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Artists don't like marketing. 

Let's face it — it's just not as fun as painting.

But unless you hire someone else, you've got to engage in self-promotion. You can't just sit back and expect the world to beat a path to your website.

There are many ways to market your work. One method that should be considered is to issue press releases.

It's not as hard as you might think. And it's an effective way to get your name and your work out in front of public without too much effort. If you can write a decent sentence (or know someone who can help you turn your ideas into a well written article), issuing press releases can pay dividends.

Why should I issue a press release?

Let's say you're entering an art competition at a local center, or you're hosting a booth at an arts and crafts festival in your town. You want locals from your area to attend and see your work. Just as importantly, you want to get your name out there to your target audience — even if they don't attend. You want people in your area to get to know your name and associate you with the arts in your town. Even if they don't go to the show or fair, they will see your name and perhaps your picture, and when they think of local arts, your name will come to mind.

Of course, you certainly do want people to attend the events you're participating in, because maybe some of them will buy your work, and maybe some will tell their friends about this great artist they met.

What should a press release cover?

If you're teaching classes or workshops, a press release is a great way to reach prospective students.

If you'll be showing your work in an area exhibit or fair, let people in the area know.

If you're participating in a regional or national event, or you received a major award or were invited to join a prestigious art society, you might want to publicize that more broadly beyond local venues. 

Let's say you won a contest or were awarded a commission to create a painting or sculpture, paint a mural or provide a demo for a local landmark, let people know.

Being known locally or on a national level can bring you more collectors, more invitations to participate in limited events, and more opportunities in the art world — and more sales.

The more your face and name appear in print, the more likely the local media will think of you as a sort of art celebrity. They may even turn to you for commentary as an expert in the field.

How do I decide where to send my press releases?

Where you send them will depend on the type of news you want to promote. If you're entering shows at your local art center, hosting a booth in a regional arts and craft fair, or teaching a workshop designed mainly for local participants, you want to target local news outlets. That would include your home town newspaper, regional magazines, organizations that promote the arts (such as a county arts council), and targeted newspapers that serve certain neighborhoods  (such as newsletters that go to a gated community). Also target area TV and radio stations. Don't just stick to your own hometown — reach out to adjacent towns, counties, or go statewide. Include national publications when your news has appeal to a broader audience.

Do you know of anyone who has a local podcast or YouTube channel that covers local doings or focuses on the arts? Let them know what you're up to. 

In sending out your press packet, you want to target the person or department in charge of covering arts, if possible. In a smaller newspaper office, your material will probably find its way to the right desk if you send it to the editor; but for bigger news outlets, try to find out the right person to receive your material. It will save you, and them, time and help you establish a connection with an influential contact. The next time that person needs a quote or an expert on art, you want them to turn to you.

What should be included in a press packet? 

First and foremost should be your name and a brief headline of what you are promoting. Next, include your phone number, your email address and your website IRL.

If there is a date on which an event is occurring (or start and end dates for a limited-time event such as a gallery exhibit), include those up front as well. 

Then, draft an article describing the event or news you want to publicize. 

Keep it short! Keep your wording simple and straightforward — don't turn to your Thesaurus to embellish your prose or make your readers look things up in a dictionary. They'll lose interest in a hurry.

Put the key points up front, because if editors have limited space, they may cut your submission from the bottom up.  

I just returned from 10 days at the 16th Annual Forgotten Coast en Plein Air. I had first attended the event in 2019, where I won the Quick Draw in the Open (non-professional) category. The event entails 10 days of demos and presentations by some of the country's top plein air artists, such as Shelby Keefe and Kathie Odom.

I'll be posting more details later here and in my newsletter, but I just wanted to get a few thoughts down for you about the experience. If you have any interest in plein air painting, or plein air painters, I highly recommend attending this event. It costs you nothing to attend - just your transportation and hotel/food costs - but you can watch demos every day for free. Such a bargain!

I sat next to Shelby Keefe and watched how she tones her canvas, how she works with oil sticks, and the decisions she makes as she composes her painting. I watched Kathie Odom paint what looked like a rough, worn-out old building, seeing the beauty of it through her eyes. I followed along as Michelle Held painted the birds gathered before her, capturing their motions and grace.

I also had the opportunity to do some painting of my own. As is often the case, some of my plein air works didn't turn out as I'd hoped - there were special challenges last week, including dense fog, strong winds and rain. But I pulled off a few that I'm proud of, and that I think reflect the special atmosphere in this area of Florida.

Here is one of my paintings, titled "Foggy Morning at 13 Mile." I painted a shrimp trawler at the dock of the 13 Mile Seafood Co. in Apalachicola, on a morning so foggy you could barely see 50 feet in front of you. The sky and the water seemed to melt into each other at the horizon, making the gear of the shrimp boat almost ghostly. The painting captured the mood and atmosphere of the morning. 

I love taking workshops. I've recently been taking a series of workshops by Sarasota artist Michelle Held. She's well known for glorious paintings of Florida's iconic water birds. Her herons, egrets and others are full of the emotion she pours into all her work.

In her workshops, she's teaching us how to paint birds. But along with that comes a healthy dose of color theory, which she sneaks into the curriculum without us realizing she's doing that.

One of our exercises involved mixing shades of gray. We learned how to make warm grays and cool grays using the colors on our palettes.

We artists love color. It's one of the things that drew many of us to pursue painting in the first place. But Michelle has taught us how to embrace grays. Recently I heard this quote: "Gray is the most important color, because she makes all the other colors shine."

I tend to use the same 8 or 10 colors on my palette: titanium white, Naples yellow, cad yellow medium, cad red medium, alizarin (or quin red), ultramarine blue, transparent oxide red (or burnt sienna); and sometimes indigo, cerulean or phthalo blue. For special effects I might add asphaltum, radiant turquoise, radiant violet, cad orange, dioxazine purple or cinnabar green.

Lately I've been saving the paint I scrape from my palette in a pile set off to the side. It gives me some great gray shades that might help me somewhere else in my painting. Because the colors in my gray pile are the same colors I've been using in my work, there is automatically color harmony.

When I'm done, I'll take the gray pile -- plus any other colors I'm cleaning off my palette -- and save it. I've found the  lid of a plastic margarine container, turned upside down, works fine. I add a few small strips of paper towel on which I place some drops of clove oil to help keep my gray pile fresh for awhile. Then I turn the container upside down and snap it onto the lid, so the container itself becomes a lid.

That gray pile is handy for my next painting, and I don't have to worry about color harmony because all of the colors in the gray pile are the same colors as are on my palette. I can easily take a blob of that gray and bend it warmer (e.g., by adding cad red, trans ox red or cad yellow), or bend it cooler (e.g., add alizarin, phthalo or even white). 

Here's a close-up of my current pile of gray. It includes all the cleanings from my palette. Using it in my paintings helps achieve color harmony because it contains all the colors of my usual palette. 

Kumbaya. 

I'm guessing most of us would love to have a do-over for 2020. What a year! And aren't we all glad to get a fresh start with 2021?

I'm pretty familiar with do-overs myself. I love painting en plein air, but it doesn't always love me. I estimate about 20% of the paintings I do (or start) en plein air ever make it to the "keep" pile. The rest get scraped or wiped for another day. That does create a lovely patina for that canvas, and there's something fun about having the ghost of a former painting lurking on the board. 

But my goal is to try to produce a keeper every time I paint outdoors. 

So on the first Monday of the year, when my plein air group headed to a charming spot called "Becky's Garden Shoppe" in Punta Gorda, Florida, I tried to pick my subject carefully. That's no easy task at Becky's because there's color everywhere. Reds! Hot pinks! Deep purples! Blues, greens, yellows ... everything on the color wheel. And so many interesting things - funky chairs, pots shaped like Buddha, whimsical garden sculptures ... where do you start?

My usual mistake is to take on too much - too many elements for a morning painting. I almost doom myself to failure before my first brushstroke.

And that's exactly what happened on Monday. I was just going to paint a group of six or seven pots of geraniums lined up on a table. But it wasn't that simple: there was the table, for one thing, and then what was beneath the table, and what was behind it ... and before I knew it, I was two hours into a painting that wasn't working. 

When that happens, I usually try to work through it, thinking I can rescue it somehow, by some miracle. It almost never ever works. 

But this is a new year, and I'm up for trying new things. Which means ... scrape the painting that isn't working, wipe down the canvas and start over! And that is what I did.

I had only about half an hour before our regular critique session, so I couldn't do too much. Having already studied six geraniums for two hours, I decided to focus on one pot only, and got to slinging paint in bold, wide strokes. No time to fidget with eensy details - just get the main shapes and values down. 

When the half-hour was up, I had a pretty presentable painting. It needed a little tweaking here and there but the bones were solid. I was not unhappy with it. I didn't want to scrape it. 

Lesson learned: if it's not working, go for the do-over.

Saving extra paints

Let's face it - good paint is expensive. So we try not to waste it. But at the same time, you need to use enough paint to cover the canvas and to give your brushwork the depth and body it needs. And if you're mixing paints, it's hard to match a color you mixed previously so there's a tendency to mix a big pile of it so you don't run out.

But what do you do with the paint that's left on your palette? How can you save it before it dries up?

If you're working in oils, there are several choices:

• You can put your whole palette in the freezer. The next time you want to use the paints, just take the palette out and let it thaw a bit before you start to paint. Some artists feel this changes the consistency of the paint, but it might be worth the effort if you want to try it. Still, your palette takes up a lot of space in there.

• For a while, I was using one of those pill-a-day devices to keep paints in. That was a whole lot easier to stick in the freezer than trying to fit my whole palette in. 

• Someone recommended using a bit of clove oil on your palette to help keep paint fresher. (You can get clove oil in the pharmacy section of stores such as Walmart, or from health food stores.) At first, I would just put several drops on a small piece of sponge (maybe 1" square) and just leave the sponge loose on the palette. But it had a tendency to slide around whenever I packed up and moved my stuff. Now, I glue a small lid (a Gator-ade beverage lid works well) onto my Plexiglas plein air palette, and glue a small piece of sponge in the cap. That works well! The clove oil has the added benefit of attracting these tiny green metallic bees that don't seem to sting or bother anybody; they just like the scent of clove oil. (I also started using the bottle cap idea to hold small amounts of medium, like Gamblin's non-solvent gel or Neomegilp.) 

• Another option is to use a plastic lure box with removable dividers. It should have four long channels that will hold a standard paint-stirring stick. Cover a paint stick with aluminum foil. Lift your paint blobs from your palette and put them on the covered paint stick. You can fit up to four paint sticks in the container. Then cut a small piece of sponge and apply several drops of clove oil. Put the clove-soaked sponge in a corner of the box. The clove oil will keep the oil paint moist for several days.

• You can get empty metal paint tubes from various outlets such as Blick's. They come in various sizes. I haven't tried them but they seem like they would be handy.

• You can also get empty small plastic containers (like those that hold paint for hobby kits) - or if, like me, you have a ton of old empty film canisters, they're good for storage as well. 

• Use an empty margarine tub (or similar) as a makeshift paint-keeper. If you've mixed some colors on your palette, and want to save them but need to use the palette for something else in the meantime, simply take the lid off the tub, lay it upside down and scoop up your paint with a palette knife. Place multiple spots of paint toward the edges of the lid, making sure to leave enough space to eventually close the container, and saving the center for a little piece of sponge or a wad of paper towel on which you place drops of clove oil. Then place the tub on top of the lid and snap it closed. The clove oil will keep the paint fresh for a few days, depending on where it's stored. (Alternatively, you could forego the clove oil and just place your makeshift palette in the freezer.)

• The paint I have left on my palette after a session, I gather together into a gray pile. Every time I finish for the day, I'll scrape that excess paint into my gray pile, and it includes the colors I have been using so it will help maintain color unity in your work. Since I generally work with the same nine or ten colors anyway, I can keep that gray pile and draw from it during my next painting session. It's great for dulling down vibrant colors, useful in doing shadows, and a good choice to tone a blank canvas.

If you work with acrylics:

• Use something like the Masterson's Sta-Wet palette  ... or make your own. Get a flat plastic box with a decent cover that will seal tightly - something like a box you could store papers in. (Or if you just want a palette for the day, a foam meat tray without a cover will do. Thanks to Nicholas Wilton for that tip.) Fit the bottom with several layers of paper towels, or a sheet of thin sponge if you can find something like that. Dampen your paper towels (or sponge) and wring out so it's not sopping wet. (You can add a tiny bit of either ammonia or Clorox to the water the sponge is soaked in, to prevent mold from growing.) On top, you can use parchment paper or freezer paper cut to size. Your paints should stay usable for several days.

• Also, when working with acrylics, it helps to spray your paints with a fine mist while you're working, and again before you store them, to keep them soft and workable.

For watercolor:

• It's fine to let your paints dry out. They can always be reconstituted with water. Most watercolor artists will fill the wells of their palette with their paints and let the palette dry for several days, until the paints in the wells become reasonably hard.

• The paint pools that are left in your palette after a painting session, my teacher, Don Melander, called “gutter paint.” If there's a lot, you can collect it and put in in a container for later use. Or just let it dry on your palette, because when all those colors are mixed together, they become a useful gray, great for working into shadows or dark areas.

For most painters, brushes are a critical tool in their bag of essential equipment.

There are a handful who don't use brushes at all ... they use rollers, paint scrapers, cake-decorating tools, sticks, sculpting tools, anything handy for making marks. But traditionally, most painters use brushes to apply paint to their canvas.

Most artists try out dozens of brushes before finding the styles and brands they prefer. Among the favorites are Rosemary & Co. brushes, handmade in England. Rosemary and her daughter Symi work directy with artists, often traveling to plein air events and exhibits to sell their brushes.  They've been very supportive of artists and, even with shipping costs, they really aren't any more costly than other reputable brands. Many of the artists from whom I've taken workshops promote Rosemary & Co. brushes; consequently, I've developed my own favorite styles within this brand.

There are other brands that are also excellent. For watercolors, my favorites are Escodas, originating from Spain. Unlike Rosemarys (which are only available directly from them, or in the US from a few outlets such as Wind River Arts), Escodas are available at many of the major art supply houses such as Dick Blick.

I also like some of the Princeton brushes, and recently discovered their Velvetouch line of synthetic brushes. They are also widely available from most art suppliers. 

Whatever you choose [–] natural or synthetic [–] it's worth some effort to care for your brushes properly. See some tips below on caring for your brushes, which will extend their useful life.

Care and Feeding of Your Brushes: Your brushes work hard, and they are often quite costly. You will be well served to care for your brushes to assure they remain useful. 

Fiber repair: One tip I've learned from my watercolor teacher, Nancy Colby, can help save a brush that has become splayed or has some wayward hairs. This works for watercolor brushes and most synthetics. Boil a mug of water in the microwave. (Make sure the brush is clean.) Immediately hold your brush fibers vertically in the hot water (but try not to submerge the fererule). Hold it there 10-15 seconds or so, then draw the brush out of the water. The hairs should fall back into their original shape and place. You might have to try it a second time. 

Don't Lose It: Here's another tip, to prevent you from accidentally losing your brushes (especially if you paint outdoors). Wrap each handle swith a strip of neon electrical tape. If the brush (or palette knife, mahl stick, pencil etc.) happens to fall on the ground. the bright neon color will make it stand out so it's easier to find. Make a habit of policing your area every time you pack up before you leave. 

Cleaning: I clean my oil brushes as soon as possible fter I've used them, in most cases before the end of the day. I first siwch the brush around in some Gamsol (odorless mineral spirits) to remove most of the paint, then wipe it on a paper towel. I pour a bit of Murphy's Oil Soap in a dish and use that to wash the brush fibers. I place a tennis ball cut in half in my palm so I don't have to wash the brush in my hand. It may take several gentle scrubs and rinses, but keep testing it on a paper towel and eventually the brush gets clean. because Murphy's is great at removing oils. Alternatively, you can use Dawn dishwashing liquid. (Fun fact: In Great Britain, Dawn is called “Fairy Liquid.” Both Dawn and Fairy Liquid are made by Procter & Gamble.) I usually leave a thin coat of Murphy's+water on the fibers of the brush before storing.

I want to thank you for stopping by to see my first blog post. Usually I'll be describing some recent painting adventure or something I'm planning. Also, each month or so, I'm going to be posting an art tip or hack that I've either figured out on my own or picked up from someone else - something that saves time or money or makes things a little easier for artists. Whenever I can, I'll give credit to the source of the tip, although I've collected so many over the years, I don't always remember where they came from.

Due partly to COVID (and also because of the heat - it is Florida in August, after all), the plein air group I usually paint with is on hiatus. Some of us decided to meet today at the Ringling Museum of Art in Sarasota, just an hour away. (Entrance to the art museum is always free on Mondays!) It's a great place for artists - they allow us to sketch with pencil or charcoal inside, and they have an impressive collection there. You can also paint on the beautiful grounds overlooking Sarasota Bay, or in the gorgeous rose garden or banyan groves. My favorite, though, is visiting the wonderful art library there: it usually opens at 1 p.m. and it's an outstanding resource if you want to research a particular artist or style of art. I've spent hours poring over books on Cuban art, figure drawing. etc.

Sadly, because of COVID, I learned today the library now is closed and expected to remain so through the end of the year. Great disappointment - but don't let that stop you from visiting. Go on a Monday when the art museum is free.

Today's tip is about a sketching kit I put together. My husband gave me a wood cigar box with strong snap closures and decent hinges [A in the photo]. (If you don't know any cigar smokers, most cigar stores can sell you a wood box at a good price.) This particular box is only about 1" deep, and it has a wood platform inside [B in the photo], with two slats glued on the bottom to raise it up from the box (maybe for air circulation?). I was able to cut and fold sketching paper to fit between those slats [C in the photo], so I could then place the wood platform back in the box, leaving enough space on top for my pencils, kneaded eraser, sharpener, etc. [D in the photo]. It's compact, lightweight, and gives me a hard surface to sketch on if I need it.