A Site for Emerging Artists
Posts tagged graphics
Interview with Surtex Manager Penny Sikalis
May 18th
By Carolyn Edlund
Surtex, the “marketplace for original Art and Design” is a major art licensing trade show which takes place in New York City every May. Show manager Penny Sikalis graciously agreed to an exclusive interview, which ranges in topic from trends to marketing to what a new exhibitor can expect. Could this be a good trade show for your career?
AS: We know that today the economy is really tough and going to a trade show is very expensive. Artists also have a much bigger presence online where they can attract business. Why should they come to a trade show?
PS: Many reasons – one, it’s the only venue where they can actually physically present themselves to a multitude of professionals in the industry, all prospective clients of theirs – manufacturers from all over the country in all different product categories. It’s a face-to-face venue which is quite different from all of the online venues that are in existence today. So there is a huge benefit for them to be physically present, to meet face to face, and show their artwork to thousands of manufacturers in three short days.
AS: Who do you think would be an ideal candidate to come to your shows as an exhibitor?
PS: There are many ideal candidates, per se. The show is filled with artists, designers, licensing agents, and design studios. The latter two represent a number of different artists, designers, brands, properties – they are all ideal for being here. They can all expand their businesses here as they are able to meet with potential clients, nurture relationships with existing clients and also get a real sense of what is going on in the industry to stay on top of trends and industry issues. There is so much that people can do at Surtex. Manufacturers, retailers, and product developers come to Surtex to find a real diversity of art – cutting edge art. They want to find the latest and the best surface designs that are going to make their products very special and sell off the shelves.
AS: It sounds as if someone coming here as an exhibitor is connecting with a lot of different people.
PS: They are connecting with every aspect of the industry, exactly. Retailers are doing more of their own product development, so we have found over the last several years that there is an increase in retail attendance at Surtex. Those retailers are looking to buy or to license artwork as well.
AS: In your opinion, for new artists coming to Surtex, what would be a reasonable expectation for results?
PS: It really depends on the individual, and how far along they are in their business, what their business plan is, and what their goals are for their business. For somebody new to the licensing industry, someone new in business in general, their expectations need to be realistic their first time here. It will be very much a learning experience, as they are meeting a variety of people and understanding how the industry works. We would encourage them to take classes throughout the three days. We offer a fabulous conference program. For anybody who is new in the business, I would encourage them to do a lot of homework beforehand, so that they know what to expect, but then also once they get here, they will continue learning. They will make a lot of contacts. They will likely not close any deals, but if they do, that is terrific. It will be more of an exploratory “learn and see, get your foot in the door, get lots of leads and follow up.”
AS: So it takes some time to get traction at these shows. I’m sure part of that is that they need to be credible, that they have to have been “seen”. Would it be reasonable to say that you need to come to the show two or three time?
PS: Absolutely. We generally say it takes about three showings to become credible, to really know what you are doing with your business and how to establish yourself within the industry. The second year the expectations will be different and the results will be different. The third year, the results will be much better as well.
AS: You talked about people doing their homework. What would you suggest that an exhibitor do as pre-show activity so that they can get the most from Surtex?
PS: There is a lot that they can do, and a lot that we offer them so that they can be best prepared for the show. I think they need to read trade publications, whether they are printed or digital. It’s very important to get an understanding of what’s going on in the industry and also look at the various videos and other media that give a bit of a sense of what Surtex is like, so that they are not walking in without having a good idea of it. We also offer webinars for all of our exhibitors before the show. The webinars start from the very basic “OK, you’re in the show now, here’s a primer on licensing, let’s make sure you understand all of the steps.”
We also offer webinars on marketing and how to promote yourself through your own types of marketing vehicles as well as those that we offer at the show. And we have several logistic, more operational webinars as well so that people know what to expect, how to set up their booth, how to send their materials here, when they should be here, etc. Also one thing we do is we calm people down. Everybody is very nervous and excited about their first showing. We give them as much information as possible so that they can be prepared.
AS: Are you seeing any changes in the makeup of the buyers who are coming to the show? You mentioned retailers. And what about attendance, how has that been affected recently?
PS: For this show in 2011 we are anticipating a very strong show. The economy is turning around, and there is more excitement and more interest and more positive feedback that we are hearing from our customers, exhibitors as well as from attendees. Manufacturers are looking for new art. They need new art to put out there to get the consumer excited and meet consumer demand. Yes, the last few years have been tough for everybody. Product did not sell through as well at retail, which did impact those folks who are licensing their products. Those royalty checks weren’t coming in as quickly as they had been. This past year, things have definitely turned around, and from all indications are moving forward. There is a lot of activity right now taking place in this art and design community. That bodes well for manufacturers as well as all of Surtex exhibitors.
AS: Could you tell us about any design trends that are coming in right now?
PS: What you are seeing on the floor at Surtex is a very big picture of what is trending. These people are ahead of the product curve. They are helping develop products, so what’s here on the floor is what you will see at retail in another year. What I’m seeing is fresher colors, unique combinations of colors, more graphic designs. Slightly less on the floral side. Some bold geometrics. There really is a variety of styles. I think that is what makes the mix of exhibitors here so unique – that there is something here for everybody, and for every product category.
AS: If you were a buyer walking the show today, what would you like from exhibitors? What would make it easy for the buyer to say “yes”?
PS: Exhibitors need to be cognizant of how their designs will be interpreted on a finished product, and when walking the floor, you will see that some exhibitors actually take that to heart. They will present their designs on mocked-up product, or they will show illustrations of their design on product. So they are not only showing a flat piece of art or surface design, but they take that surface design and engineer it for specific end uses. I think that becomes very helpful for buyers so that they can visualize how that design will appear on their product. Some exhibitors bring in their “past successes” and actually show the finished product. They show what they have been able to do and how their product lines have been successful for manufacturers and retailers.
AS: Do you have big plans for the future? Where do you think your show is going?
PS: It’s something we are always thinking about – how we can enhance the show and meet the needs of the market. We pay very close attention to what is going on in the industry. We have an advisory board that’s comprised of both exhibitors and attendees. We hear their thoughts and really know where the market is going. We are developing plans for next year, and expect the show to continue growing. Another indication as to where the economy is – last year we had 225 exhibiting companies. This year our show floor has 277 exhibiting companies. That’s an increase of 23%, so it’s quite nice to see that business is starting to thrive again. I think it will continue. I think we will bring more and more talented artists and designers and there will be more and more surface design on all kinds of products going forward.
FOR MORE INFORMATION ON SURTEX, CHECK THEIR WEBSITE AT WWW.SURTEX.COM
Today I will speaking at the CREATIVE SOULS TELESUMMIT on the topic of "Putting Your Dream Into Action: How Creative Entrepreneurs Can Market and Sell Their Work." from 12 noon to 1:00 p.m. Pacific time, 3:00 - 5:00 p.m. Eastern. Please join me - it's free! Click here for more information.
Energy Art Gains Momentum
May 2nd
“Some paintings vibrate with energy. Impressionists like Monet tried to capture light. Futurists like Boccioni portrayed motion and speed. Expressionists like Van Gogh conveyed emotions. These qualities – light, speed, emotion – are variations of energy. Energy is one of the most ephemeral qualities to depict.”
So begins the definition of this new art movement, begun in 2008, which is creating waves as an exhibition in Veliky Novgorod, Russia this month. The Energy Art Salon 2011 is an international effort by artists who create art which shimmers, pulsates, and crackles with energy, or the depiction of what energy can do. Reaching outside its roots in North America, this second annual salon is bringing an exciting experience to audiences worldwide.
Members believe that enhancing their creations with energy – either in composition or in subject matter – adds artistic value to their
depictions. The Movement strives to follow a progressive trend of forward evolution in the Fine Arts, while embracing both traditional and digital media.
Movement Organizer Giogio Vaselli explains that 99 artists submitted work, hoping to be included in the exhibition, which includes 43 works of art. The call for artists and competition took place on Facebook.
He describes the entries as being of exceptional quality, and many great pieces had to be turned away. He states, “The point of the competition was not the idea of ‘competing’ itself, but rather, the selection/curation of the art by the public for the Energy Art Salon 2011 which opened just a few days ago in Russia. This was a step towards our announced long-term goal: becoming an increasingly democratic vs. centrally-run art movement, ie. an open art movement. Currently movement membership is application/invitation-only, to ensure our values and standards in this initial period since our founding in May of 2008.”
Why was Facebook chosen to solicit entries? Vaselli states, “As expressed in an essay of mine, I have great faith in the opinion of the public, and since Facebook has recently become the third largest country in the world, spanning multiple countries, it was a natural choice for handing over the task of curation, via the preliminary competition. The public’s opinion was weighted with that of our featured members.”
Other venues are also used to gain publicity and promote Energy Art as a movement. He explains, “We have maintained an online presence via various channels since our founding, with our website remaining our central headquarters. About a year ago, Facebook has become our secondary headquarters, in order to maintain our connection with the public. We create primarily for the people, and we hope to eventually be run by the people.”
“In addition, we have profiles and groups on DeviantArt (primary headquarters at our founding), Flickr, and Fine Art America, where we accept submissions from any artist, who may also be invited this way.
Considering that we are not merely an online phenomenon, but are also having our fourth international real-life exhibition, the Movement tends to attract some level of media attention, which is clearly key to reaching a mainstream audience.”
Catch This Escapee/Interview with Thomas James
Jun 7th
By Carolyn Edlund
Thomas James, illustrator and author of the popular blog “Escape from Illustration Island”, is fascinating on several different levels. He serves up an incredible online resource which educates and inspires illustrators, artists and other readers who visit his site. Thomas is also a smart and savvy blogger.
EFII has the complete package – check how he uses multiple modalities. Read the articles, listen to the podcasts, see the visuals, participate in contests, comment on his posts, join a community. There are books, sites, artists and blogs reviewed, and discussions of the history of illustration. Tutorials are offered, although you can request his personal input as well. EFII hits on all cylinders, showing a masterful understanding of how to communicate and involve an audience while providing a wealth of valuable and useful information at the same time.
AS: You have a lot going on. What are your current projects?
TJ: First, I want to say thank you for inviting me to share my story with your audience. I love what you’re doing here at Artsy Shark.
The project that I’m most excited about right now is my new eBook, 15 Steps to Freelance Illustration, which aims to outline the basic steps involved in building a strong foundation for an Illustration business. Even though there are other useful books out there on the topic, I’ve taken the approach of empowering every artist to organize their thoughts and formulate a strategy that fits their unique situation. I’ve done this by breaking things down into groups of tasks and by including a supplemental Workbook so that everyone can move at their own pace and make the most of the ideas presented in the book. It’s taken me six months to complete, and I’m very excited about the official release on June 15th.
Now that I’ve crossed that off my list, I’ll be focusing on this year’s ICON6 Illustration conference, where I’ll be attending as a media sponsor. While I’m there, I’ll be covering the event from the inside and recording as much audio and video content as I can to share the conference with Illustrators who can’t make it there for whatever reason.
AS: Tell us some of your favorite aspects of the EFII blog. What are your readers’ favorites?
TJ: I really love the community that has been built there by my fellow artists, and that is still growing. I think EFII helps Illustrators and other creative professionals come together and share ideas and resources. After all, the name Escape from Illustration Island comes from the idea that most Illustrators live and work in the isolation of their studio. A lot of artists have expressed gratitude for the resources provided at EFII, and that helps to keep me motivated to do more.
I have to say that the audio podcast is another one of my favorite aspects of the site. I’ve had the chance to speak with so many incredible people in the industry, such as Steven Heller, Drew Struzan, Gary Taxali, Brian Despain, and so many others. The chance to pick the brains of Illustrators, Art Directors, and Art Reps on the show has really helped to make me a better artist, and a better freelancer as well.
AS: What goals do you have, either with EFII, or other professional endeavors?
TJ: One main goal I have moving forward is to share the resources at Escape from Illustration Island with as many creative professionals as possible, because I strongly believe that it has a positive impact on peoples’ lives, and on the industry as a whole.
Also, the ability to make an alternate income from the site has allowed me to take a step back with my own Illustration work and completely redefine my style. So, I’ll be working on figuring out new and unique ways to market that style and secure more of the types of projects that I’d like to work on.
AS: Emerging artists often have questions about how to get started professionally. What resources would you direct them towards?
TJ: I have a growing selection of Featured Resources on Escape from Illustration Island, but I think some of my favorite are books like Graphic Artists Guild Handbook: Pricing & Ethical Guidelines (Graphic Artists Guild Handbook: Pricing & Ethical Guidelines), the 2010 Artist’s & Graphic Designer’s Market (Artist’s & Graphic Designer’s Market)
, and the blog Freelance Switch, which discusses best practices for freelancers. I was definitely inspired by Freelance Switch when creating EFII, but I wanted to tailor my posts more specifically to Illustrators and other creative professionals.
Featured Artist Nat Connacher
Mar 11th

Nat Connacher is a painter, photographer and designer creating visual expressions of what he sees and feels around him. Nat’s painting was selected for inclusion in the 2007 Stamford Art Association, 27th Annual Faber Birren Color show, where he was awarded the Faber Birren Color Award. In 2005 & 2006 his paintings where included in the Silvermine Guild Arts Center’s 56th & 57th Annual Art of the Northeast exhibitions. In the 2006 Art in the Northeast Exhibition he received the Mary Vann Hughs Award. Nat is also an avid fine art photographer. His photographs have been accepted for display in the Stamford (CT) Art in Public Places exhibits, “Celebrating Women”, Summer 2004 and “Color/Forms”, Summer 2005 and are in a number of corporate collections.
Nat is president and creative director of Connacher Design where he combines his different artistic interests to develop visual dialogues between his clients and their audiences. His areas of expertise are corporate identity, branding and visual information design for print and the Internet. Nat holds a Master of Fine Arts in Graphic Design from Yale University and a Bachelor of Design in Communication Design from the Nova Scotia College of Art and Design. A native of Canada, Nat resides in Stamford, CT with his family.
The liberation of letterforms from their recognized social function is the foundation for my abstract paintings. The new forms I create, allow me to explore the conflict between external and internal expectations in our personal lives. By painting bold, large, graphic, simple and colorful abstractions of letterforms, I highlight the boundaries that shape our feelings, self-image, and our relationship with the world.
These abstractions are a metaphor for our human landscape. The shapes and edges are expressions of vulnerability and pain in the search for intimacy. We are all trying to discover who we are in a society that projects personal success in terms of position, wealth and looks. In reality, those things have nothing to do with who we are or want to be. It is in those moments of tension against what is told to us and what we know is true that I find the inspiration for what I do. www.connacherart.com
Featured Artist Kristin Doner
Feb 25th
Hand gestures captured in sand or on a scanner, are the source material for this work. Whether photographing tracings in sand, posing my fingers in
different positions on the scanner, or following the light bar with expressive movements, the resulting images offer an abstract starting point. Being physical during the creative process is important to me, because it allows me to express intuitively, connecting with my subconscious.
Nature is an endless inspiration for me. For instance, sensual seedpods,
pregnant with seed that twist and burst open, or the different ways leaves unfurl. Another influence is my past in the field of graphic arts, which instilled an appreciation for the elegant effectiveness of simplicity. But the refined nature of graphic arts is far removed from the organic qualities I relate to in nature, so I turned to clay as a more organic way of relating to art. My unusual pinch-pot technique and exotic glaze results lead to considerable exposure through books and magazines.
In the aftermath of the dotcom crash and 9/11 though, my work became less about exploration and more about economic survival, which is not a good place for an artist to work from. Therefore, I decided to shut down the studio and return to school. After graduating from Mills College in 2008 I found myself in the daunting situation of beginning again.

Developing another new body of work has required extensive exploration,
examining how I felt and what I needed, and then responding to each
discovery intuitively. Although the work is digital, it is grounded in the
physical world, borrowing the essence of gesture to imply botanical ideas.
Magnolia Editions’ Nick Stone has selected my work for inclusion in “Fine Art Photography: Beyond Digital,” sponsored by the Petaluma Arts Council.
I’m excited to share this new work, composed entirely of scanned gestures (essentially fingerprints).
Show dates: March 6 thru April 25
Opening Reception: March 13, 4-7pm
Location: 230 Lakeville Street, Petaluma
For more information, please visit www.petalumaartscouncil.org
To preview my gesture work, please visit http://web.mac.com/kristindoner

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Featured Artist Leah Jay



