When you sell a painting, does that mean you just sold your copyrights?
The answer is No
Unless you the artist, intentionally sell the rights, you still own them. This way you can make prints, license your designs and publish as needed.
What do you tell your customers when they buy a painting
Tell them in person, or when handing the painting over include a letter of authenticity, with a note that you retain all copyrights.
How does this apply to commissions
Before starting a project, have a discussion with your client, depending on the project and clients expectations, some will be flattered and it's not a problem for you to retain the copyrights while others may be commissioning you for a product or other specific reason where they want to control how the image is used.
Depending on the type of commission
Once you are hired, it is really is not so much your idea any longer, you are collaborating, so be clear with your client, and get it in writing before hand.
What if you take a workshop or online course
The composition, referance photo and all teaching materials are the intellectual property and belong to the original instructor.
Now here is a subject that isn't much fun to talk about, Copyright infringement, it never makes anyone feel good. Most people are not sure what was is and isn't acceptable, basically it simply means that you can not profit from another persons, intellectual property.
I know some people will get really upset when talking about this, but this is basic copyright law and these are the facts, you can check with any seasoned professional artist, organization or attorney. If you plan to "sell or show" your work it needs to be entirely your own concept, reference material and creation, It's okay to look in magazines, or websites etc but don't copy them (that goes for picture or paintings), when you have an idea, change the elements and turn them into your own.
If taking workshops or online courses, when specific lessons are given, the copyright is still the intellectual property of the instructor, not the student.
Lessons are meant only as learning tools to help you understand the thinking process behind the painting, and as you learn how to gather your own reference materials you will then be able to interpret them into your own paintings. For painting competitions, it must be entirely your own creation, in the show prospectus you will see that the organization will not accept work that is done in a workshop, online course, under any supervision, or someone else's reference material, it must be entirely your own.
As artists we all learn from imitation, and for those workshop paintings, you can give them to friends and family but don't profit from them, (basic copyright law). If you want to donate it ask the instructor and then credit them and the workshop.
Instructors spend many years perfecting their art and lesson plans, so if you decide to take your art to the next level, do it with your own creation just like they did.
If your intention is to sell paintings and you like someones else's photo ask them for permission to use it or license it for a fee, and always get it in writing. As far as competitions go, most organizations will say they in their show prosecutes that they want everything to be your own creation, from concept, reference photo, to painting.
For more information visit https://www.copyright.gov/help/faq/index.html
I received an email today of someone wanting to take my online Landscape course starting January 7, but was concerned that they weren't good enough. That made me just a little sad knowing how the fear of that feeling can hold us back. My response was....
...I can hear the hesitation and worry in your beautiful story.
I do think that this course would be perfect for you, it's not about perfection but more importantly finding the essence and conveying the emotion of what you see.
Since (as you say you are a perfectionist and never happy with what you do), I'm going to say right now take a deep breath, there is no right or wrong, or one way to do it. Where we get into trouble in a painting is thinking that it needs to be a certain way. We want to imitate and if it's not perfect we feel as if we have failed.
It doesn't have to be perfect, or like someone else's, or exactly like what you see, our creative self already knows what to do, finds beauty in imperfection but may need a little help with technique.
In this interactive course we will work with the flow of water, moving color, simplifying the landscape, and working in manageable sizes. I really think you would enjoy this course and it would be perfect for you.
Reapplying water to an area before it is completely dry can dilute color and carry the pigment to the outside edges, where it will accumulate, leaving unwanted hard lines. The obvious solution is to allow areas to dry completely before reapplying water or color. If you do form a waterline, try to soften it with a scrub brush or reapply water and glaze over it.
Grainy Washes Mineral pigments and sedimentary colors tend to create grainy washes. Leaving your palette uncovered allows dust particles to accumulate, which may result in unwanted texture. Using a hair dryer to dry the damp pigment can flatten the sediment in the wash.
Warping and Buckling Paper Watercolor tends to pool on lighter weight papers, often causing warping and buckling. Keep tilting your paper and moving the color to prevent pooling. A hair dryer will speed up the drying process. Hold it approximately 10 inches (25cm) away from the paper and keep the airflow moving evenly, or you can end up with areas that have dried too quickly, leaving unwanted lines.
Excess Water To help control the drying time, remove excess water with a clean natural-hair brush. These are more absorbent than synthetic brushes. You can also use the tip of a paper towel, but don't press too hard or you may lift color, leaving an uneven dry area.
Backwashes and Blooming Two areas drying at different rates can create back- washes and blossoming. During the drying process, water from the wetter, slower drying area seeps into the drier area, resulting in a blossom. Sometimes these are "happy accidents," but they can also be a disaster. If you have a very wet painting, try to keep an eye on it until it is almost dry--you never know what you will come back to. If a blossom has started to form, reapply water and pigment while it is still damp to even out the area. Remove the excess water and let dry.
• Hard waterlines appear when an area is over wet and the pigment travels out
to the edges. (above, left)
• Absorb water with a brush tip. A natural-hair brush acts like a sponge and
will lift excess water out of an area. Natural hair is more absorbent than
synthetic fibers. (above, middle)
• Absorb water with paper towel. The edge of a paper towel easily lifts out
excess water. (above, right)
Fugitive Colors and Watercolor Painting by Birgit O’Connor
It’s a little surprising that many watercolor artists are not really sure what “fugitive color” means, nor do they even care; they simply want to paint with colors they like and that’s about it. That’s fine but, if you intend to sell your art or teach a course in watercolor painting, you need to know what fugitive color means.
So what is fugitive color?
A fugitive color is a pigment that, when exposed to certain environmental conditions such as sunlight, humidity, temperature or even pollution, is less permanent. Over time the color can change, lighten, darken or even almost disappear. Basically think of fugitive colors as temporary. They should only be used for fun projects, rather than in a professional watercolor painting.
Red is a powerful color that affect affects people’s emotions, so when painting you want to retain the dynamic energy and not have it fade or darken over time.
Reds are notoriously fugitive, which can be a challenge when painting a red subject. Some favorite colors that are fugitive include opera, alizarin crimson, anything with the word madder, or even gamboge. Look for the words “new” or “permanent” in the colors, such as new gamboge or permanent alizarin crimson. These are reformulated pigments that are meant to be as lightfast as possible for that particular color. Even when you absolutely “love” a color, if it’s fugitive and if you want any kind of permanence to your painting, you shouldn’t use it.
What is a Lightfast Rating?
Keep in mind not all colors are fugitive. That’s why you need to look at the manufacturer’s rating system to determine your best option. The ASTM (American Society for Testing and Materials) is the lightfast rating of a color. It refers to the permanence and chemical stability of a color in relation to environmental factors. Some brands will use different labeling, such as numbers, letters or even dots. I recommend that you try to stay with artist grade paint with a lightfast rating of l or ll and keep in mind that student grade pigments are not as lightfast.
Ratings: I = Excellent ll = Good lll = Poor lV = Fugitive
What can you do to replace your favorite fugitive colors in the palette? Consider more of the synthetic colors such as the quinacridones, because these were originally formulated for the car industry. These are beautiful, vibrant colors that also have an excellent lightfast rating.
Design and movement are important elements, and when trying to achieve deep color in the shadows light-fastness and value are critical.
How to Test Lightfastness for Watercolor Painting If you aren’t sure about the rating system you can do your own test using some or all of the colors you have on hand. Simply paint a strip of color on a piece of watercolor paper. When it’s dry, completely block one side of the strip from any light and allow the other to be exposed to sunlight by placing it in a sun-exposed window. Then in a day, week and month, take a look and see how much it has faded or changed.
When using lighter variations of pinks and magenta you want to make sure the color is as permanent as possible so it doesn’t fade over time. It might not fade in a month or even a year or two, but possibly in five or ten it’s better not to be surprised.
How This Affects You When painting you’ll want to keep fugitive colors in mind, especially if you have any intention of selling your art. Even though fugitive colors can be fun to paint with, you’re gambling with having an unhappy client returning back to you extremely dissatisfied. The reason is because the watercolor painting they fell in love with is no longer the same; the colors have shifted and have either lightened, darkened or almost completely faded away. This is a situation that can avoid.
If you’re teaching watercolor painting, it’s up to you to let your students know and inform them before they make huge investments of time into paintings that can change or disappear when they could have avoided those problems by using better art materials. At least the information will allow them to make the decision that best suits their goals and budget.
I know this can all be confusing and mind-boggling, especially when just starting out, so don’t let this discourage your or become obstacle to painting, especially if you’re painting for your own enjoyment. Simply keep this in mind so you have an awareness of it because who knows where you may decide to take your artistic journey?
Series and Permanence Rating Many people wonder what is the difference between two colors with similar names such as alizarin crimson versus permanent alizarin or gamboge versus new gamboge. Both have basically the same hue but when it says permanent or new, that means it’s more lightfast and permanent. For instance, looking at these Winsor & Newton tubes, notice that they have the same basic color name but different letters and numbers.
Left: Make your own color chart by painting strips of color, let it dry and block one side with heavy weight paper, cardboard, or mat board so no light can be absorbed. Leave the other side exposed to light, place it in a sunlit window then check it in a week, month and so on. Right: Notice how different brands label their tubes with letters, numbers and dots.
Reading and Understanding Paint Tube Labels Each brand’s label can be slightly different but they all have basically the same information. For instance, with the Winsor & Newton brand: AA = Extremely Permanent, A = Permanent, B = Moderately. The series number 1-5 indicates how expensive the pigment is with 1 being the least expensive and 5 the most expensive, and l-ll indicates the lightfastness. To get more specifics and information check the color chart of the brand you like.