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April 23, 2008
One of the most important things next to creating unique interesting art, is how the art is presented and how you take care of the art when it is shipped to galleries and buyers. Presentation is a factor that is present in everything we partake of, whether it’s buying a new guitar, dining at a restaurant or staying somewhere while on vacation. If your dinner was just thrown down in front of you, and the place was dirty and the people rude, would you feel comfortable about spending your money there? Or if the hotel room clearly hadn’t been cleaned and was run down, or that special guitar you bought was shipped in a cheap box and poorly treated. You would no doubt question your purchase and steer clear of those places in the future.
Buying and owning art is a luxury, and should be an enjoyable experience throughout. Especially when to many artists, the sale of original works of art means paying some bills, purchasing more supplies and eating a little better. There have been too many occasions where I have gone to art shows and witnessed art that was presented in a way, that it gave the impression the artist had little respect for the work they were showing. So hopefully this guide will be able to help in showing some of the best ways to have your art presented and prepared, as well as shipped.
Works on Canvas
Any paintings that have been done on canvas should have the sides of the canvas finished off. The most common way to do this is the just paint the sides. You could either paint it solid black, or one of the dominant colors of the painting. Or like the example shows, carry the work off on to the sides of the painting (example). This looks really cool and adds an extra “oooh” factor to it.
The other method is just framing the canvas. I have also seen a few works where strips of wood were attached to the sides as to create a frame for it (example). The frame should be deep enough so that the canvas fits in flush with the frame. You could also close off the back with paper if you wish, although this is only a good idea if you think no one will want to replace the frame you chose. There are also canvas “floater” frames, where it looks like the canvas is floating within the bed of the frame. These types of frames are really cool looking but you will need to have the sides painted as they are exposed with this type of frame.
Works on Masonite, canvas board or similar
Any type of work that is done on Masonite, canvas board, hardboard or similar surfaces should really just be framed. These types of materials are usually thin so it’s best to add the support a frame can offer. It’s a good idea to deal with them like they are paper, really sturdy paper. You wouldn’t just nail paper the wall at a show would you? I have actually been to a few shows that Masonite was just attached to the wall, and since it is thin and coated with paint you could see the warping in the board. It looked bad. Just frame it, or even mount it to something sturdier.
Works on wood panels
Paintings or drawings on wood panels are one of the more expensive surfaces, but if you can get a AAA rated top where the grain just looks beautiful it can really give your work something special. You can even incorporate the grain into your works, such as Katherine Piro, Amy Sol and of course Audrey Kawasaki do in their work. If the wood panel isn’t very thick it’s best just to frame it. This avoids warping and since your using a classy material like this, you might as well go that extra step and frame it. If the wood panel is thicker you can sand the sides or treat it like canvas and paint them. A great addition is to have the sides rounded. I also like to add little rubber or felt feet to the bottom, so that the wood doesn’t scratch the wall up where it is hanging.
Works on Paper
Paintings, drawings, collages or any other medium on paper always look amazing. So you can either mount the paper onto board, or frame it. If your using a thin paper with straight edges it’s a good idea to have the work behind matte board in the frame. It looks classy too. If the paper is thicker and if you have the edges deckled, you can attach the paper to a board or matte so the work is kind of floating there in the frame. Do not use any non-archival sprays or adhesives to mount the paper. It will ruin the paper over time. You can use mounting corners, I’ve seen clear plastic mounting wires, or even use dabs of wax. The most fancy being rice paper hinges, but if your paper is warping the hinges will not stop this. So if you have heavy warping paper, you can use “Yes” glue to mount it. You don’t want to do anything permanent that will be hard to change, or anything that will alter the back of your work. Make it easy for the work to change frames if need be. Luckily “Yes” glue comes off very easy.
Prints
Fine art prints are a great way to earn some extra income, as well as allow users to collect your work. Once a painting sells, thats it, it’s gone. But prints allow fans to have that image of your work they may have missed out on. So any prints shipped to buyers should be prepared for shipping so that they can withstand anything. It’s too easy to damage them, and once they have folds or nicks, they are worth far less. So you can either ship them flat, or in tubes. If you opt for tubes, make sure you use really sturdy tubes not those flimsy Christmas wrapping tubes, or to save money you can even buy strips of plastic pipe and use those (examples). To stop the print from rattling around in there stuff some tissue paper in both ends to secure as well as protect the print. If you’re going to ship the print flat don’t just pop the print in an envelope, secure and protect the print. I bought a James Jean print that was protected between two pieces of Masonite. Dean Mcdowell protects his prints with strong cardboard, and both prints arrived unharmed. It’s your print vs. the shipping service, protect your print so that it will show up in good condition.
Sculptures
This is an easy one. Any type of sculpture or 3d dimensional work should be wrapped like it’s going be handled by a Rugby team. Wrap the work in tissue then bubble wrap. Get a good size box so that you can place this wrapped item in a bed of Styrofoam peanuts, or any other soft material that will protect it. It’s good to recycle and use different materials for packaging, just make sure that the material will provide enough support and not inflict any damage on the work. It would suck to work hard on protecting your work, and then the one thing that damages it is the material you used to protect it. So try to stay clear of paper bags, wood chips, sand, broken bits of plastic & likewise. Oddly enough I have seen each of those materials used.
Try to stay clear of…
..using plastic or paper envelopes to ship your work.
..using boxes that have been shipped far too many times. Recycling is good, but don’t go overboard.
..using any kind of non-archival glues or adhesives.
..permanently mounting prints or paper works on to a matte or foam board.
Make sure to…
..clean up any pencil marks that were used as guides for mattes and cutting.
..use a good, strong tape to seal your boxes.
..be clear enough in descriptions so that the buyer knows exactly what they are getting.
..seal up any holes, and tape off any loose hanging wires (example).
Shipping and Packaging
Now that you have your painting or drawing all ready, how to package and ship it? I know it costs a lot to really ship your work well, but the investment is worth making sure your art makes it to the gallery or new owner. When frames are involved, you also risk the chance of the glass being broken and ruining your work. So wrap your work in bubble wrap, or even foam. Turn that work into a mummy, and then lay it a bed of foam/peanuts or bubble wrap. Foam peanuts are really annoying to deal with, but I’m sure people would rather deal with those than a damaged piece of art. When that’s all ready, make sure to use a sturdy box to ship it in. I have also seen people use shipping services to package the work (example), now this does cost more but it looks great and is real sturdy. The new owner can even use this setup to protect the work if they move, or decide to sell the piece.
Do something special & unique
So now that you have some amazing art that is presented in professional way and will be wrapped up for shipping the best way possible, what about something unique? You can do something special in the presentation, it might be a unique frame, a certain way you cut the wood you paint on or materials you use.. Sarah Bereza has very unique custom frames for her works, Michael Hussar sends his prints with a certificate of Authenticity and even a wax seal on it. It could be something as simple as putting a thank you note in the box you ship, or throwing in some stickers. I’ve seen a lot of artists put in upcoming or previous show cards in the box. This is good for advertising, and many people like collecting show cards.
Conclusion
So that’s about it. I have talked to many artists, some that went to state colleges and some that went to private schools, and many have stated that there were parts left out of the education. Mainly how to deal with the business end of art. I’m not claiming that this article will prepare you for the business end, but I hope that it will at least help give your art that edge when it comes time for a potential buyer to decide to buy your art or someone else’s. The old saying is “sell the sizzle, not the steak”, so make the presentation priority. But art is not steak, and is not as cheap as steak is. So make the art sizzle in presentation as well as in content and you should do fine.
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January 16, 2008
Here is an article that was submitted by Molly Crabapple, artist, writer and creator of the very cool Dr.Sketchy’s Anti-Art School.
If there is anyone with the knowledge to help make your art shows more of a success than they normally are, it’s Molly.
Like many artists, you may be tired of waiting for a gallery to sweep
you off your feet. You’ve sent your slide packets, you’ve written
artist your statements, and you’ve received only discouraging silence
in return.
At this point, like many artists, you decide to grab fate by the
balls. Why wait for a gallery to notice you when there’s wall space
in the local café or club, practically begging to be filled.
So, with courage and a portfolio, you approach the proprietor. And,
unlike those galleries, he’s overjoyed. Of course you can have a show!
You go home, head buzzing with visions of selling your artwork, and
telling that gallery to go jump in a lake.
But why is it that for all their promise, shows in non-traditional
venues so often end in failure?
Bad publicity, bad communication, and lack of confidence. And, using
examples from my own life (some happy, some less so), I’m going to
give you a roadmap for making sure your DIY exhibition ends in sweet
victory, rather than my cheap-gin tears of defeat.
EXAMPLE ONE (The Pathetic)- Having just moved to bohemian
Williamsburg, I decided to have an art show in a local bar. I chose
the Rain Lounge, whose brothel décor matched my Victorian pen and
inks. I showed my work to the owner. He loved it and suggested I
have an opening. Overjoyed, I went home, drew like a jacked-up
monkey, and came back to hang on the appointed date.
But, when I showed up with crates of framed pictures, the owner was
nowhere to be found. The bartender knew nothing about my show.
Reluctantly he agreed to let my hang my work in the back. As for my
poster in the window, he tore it down as soon as I looked away.
Undiscouraged, I posted fliers every shop in my neighborhood, and put
on my skimpiest dress for the “opening”. No one came.
Well, one person. The bartender, who told me that he had to turn off
the lights. What did I think this was? An art show?
Now, you ask, how do you avoid sitting alone at your own opening,
crying into your overpriced drink? Well, lets look at what I did
wrong.
1. Bad communication. In stores, it’s very important that not only the owners know about your show, but all the employees. Discuss every detail of the show with the owner beforehand. How many pieces? Where will you hang them? Can you have an opening? How about a poster in the window? Be thorough to the point of aggravation. And make sure the owner tells his staff. Get the his cell number in case you show up with two duffel bags full of paintings and the barista doesn’t know who you are.
3. My fliers weren’t specific enough, and I didn’t make enough of them. I only made 100 fliers, not realizing most fliers just get thrown out. The time range was too broad (I wrote Tuesday evening, not Tuesday 6-8).
4. Most importantly, and most fatally, I didn’t believe in myself. I
was embarrassed that I didn’t have a show in a real gallery, so I
didn’t tell my friends or try for sponsorships and listings. I didn’t
stand up to that obnoxious bartender. Tacky as it sounds; confidence is the most crucial part of success. Remember, your art is important- in or out of a gallery.
EXAMPLE TWO (Triumph!)
It was not without some trepidation that I embarked on my second DIY show. This time, though, I was determined to do it right. This time, I had a plan.
So, six months before my planned exhibition date, I trundled up to
Jigsaw Gallery, portfolio in hand. Jigsaw is a comic books store that
hangs affordable art on its walls.
“Ben Jones,” I said to the owner “I want an art show. But I don’t
want anything half-baked about it. I want free alcohol and a go-go
girl in the window. I want reviews. I want press releases sent. And
I want hundreds of people to show up.”
“Alright” said Ben, a bit startled at my vehemence.
So, for the next six months, I worked my ass off. I believed that my
show would be the hottest thing going. I hired a sultry burlesque
babe to dance in the window. I wrote to a local liquor company, who
gave me 400 bottles of hard cider for the opening. I pestered over 100
magazines, and snagged a review in one.
On that freezing February night, 250 people came to my opening. Over
half the work sold.
How did I do it, you ask? Let me tell you what I did right.
1. I had a concept. This wasn’t going to be just any art show. This
was going got be my last show of pen and inks. Everyone involved wore
black and white vintage clothes. Even the food was black and white.
The go-go girl in the window dressed like a Victorian tart from one of
my paintings. Whether you do silk-screened gig posters or Xeroxes of
your genitals, a strong theme will keep people pique interest for your
show.
2. I sent out listings to every event calendar in my city. Notice all
the free rags that clutter your local coffee shop? Those rags can be
listing your work! Ditto for websites. If you’re in a big city,
you’ll find plenty of publications covering your scene, but even small
towns have a few. A month before your show, send out listings to
them. Listings should include time, place, date, contact info, and
two or three sentences explaining the show’s painfully unique concept.
3. I made 1000 fliers. Make yourself some glossy fliers for your art
opening. Google “flyers” and hunt around for the best deal. I like
Image Media Print. Make sure your fliers tie in with your concept.
If you don’t know graphic design, hire someone to help you.
Lay those babies around- especially in well off neighborhoods or cool
venues. Where would an art patron be likely to find them? If your
city, like mine, is gutted by gentrification, use it to your
advantage. Pile stacks of fliers around the haunts of
investment-banker bohemians. Sure, they might be less fun then your
friends, but they certainly have deeper pockets.
4. A liquor company sponsored me. Sponsorship is easier than you
think. What companies around you need street cred? Which ones need
cheap advertising? Whether your talking to a big company or the girl
who knits dildo cozies, business can be persuaded to give you free
stuff. Tell them that in exchange for cash or coolness, you’ll plaster
their name over your fliers and tell everyone about them. It’s cheap
advertising for them, and gives you free booze, food and booty for
your opening.
5. Tell everyone. Even people you barely know. I know that you feel
like a sorry misfit doing it, but so does everyone else who ever got a
rock thrown at them in high school. You’ll be amazed at how many
acquaintances you have- and at how generally decent people are.
Most importantly, believe in yourself and your ability to promote
yourself. It’s great to have some powerful gallery behind you, but if your work is good, hanging it on a café wall doesn’t make it less so.
Good luck!
–
—-
www.mollycrabapple.com
Gibson Girls Gone Bad
Dr Sketchy’s Official Rainy Day Colouring Book!
www.drsketchy.com/book.php
Cabaret Life Drawing
www.drsketchy.com
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January 3, 2008
The discussion of whether or not it’s a good idea to go to an art school, is one I have read, overheard and been involved in many times. It’s a difficult question, one with a potentially very expensive outcome. In some areas of art, I do think it could be a good idea to go to art school. Photography, graphic design as well as 3d animation have very technical aspects to them that can be cleared up from higher education. One could possibly teach themselves all these aspects, but it seems more likely that higher education will really help these disciplines. So for the sake of this article, I’m taking fine art and illustration as a kick off point.
Reasons: So first of all we should figure out what the reasons there would be to go to art school to begin with. Of course the main reason should be learning new skills and honing the ones that you have. If you are lucky and don’t have to work while you go to school, you get the perk of being able to work on your art and thats it. Another perk that I have heard a few times is being surrounded by other artists. You get inspiration, learn tricks and form friendships with people that can alter your career for the better. Many colleges, such as the Academy Of Art claim to provide job placement once you are done with your stint there. Private art schools are also a good place to learn how to display your art, present it to potential clients and be prepared for the business side of the art world.
The Costs: The most important detail about going to school, is ultimately how much you will be paying for it all. It is not cheap once tuition, living expenses, materials and health care (which many schools demand you have) are all added up. You could be pushing $30,000+ per year. On top of this, some schools such as California College of Arts add one extra year on, so if you already have your A.A. your looking at three years until you get your B.A. Not too bad really, one more year of learning can really help your craft but that one extra year will be very expensive. Another thing that I have noticed is that many of the best art schools are located in very expensive cities. San Francisco, New York, Los Angeles, Pasadena and others. If your aren’t living in a dorm the cost of living in these cities is really high.
The Negatives: Everything has negatives, the idea is to minimalize them as best as possible. Of course the cost of tuition is a big negative, but what are some of the other possible problems you might encounter? One of the main concerns I have had and one that I have heard from many others is getting stuck with bad teachers. I can think of nothing worse than spending all that money only to be taught by someone who shouldn’t be teaching. I have had some teachers that were quite hard to deal with, but they were still competent and very talented. I’m referring specifically to those teachers that follow the old saying “those who can’t do, teach”. Why learn from someone who in essence is a failed artist? You can help to avoid this however by checking out what others say about the teachers on sites like Rate My Professors.
What about those schools that offer job placement? Academy of Art offers this and supposedly their success rate is in the upper 90%. I would love to see what kind of jobs these are and where they are. When I took a tour of the Academy of Art I asked about the job placement and they were very vague about the details, and it seemed that if you did get a job it would be right in the city the school is at. So if you want to stay in the city you learned at, then you might just have a job waiting for you. As far as fine art goes, a degree from an art college will not guarantee your success in the gallery scene. I have seen artists with no degree sell out shows, and artists with degrees bomb. It’s about the art and area really.
The Alternatives: If you still feel the need to get a degree you could always go to a state college and concentrate on art there. Many state colleges often get overlooked and many have very good art programs. San Jose State University is a great example. They have classes in a huge variety of mediums and I have yet to hear bad things that would really push me away. The tuition is also 1/10th of the price of a private art school. There are also Ateliers that you can learn art, the most popular one is the ConceptArt Atelier, these are very hard to get into. So ConceptArt puts on these weekend learning workshops once a year. The industries best artists share their tips and tricks there and you get some hands on training. Shawn Barber stated that “these workshops are superior to any education you could ever receive in four days, anywhere. It rivals a four year experience”. I would go to these weekends anyway, every artist I have talked to so far has said that they learned the most on the job as opposed to in school. So these workshops are kind of like that.
There are also sites like Imaginism Studios and Entertainment Art Academy where you can learn online from some of the best in digital illustration. But what about the perk of being physically around other artists and forming friendships and learning skills? You could always start a drawing group in your city, see if there are any life drawing groups or maybe even a Dr. Sketchy’s. If there isn’t one Molly Crabapple (the creator) can show you how to start your own.
When it comes to the business end of art and diplayign your, you don’t need an overly expensive art school to teach you how to do that. Learn from others who have gone to art school. ImagineFX magazine also has a lot of articles dealing with this, and you could always join forums like the ConceptArt forum and ask around there.
Conclusion: Regardless of what this article may come off like, there are positives to going to art school and I have met many people who are happy with their decision to go. I just want people to be aware of the possible negatives and to know that this is not a necessity. Many artists do quite well without ever going to art school. If you feel that the extra education could help, maybe give the state college a try or check out one of the alternatives I have listed above. If you have any ideas that I might have missed out on, please feel free to leave them in the comments area.
Edit: I would like to add one thing that has come up recently. In my own experience in looking at local colleges, many of them don’t have programs setup to really take advantage of what is going on in the art world right now. Digital illustration, advanced computer arts programs and so on. Many of the schools are also filled with teachers stuck in the 70’s. You don’t need a professor that will paint or draw like you want to, but you also don’t need a professor that might have skipped out on some good lessons so that they could further their style which is now dead. Private art schools often have young fresh teachers, and many programs in computers and illustration.
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September 15, 2007
This article is inspired by an article over at ‘Lines and Colors’ called: “How Not to Display Your Artwork on the Web”. It’s a great article, quite sarcastic but there are some great tips there. In the many months that I have been running the Creep Machine, looking for featured artists, images for art of the day & prints and originals for sale, I have seen some amazing web sites and some really bad ones. So I decided to write down some tips, to make sure that your art gets seen.
Of course this whole article is filled with my opinions, but as someone who spends hours a day looking at art as a fan and webmaster, I hope I have a good idea of what works, and if just some of these tips help that’s fine by me.
Where should you host your work?
I strongly suggest staying away from using sites like Myspace as your portfolio. Myspace is geared to be filled with music, flashy graphics and comments. It is also unprofessional looking. You want your art to be as easily accessible as possible. The viewer should be able to see your art as well as your information in just a few clicks. Sites like DeviantArt are ok, but once again they are more setup to be a community to share your art with other artists. Even artists like Justin Degarmo and Josh Taylor have a main homepage along with their DeviantArt account. So if you can’t afford to buy your own hosting, you have two other options.
1.You can use a service like Blogger. This is getting more and more popular, as it’s easy to navigate, your work can be seen quickly and people can learn about you if you post thoughts as well.
2. You can use online portfolios such as: Carbonmade, VoodooChilli & PortfolioCity. each one is free, and gets your art seen quickly and efficiently.
Simple and catchy domain names
If you have your portfolio on blogger, or one of the free portfolios I mentioned, you’ll be stuck with ‘whatever.carbonmade.com’ for example. Not much you can do about that. However, if you decided to pay a small amount, and have your own website you should pick a great name. You want something catchy, easy to spell and easy to remember. If your name is way too long, and people need you to spell it out for them, try something different. Use a nickname, or even just name your site something nutty. Greg “Craola” Simkins uses the domain name ‘imscared.com’. Very simple to remember, and unique as well. Domain names are pretty cheap now, so get one even if you use a site like blogger. Don’t worry about .com, .net or .org. All three of them are very common now, just pick one and make the name easy to share.
Keep the design simple
I think this is the most important tip. Unless your a web designer and are trying to sell that skill, keep your web page simple. I know it’s tempting to make a page that is graphic laden, and will just “wow” your viewers, avoid it. Wow them with your art, not your bloated web design. Stay away from animated graphics, obscure link names that you think is clever, or unnamed images for the page links. Clearly show the areas of your page: ‘Bio, artwork, links, contact’. I know this is boring, but it works. Don’t make the viewer have to hunt to see your artwork, trust me they’ll give up. I often do.
Avoid flash based websites
Flash is cool for very few things. Once again if your selling web design skills then go nuts. But if your trying to have your art seen, avoid 3 minute flash intros, people just want to see the page.
Flash galleries are also bad, they are a pain to use and don’t allow your viewer to see nice big images of your work as well as share your work. Viewers sharing your work with others is a great way to get exposure. I can’t tell you how many artists I have avoided, simple because I can’t share their work.
Keep the image gallery simple and functional
Like I said above, no flash galleries. Avoid watermarks as well. Flash galleries and watermarks are often used to stop people stealing your work. Trust me, if someone wants your work bad enough, they’ll just use a screencapture tool and have it, and you also stop the important people from getting your work. I use the images from artists sites to post here, help sell prints for SFWeekly, and share with galleries. Also avoid using odd thumbnail images, or text. Just show the thumbnail. Not showing the thumbnail is either used to integrate the thumbnails into the site, or to make the viewer have to enlarge the images. Don’t make the experience tedious, just make it simple.
Let them be informed and in touch
Make sure that your website has a small bio area, contact area and news. People like knowing who the person is behind the art. Your sharing your art anyway, and this can be personal depending on your content. Make yourself known as well, or at least a resume, and make your contact information easy to. One of the problems I see on blogger hosted sites, is that there is often no contact info available. How can I work with you, and even buy some art?
Add a news area, and even a mailing list. Keep your viewers informed. A news area lets people know what is going on, any upcoming shows, or even works for sale. It also lets people know your still active. I’ve found a few sites were it looked as though the artists hadn’t done anything in years. A mailing list also keeps people informed of whats going on, and you’ll know that they”ll get the info for sure.
How about some examples?
So, after these little tips, I think it’s best to show some sites that I think fit the tips very well. Many of these sites are from very popular artists, and look how simple their sites are. Maybe their on to something eh?
Dan May :great example of art site, and a blog.
Mark Ryden :simple, easy, to the point.
Chet Zar :love that gallery, nice big thumbnails and info.
Chris Ryniak :his gallery is perfect, you can’t help but look at multiple pieces.
Jeff Soto :I think his site fits every tip here, perfect.
ThinkSpace, Gallery1988 & Jonathan Levine :my three favorite art gallery sites to visit. Filled with content, but easy to navigate.
I’ll refrain from showing bad examples. If your site doesn’t get many hits, and it’s been hard to get your art seen, check out these tips and examples and see if you can’t make it better. Many artists take inspiration from successful artists when it comes to the art, it should be no different to take tips in web design from successful artists websites.
Thanks for reading, you can also check out the article that inspired this one as well.
How Not to Display Your Artwork on the Web
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April 20, 2007
Besides buying art off of the original creators website, or even through a gallery, another potentially good resource of buying art is through auction sites like eBay or Etsy.
Along with the good deals, is also the probability of problems. So this lil article is basically just giving readers a heads up on what to watch out for.
1. Its ideal if you are given the provenance of the art, or the origin or source of where the art is coming from. This is also very helpful when the piece is quite expensive. Provenance is one of the perks of buying from galleries, since you know who had it before you. Many artists also sell their art directly through eBay or Etsy for example. So if you know its the actual artist selling the work then you know your safe.
2. Watch out for print auctions, where the print might have been made from a photograph of the work. Ive seen it a few times where the seller had simply taken a photo of the work, and then have prints made. This is a waste of your money, and it doesn’t help the artist out at all. This goes along with copies of prints. Its good to know if the print has a number attached to it, as in #24/100. If you can, check the artists site and see if a limit has been put on the print your looking at.
3. Another type of auction that I have seen quite often, is prints that are being removed from books or publications. I’m not quite sure how the artists take this, since it does come from a book that was sold, but as a buyer you are not getting a nice large, collectible print.
4. On eBay especially there are many art specific sellers, try to stick with them if you can. Or make sure you check out the feedback of the seller, and take a look at what they have sold. If they have sold art before, you know they hopefully know how to treat art.
5. Finally, make sure you can really look over the art. Nice clear pictures of the “actual” art is ideal, not just pics of the art taken from other sites. It’s always nice to see the art in person such as in a gallery, but if you are using auctions sites ask the seller for better pics of the work. If they wont give them up, then be wary, don’t waste your time.
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