good time for you to look at my work or would another time be better?" As in all aspects of business, your timing will be crucial.
Be on time for your appointment. If you are unable to make your appointment, phone as far in advance as possible and try to reschedule. Be sensitive to the gallery's priorities. Don't try to get your work reviewed at a time when a new exhibition is being installed, or when the gallery has an opening or other scheduled event.
Timing is one very important for a successful portfolio review.
COMMON SENSE
Be friendly, positive, polite, and courteous. Avoid being rude or inconsiderate. Keep in mind that you are asking a decision maker to help you. Through your words and actions, indicate that you place great value on that person's time and opinions. Are you making his or her job easier or more difficult? Have you visited the space before? Do you know anything about current programs, new directions, or the history of the exhibition space? You should learn as much as possible about the gallery before your review. Show them that you know and care about what they are doing. Remember that when asking a gallery to work with you, you are asking it to care about you, to invest time and money in you. You are also asking it to become your business partner.FOLLOW-UP
Create a marketing card for your manual or computerized files. A marketing card is a record of who you have contacted and what you contacted them about. Include the following information: name of reviewer, name and address of the gallery, telephone number, date of review, type of work presented, impressions, comments, what material you left behind, results of the review, and type of follow-up you have planned.Be sure to send a thank you card to the person who looked at your portfolio. Send a postcard of one of your images, so that it will remind the reviewer of what work you presented. Follow-up in four to six months, or whenever you have a new portfolio of images to show.
You can create and send real postcards from AmazingMail, click on the link try one. The quality is excellent and you can upload your own images to create a postcard.
HAVE PATIENCE
Developing a relationship with a gallery is like developing any other valuable relationship; the chances are that it won't happen overnight. But if you are not patient, professional and polite, chances are it won't happen at all.A gallery owner or anyone else to whom you are showing your portfolio has many things to do beyond discovering new artists. Be aware and sensitive to the difference between your priorities and the priorities of whomever is seeing your photographs.
To become a successful professional artist takes more than good artwork. To succeed, you must understand the business of art, create a good portfolio, and master your portfolio presentation. You can and will become a successful visual artist if you have good timing, some luck, and the desire to become successful.
GOOD QUOTE FOR ARTIST:
- Good design is making something intelligible and memorable. Great design is making something memorable and meaningful.
- It's really important to design things with a kind of personality.
- Design is not making beauty, beauty emerges from selection, affinities, integration, love.
- There are three responses to a piece of design – yes, no, and WOW! Wow is the one to aim for.
- It’s through mistakes that you actually can grow. You have to get bad in order to get good.
- But I find that for myself, without exception, the more I deal with the work as something that is my own, as something that is personal, the more successful it is.
- The real issue is not talent as an independent element, but talent in relationship to will, desire and persistence.
- Creativity is allowing yourself to make mistakes. Design is knowing which ones to keep.
- Creative without strategy is called ‘art’. Creative with strategy is called ‘advertising’.
- It is no secret that the real world in which the designer functions is not the world of art, but the world of buying and selling.
- Design is not just what it looks like and feels like. Design is how it works.
- Design is an opportunity to continue telling the story, not just to sum everything up.
- It’s OK to do stupid things, except when you notice them.
- You want something done, ask someone busy.
- Chains of habit are too light to be felt until they are too heavy to be broken.
- Good design is obvious. Great design is transparent.
- Designing a product is designing a relationship.
- An artist is not paid for his labor but for his vision.
- Art is the only place you can do what you like. That’s freedom.
- When you’re curious, you find lots of interesting things to do.
- The only important thing about design is how it relates to people.
- Some people like what you do, some people hate what you do, but most people simply don’t give a damn.
- Technical skill is mastery of complexity, while creativity is mastery of simplicity.
- Nail the basics first, detail the details later.
- Colour does not add a pleasant quality to design – it reinforces it.
- The best way to find any and all errors is to publish your work.
- Good designs come from the heart, not from the brain.
- You are what you are seen to be.
- A good portfolio will get you an interview. A good attitude will get you a job.
- The best and most beautiful things in the world cannot be seen or even touched. They must be felt with the heart.
- Nobody can tell you if what you’re doing is good, meaningful or worthwhile. The more compelling the path, the more lonely it is.
- To make pearls, you’ve got to eat dirt.
- To be strong and to never be a victim, never make excuses, never expect anyone else to provide me things that I know I can provide for myself.
- You can't put your finger on who I am. I can't put my finger on who I am. I am complicated. I grew up with a lot of conflict and dramas and I've been through a lot, just like everyone else.
- Happiness comes from you. No one else can make you happy. You make you happy.
- The reality is, sometimes you lose. And you're never too good to lose, you're never too big to lose, you're never too smart to lose; it happens, and it happens when it needs to happen. And you have to embrace those things
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