here you go nuke.

[JB73]

Originally posted by JB88
lol 73,

i am sure that your waitress just LOOOOOVED You!

actaully she did, my buddy was dating here LOL

there was this group of about 15 of us, the waitress, manager, cook, busboy, and about 12+ others were all great friends.

around 12 - 1 AM we'd start pouring into the denny's, order a coffee, and set up to play cards. some played magic or something like it, me and a few others played 500 rummy, and we just sta there all night. 96¢ for a cup of coffee, $1.05 for some fries if we had the money, and cigs.

we'd stay until 4-5AM just bull******* and stuff, maybe 4-5 customers would come in all night, we';d help serve them and junk LOL. heck we'd make and grab our own coffee.

then nationally denny's got sued for discrimination, and all that hooplaw.... the regional manager came in and fired all the staff, brought in some kiss bellybutton from new york, and instituted all these lame rules. no cards in the resteruant, MAX 45 min stay with a $5 food purchase per person, basically ruined our whole group of friends (we were all poor, lived way out of the way from each other, so on)

i dated a chick i met through that whole thing for maybe a year, but that's the last i have heard of pretty much everyone in that group. kinda sux

[boxboy28]

I think "Gravity" is ment to be VISITED and seen 1st hand!  not just look at a print.  "Solitude" now ya it could be a good print(if its an exibit it would be cool to see first hand too).
As far as the mouse goes im not sure if it is a running Exibit or just a photo of the idea in action.

[JB88]

the  peice ran for two weeks with multiple rodents being rotated in and out of the wheel every hour or so during gallery hours.

this is sparticus,  the teamleader.

Originally posted by indy007
I really like 'solitude'. That'd make a great print. I'm still not sure what I think about 'gravity', I don't dislike it... but... it's not a work I'd go out of my way to see. The mouse contraption.. I don't like it at all. I understand it, I just don't think it's on par with the first 2. Great work overall though, definately be interested in seeing a few more.

that is usually the conscensus unless you are actually able to experience them...the solitude piece is less technical and is so much a drawing in life as it is in print so it lends itself very well to that medium. ...unfortunately the images  cannot capture the sounds of the water or the mood of the spaces...the pulsing of the light as the mouse moves...the squeek of the wheel...then total darkness when he is still burst open by a quick run...its really quite haunting.  i wish that i could share them...but they are really quite different works yes.
 
solitude was one of those rare things that you do in life where you step back and stare at it wondering where in the bloody hell it came from.  as if you found it rather than made it.
 
here is the other one that i spoke of...a utopian device.  



and another entitled..."I"




working up drawings right now for a new series entitled "salt.water.sand."  
the peices are more in line with the feel of solitude.  

i'll post them when they start to come to fruition if anyone is still interested.

gonna stop there...15 years worth to choose from but these are the most recent and complete in the installation sector.  my passion and my love.  some good.  some, i am sure horribly bad.

as it is with all things.



88

[midnight Target]

just curious 88, but how the heck do you get paid for that stuff?

[JB88]

any way that i can.

there are alot of means...so far with work like this i have been able to break even by doing exactly what many of you picked up on...for instance, i am currently working with one of the local magazines to use the beach sandwriting piece on thier cover which will add publicity which will add interest which will add moola...most of these works arent that expensive...id say maybe 1,200 total for the fish peice...300 for the mouse.  solitude was free.  i found the cabinet and i had the light.   sand is easy to come by here.

i have sold images of the work before as well.

i avoid grants because i equate them to begging and welfare...but i have been known to take on commissions.

many of them do make fine prints and images but i prefer to see them real first.

i also sell other work (mostly paintings which are often sketches of the work that i want to do to earn the money to make them.  rich people mostly.  i am currently working on a series of ten of those.  4x5 ft. each.  frigging huge.

i am a flash designer as well so i get good money for taking on a collaborative project on every so often... but i try to do as little of that as i can because it has a tendancy to suck out the juice.  i owned a relatively successful web developement company in atlanta for a couple of years which helped greatly.

strangely, i have yet to be able to put together a good site for my work.  i struggle with this constantly...i have been looking for a good designer to come in and take it out of my hands and do it because i am too close to it...my own personal fricking vietnam...but its coming to a point where i wont be able to avoid it.  there is noone in this area that is even remotely good enough.  (i am way away from big city now)

there have been times when i have had to pick up a hammer and put things together to stay flush and on target...great excercize... but this is what occupies the bulk of my time and energy now.

besides this god forsaken BB that is...but hopefully that i am finding that balance.

88

[Nash]

Quite impressed, JB88.

That is excellent stuff. It's obvious that it rises quite a bit beyond dabbling or what have you. Very professional, and very interesting. I should think that, as long as good spaces arern't scarce where you are, you don't have much problem getting a show.

[Rolex]

I'm surprised to read that you sell these.

With the collection you said you have, I would have thought you would be leasing these (rotating displays every month or so) to upscale commercial buildings or hotels - lobbies, atriums, waiting areas.

They get recycled to different clients and audiences, invoke curiosity for repetitive viewers (your client's customers) and outsource ambience - on a yearly contract.

But heh, what would I know? I have it on good authority from folks here that I know nothing.

[JB88]

thanks nash, quite a compliment sir.

spaces here are exceptionally scarce and/or small,  nothing like a big city but i am working on that...there is alot of construction going on so i am working on using unfininished yet unrented spaces to show in and offering them promotion and visibility as a means of accounting for the favor.  (girlfriend works for a properties company)

the galleries here are terrible and have way too many mermaids for my taste but are slowly improving as people with far too much free time and money decend.  having a one man show is impossible if you dont do it yourself at this point however.

i am also working on some work to put up in kansas city at a gallery in the bottoms early next fall.  went to school there and have shown a few times in leedy land and the bottoms.  DC has been the latest place that i have sought to find a foothold.  nothing there yet, but i remain optimistic.

heres hoping for a very busy summer.

cheers,



88

[JB88]

Originally posted by Rolex
I'm surprised to read that you sell these.

With the collection you said you have, I would have thought you would be leasing these (rotating displays every month or so) to upscale commercial buildings or hotels - lobbies, atriums, waiting areas.

They get recycled to different clients and audiences, invoke curiosity for repetitive viewers (your client's customers) and outsource ambience - on a yearly contract.

But heh, what would I know? I have it on good authority from folks here that I know nothing.

interesting thought rolex.  very.  though i wonder how many would like to add ambience by the content of much of my work.

many companies in more progressive cities are required to set aside 1% of thier yearly budget to the arts in some form or another...so it is not entirely impossible.  though, i think that they usually aquire works for thier permanent collections.  (most of my work in this vein is temporal)

hmmm.

one of the best collections that i have ever seen was in des moines iowa in an insurance office of all places.

some really friggin great work.

interesting thought...i think that i would have to make the work on paper first and then let them decide if they want it...building things to please clients to thier specs is a nightmare for which i have far less talent.  (note..this is why i i am doing less and less design work,,,selling it or promoting it is another nightmare because i  never wish to do it soley for the money and promoting it also sucks up alot of time due to my lack of marketing prowess.  that and most people that i meet from the corporate sector see very little use for these things...it is a battle.

 it isnt so much a collection as it is a body of work that i have completed...alot of it would have to be reproduced or put back together from parts at least as far as installation...i would prefer to keep producing new work.

but then, i am thinking to linearly arent i? shooting it down on contact...thats just silly...hmmm...even if it were only up once in one place and then gone.

that could work.

definately.

i have a few airport fantasies in my head as well.

hmmm....

[Rolex]

It would be a fairly straight forward business plan. Nice sample brochure, a website focused to commercial accounts. Avoid putting them for free as a venue for sales, since it lowers the value. In any market, you never enter if there are 3 large competitors. If there are not, then you enter.

You set up a few existing agencies with a reasonable commission structure in a few metropolitan areas and let them sell it.

You don't always go where others are already, find some new locations - hospitals, bank headquarters, there must be a million buildings in the world where they would work. You only need 0.001% for 10 buildings. Even blind direct mail returns 0.5%...

But hey... I know nothing. Other folks here know everything, so you should listen to them.

Added: No, you don't do it on paper first. You convince the decision makers that you are equal in cleverness and ambiance. This is all very esoteric and only you and they understand, without any words or direct questions about content. Basic concepts, sure, but no details. Money back guarantee if they are dissatisfied.
They never (never!) ask for money back, because that would show that they made a poor decision in hiring you in the first place.

Business man! Think business. It is not the item, it is what the customer thinks the item is, or represents.

[JB88]

interesting...but now we are getting into ground which i am not totally sure how to leap...but i am fascinated by the concept.  you obviously understand marketing.

a few considerations.

out of those million buildings, there are probably a small percentage that would be in any position to finance...but even more importantly have the space to work with that isnt covered with gaudy carpeting and capable of accomodating some of the technical and lighting issues which are beyond important for good measure.

i can think of 5 off the top of my head that i would get jazzed about working in.  ones that i have already fantasized work going into...i realize that i am being perfectionist, but i am not really that keen to putting work into the nearest motel 6, nor would they be keen on me right?

is it possible then that what i would best do in that scenario would be to choose specific targets (like i did with the web developement)...find a client that i want to work with and present an idea that i want to work with?

where i am at now.  there are no competetors.  as far as i know i am the only one here that wants to do the things that i want to do.  where i want to go there are plenty of competors...but none that are ready to swing outside of the line too far...so that narrows the field i think because i want to find ways to distribute art that havent been tested yet and i have oft found that most are content to stay within the confines of a small community that ultimately holds each other down or takes to long to gain ground for that very same reason...is it my turn bob?  something like that.

ok...so i just read your addendum...no preconcept?  how does one go about finding and hiring existing agencies to do the work?  by agencies are you refferring to agents?  i can tell you that i have yet to meet one that has offered to represent me.  but i also havent looked yet...i think that i have assumed that i would have to build alot of work and rep first.

so...

perhaps in an ideal world then...and maybe i am missing the point here...i get them to a place where they want to work with me and then i can select places that would best fit into the vision right?

trying to think business...but the art keeps getting in the way... lol.

[GRUNHERZ]

Great work August. I can imagine how well the sound elents might work in some of your pieces.  But you defintely need a new site..

[JB88]

thanks grun!

yep.  i sure do.  

it's like one of those things where i have 50 sketches but i can't quite decide which one to go with...it's friggin killin me.

ive been using this address for mail and/or storage for years...but havent really done anything with it since i was using it for net.art.  i've placed some work behind the facade and sent out links, but thats about it.  innaccessable without invite.

all that i know is that i want it clean.  white.  user friendly.  informative....yet innovative.  i need a friggin web stylist!!!  is there a queer eye for the straight web out there?  lol.

i have never ever had this problem with any of my clients.  guess that i am the worst of them all.  when i had my web company, i changed it completely every two months or so...used it as a sketchbook of sorts to show off skills to prospective clients...that and it was all done in flash rather than code...but this is something that needs to last for at least a year or so because i dont want to fiddle with web stuff anymore...unless it is artwork that is.

i am either going to have to bite the bullet or hire.  but thats expensive.

maybe i should post some sketches here and get some feedback...or maybe  i should just friggin do it!  lol.

some great minds in here.   tough crowd...but it helps and it's got my mind spinning like a top.

i knew i walked into this bar for a reason.

i wonder if i will sleep tonight.

[JB88]

btw spade...

i can see the work much clearer now...looks like its done in watercolor which is no mean feat...ive never been able to master that wicked evil medium.

i really like the clouds.  they set the mood very well.  

a few technical issues if i may...and i am only telling you these things if you plan on making a next one, which i think that you can and probably should...because you obviously have the capacity.   these things are relatively trivial to the accomplishment itself and should be treated as information learned rather than failures...they are not.  this is better than i was doing at your age...i didnt even start drawing anything seriously until i was 18.  (clarifying because i do not know the depth of feedback that you wish for, but i am offering it based on what i was taught in university...k?)



drawing objects in space is difficult because you have to think dimensionally.  in this case the corsair seems to be slightly distorted in its form.  when thinking dimensionally, try to imagine how things actually are rather than how your mind is telling you that they appear.  that way, when you are applying your brush, you have defined it completely.  (though very lightly.) when drawing, it is hard to avoid creating an outline before first seeing the "planes" which exist underneath the flat surface of the paper.  in this case, the body is shortened and slightly stubbed...the wings are slightly out of thier correct position and feel overly rounded.  i know from our conversations that you are familiar with 3d modelling so if you think of it in those terms, you may find that the relationships between the 3d planes that you are rendering are more clearly defined.  when learning to draw, there is absolutely nothing wrong with using references...grab a screenshot of a corsair and measure the spacial relationships between things...you will probably notice that it has exceptional symetry which can be applied when seeing the airplanes um..."planes"...(cylinders, cones, rectangles...etc.  all of the things that you would use if modelling it in a 3d modelling program.  all you have to do then is understand the fundementals.

how an o turns into an oval...and why feet are the hardest frickin things on the planet to draw.

what you may not realize is, is that the painting that you have done is also following rules of composition and in this case doing so relatively well.  ( a rectangle can be divided by constant rules of symetry that can rarely be broken.  it is what walks a viewer though.  so, i was thinking, in the future you might consider this and also think about the relationships of the objects.  

its odd because in this case i almost want to see the burning zero out in fron of the corsair  even if it may not make technical sense...a way of saying (by guiding the viewer...corsair.  the sky is moody. why? zero.  burning.  corsair did it.  make sense?

it almost does that here, but i think that it says corsair.  zero.  burning.  sky.  corsair did it?  not sure exactly why...it sort of shoots you straight in without holding your hand...its darn close though.  sometimes it feels better to zip around the plane...the case that i suggested might form a V rather than a line...a matter of preference probably.

but the way that an eye is guided through the work is essential...something to toy with.  it is applicable to all compositions.

which brings me to the zero fire.

why is it that the sun in AH blinds you?

is it because your screen gets brighter or because there is a lack of color filtering down the white and the information is getting washed out and it tricks you into thinking that it is white hot?

that is how painting works too...

so there are parts where you could try to leave the clouds WHITE...no paint (with watercolor this is the only way to get white) and allow those highlights to sparkle in the background...and white with just the slightest watererd way down tinges of orange or yellow to illuminate the flames of the zero against those beautiful moody clouds.

looking at it again...i see that you probably did on the edges of the clouds and get the concept...but this applies to highlights on the corsairs too...again, spacial relations...light works with them.  technically you would see the moon or sun or whatever rolling in over the top...or at least i imagine that you should.  technicalities.

painting in watercolor...and i hope that i am right that it is watercolor... requires that you consider every highlight first rather than shadows...the reverse of acrylic or oils.  that is why it is so friggin hard to do, you have to think backwards really.

all in all...damn fine work for my money.
a few things to learn perhaps...but a great first attempt...and we are always learning...probably still better than my watercolors would be!!!  lol.    im betting your next one is going to blow me away...just like that last film that you did.  the second one that i saw you make where you jumped leaps and bounds ahead of yourself.

keep up the good work kyle.



88

88

[Sp4de]

Lol thanks jb88
Sadly its acrylic paint  its the crappy jpeg that does it.. lol let me try to get better pictures.. Thanks for the great observation and for the awesome comment:aok