All art copyright Tara McPherson

Tara McPherson is a living, breathing, walking brand. She projects an authentic creativity and style that turns heads whether it is viewed in a gallery or via the fashions and tattoos that adorn her body. Driven, determined and greeting the world every day on her own terms, this is a woman who knows the power of living in the art spirit.I have been following her career for a decade now and when Fleske Publications asked me to write the introduction to Tara's chapter in the 2013 Spectrum Fantastic Art Live book (Tara is a guest at this years event) I felt it was about time she was featured on the blog. I know Tara mostly via the San Diego Comic Con where she has been a speaker on my Artist As Brand panel discussions. She may join us this year in Kansas City.

We have all seen the many versions of her trademark heart cut into the chest image (Hey, We All Die Sometimes, All Goodness Is In Jeopardy, The Weight Of Water, etc.). The image is about heartache but these women are nude content, passive, even happy. Her art conjures up some serious dialogue.

 Born in San Francisco and raised in Los Angeles, Tara did not start taking art seriously until enrolled as a student at Santa Monica Community College, where she experimented with various forms of printmaking. An interest in astronomy and astrophysics also sparked her interest initially, but the gravitational pull of art was stronger, and she ended up at the Art Center College of Design, earning a degree in illustration in 2001.

 Checking out the historic Jabber Jaw Cafe in L.A., she was turned on to a lot of metal bands and caught a glimpse of her first rock poster art. While playing bass with The New Detectives Tara was recruited to make fliers and promotional posters for their shows. Her beautiful silk-screened posters caught on, and soon she was being commissioned by bands such as the Melvins, Duran Duran, Green Day, Strokes, Kings of Leon, Mastodon, Torche, Beck and others. Elle magazine called Tara the “crown princess of poster art.”

Tara’s work has been showcased at the La Luz de Jesus Gallery in L.A. and published in art magazines such as Juxtapoz, but her popularity continues to grow into other areas. Showing at comic conventions, rock-poster art expos and pop-art culture venues, as well as fine-art galleries and institutions around the world, has increased her number of fans. Embracing an entrepreneurial approach introduces her art to new markets. I asked her when the entrepreneurial spirit sparked her imagination and she said it was when she worked at Banzai Anime in West LA. Bonzai Anime (not around any more) showcased art and toys from creators in Japan. She loved what she saw and decided that is what she wanted to do too!

Tara manufactures a wry sentiment with her editions of soft and hard sculptures as well as vinyl toys. “The Day’s Eye” collection of one one-eyed flowers, “Skull Flower” and “Mr. Wiggles” are whimsical and nostalgic. The materials are varied—including polyester, suede microfiber, bamboo fiber, polyfill, wire, real glass eyeballs, etc.—but the spirit is pure Tara.“Sweet” and “Creepy” are terms many use to describe her work, but this limits the breadth of her message. Tara speaks of the healing and understanding she hopes much of her imagery can bring to people. Art will resonate with those who are on the same wavelength of its intention and meaning.

 Advocating affordable art for all, Tara with Sean Leonard opened the Cotton Candy Machine art boutique in Brooklyn, N.Y., creating a venue that specializes in art prints, posters, apparel, books, toys and more by a variety of artists. It hosts monthly art shows, events and signings, and is the exclusive shipper of Tara’s merchandise. Talk about building an art empire!I asked her what percentages she felt she was making from her own personal art as opposed to the commercial work? "It fluctuates, but generally it is 75-85% personal work, 15-25% commercial work. I am happiest creating my own art, but it is hard to turn down a $10,000 advertising job."Tara represents the empowered artist entrepreneur. May success continue to shine on her journey. 

Here are two more inspirational blog posts that will pump up your powers of introspection.

1. Right now is a great time to take a good look at the past year, reflect on your accomplishments and business strategies. Go to this

Etsy post

for some insight.

2. Caroline Myss is spiritual teacher who says she's living the life her soul was meant to lead. Caroline says everyone has the ability to fulfill their own "sacred contract"—a set of assignments the soul is meant to achieve. This dialogue between Caroline and Oprah touches on some of the Heart Virtue work we do in the AAB workshop and workbook.

Here.

photo by @drsmoothdeath

This is a wonderful post from Miss Modish that I want to share with you for this New 2013. Enjoy..."I've been taking these past few days of 2013 to figure out what I really want for my life in the year ahead...And I've decided, I'm making no resolutions. I'm setting no goals.I'm focusing less on the things I want for my life, and more on how I want to FEEL.I'm focusing less on what I want to do up ahead, and more on who I want to BE.I'm tired of hoping for someday, and am ready to ACT on today.I think when we become so worried about which path to take and if it's the right one, how long it's going to be and "when are we going to get to the end already?", that we forget to look up at the trees, and the light shining down through them- we forget about the happiness that we have access to, here and now.We forget that there are signs pointing us in the right direction, and opportunities all around us, if we only look.We forget that it doesn't really matter which path we pick- as long as it's our choice, it will lead us to that sense of fulfillment we seek."More...

TLC stands for Tara Larsen Chang. I love the double meaning (Tender Loving Care) as it is so appropriate for her.

Tara is an illustrator and a lover of the art spirit who I met when she participated in my Artist As Brand Workshop in Kansas City during Spectrum Fantastic Art Live last May. I learned that she was passionate about Connecting, Creation and Authenticity. While manifesting an art career, she felt a strong desire to connect with other creators and was soon championing them with the TLC workshops that showcased artists skill sets and their techniques. To date she has featured Greg Manchess,Terese Nielson, Brom, Iain McCraig and Justin Gerard.I am next in March with an Artist As Brand Workshop.

I interviewed Tara to get more perspective on her art, her passion to share the art spirit with the world and her thoughts on the Artist As Brand Workshop.

Greg:  You are an illustrator that has focused mainly on children's media, stories and books. Tell me about this journey.

Tara: Some of my earliest memories are of images in picture books. I would stare at and study them for hours as a child. Especially illustrated fairy tales. I wanted to *live* in them. This love of narrative illustration, especially in children's literature, has remained with me my entire life. After a number of ill-fated attempts at other possible vocations, I ended up getting a degree in illustration and don't seem to be drawn to more 'grown up' art making.

© Tara Larsen Chang

What do you love most about the illustration business and what do you dislike about it?I love being able to create for a living. I love creating things in many forms, but there is something about producing images that get printed, seen and enjoyed by many that is very fulfilling. Especially if I feel I've successfully created a piece of a world that I would like to live in, like those I was drawn to as a child.Conversely I hugely dislike it when the creativity is severely limited in a given job. Some are so tightly art-directed that there is no leeway for personal vision, and I find those jobs really stifling and unsatisfying. They're 'work' in the least positive sense of the word. The illustration market is also shifting dramatically in publishing, and in children's books specifically. Work is seemingly harder to come-by for nearly every working children's illustrator I know. Not so fun.

© Tara Larsen Chang

Yes the industry has become more challenging. So are you able to make a living solely as an illustrator?Not in this genre. I've almost always augmented illustration with teaching or something more consistent.What inspired you to create the TLC workshops?There's not a lot of 'higher end' ongoing education or training readily available out there for already working artists, especially in the children's genre. I stumbled across Rebecca Guay's Illustration Master Class (www.illustrationmasterclass.com) the first year she ran it in 2008, and tentatively decided to go. The faculty were all top-tier fantasy illustrators (and I was the only children's illustrator in attendance), but I learned so much from them - it improved my craft, transformed by business and led to an incredible network of professional art friends. It was literally life changing, and such an incredible 'high'. I attended twice more, but hated that it was merely once a year, and clear across the country. The only apparent way to alleviate the withdrawals and frustration seemed to be to start something with the same caliber of people in my hometown. :-)

Tell me more about these hands on workshops and some of the artists you have invited to share their wisdom.The thing that impacted me most in my IMC experience was the one-on-one time spent with both faculty and students alike (so many of the student body are pretty incredible working professionals themselves). I wanted to recreate that aspect by inviting top-of-their-field faculty, and primarily professional students, with small enough classes that everyone gets individual attention and a chance to interact with each other. These workshops are aimed directly at working artists who want to up their game.And what better way to up your game then being able to spend a long, intimate weekend with the likes of Greg Manchess, Terese Nielsen, Brom, Iain McCaig, Justin Gerard, Dan Dos Santos, Jean-Baptiste Monge, and of course, *you*? (and this is just the tip of the planned iceberg. Just wait til you see the line-up for the next couple of years that is already in process!)

Any favorites of the bunch?How can one pick a favorite from this kind of group? I have favorite things about each of them - no one does more gorgeous thumbnails and comps than Greg Manchess, and boy, he can whip *yours* into shape in about two seconds flat. I don't think anyone on the planet does a more beautiful, idealized likeness than Terese Nielsen. Watching Brom paint is a delight. Iain McCaig's boundless energy and seemingly boundless talent and enthusiasm can probably power a small town for a month, and I could go on and on. These teachers are so spectacular - in talent, in experience, and especially in generosity of spirit.

Awesome! You recently took the Artist As Brand Workshop. What were some of the highlights for you?The most potent thing for me was being able to clarify my 'heart virtue'. It took some work getting there, but once I did, it was so obvious and spot on, and explained so much. Then being able to think about everything else you presented in the workshop through that lens was pretty transformative.Did it shift your thinking in regards to how you can make a living from your talent and if so what are you doing now that was different from before?Very much so.

My discovered heart virtue is "I am passionate about connection, creation and authenticity."

I finally understood why my experience of attending Spectrum Live directly after your workshop (like when I attended the IMC) was so euphoric. It was a weekend spent connecting with authentic creators - my personal Nirvana. This re-confirmed why hosting these workshops is so important to me, and so congruent with my core - I get to continually recreate these types of experiences for myself, and for others.It has also shifted how I think about the art I do. Since your workshop I have been exploring and making sure that the art I'm creating is something that I love and feel a connection to. It is an entirely different experience.Have you thought about your own products?Yes. This year the 'product' has primarily been workshops, but as I get the workshop thing down I hope to produce more heart-felt art, in whatever form I'm led to do that in.Have you brought any AAB principles into how you promote the TLC Workshops?Definitely! After your workshop, I did an overhaul of the website and expanded all the social networking. I keep thinking about your principles of 'added value' in all aspects of my workshop business, for both the faculty and the students attending. Optimally, I want it to be an incredibly positive and nurturing experience for all involved (I don't use "TLC" just because they are my initials. :-)I love hearing that. As you know students are not taught artist entrepreneurial skill sets in school. How important do you feel this information is for art career sustainability?They're probably the *most* important skills needed!

Artistic 'talent' will only get you so far if you don't know what to do with it, especially for the long haul.

It is unfortunate that so many of us spend years spinning our wheels for lack of direction, or only slowly learning from hit-and-miss experimentation. How fabulous to have a road map and seasoned experience to help guide you!Why should artists take the Artist As Brand workshop?So many reasons. It will help clarify why you make art, what kind you really want to be making and what to *do* with that in the most successful way possible. For me the most valuable reason was finding the connection between my inner essence and my outer artistic expression in both painting and in my business ventures. Months later, I'm still thinking about and applying various aspects of what we learned in your workshop as I push my professional life further than I ever have in the past.Any final pearls of wisdom?I am very excited for your students at TLCWorkshops. The class size is purposely small so that they can spend potentially life changing one-on-one time with you throughout the weekend. Their individual work combined with your personal insights on their specific situations is such a potent experience! One I wish every artist could have.Thank you Tara, for your passion, insight and loving art spirit. See you soon!Greg

So it's time to wave your flag fellow AAB graduates! What accomplishment are you most proud of in 2012? Share them on the Artist As Brand Mastermind Group (you must have taken a workshop to be on this group). Or shout it from the mountain, or from your backyard. Ha! Just let us know.

Ragan's PR Daily Blog has some great social media tips you may not be familiar with.Here.Reprinted from "The Publicity Hound's Tips of the Week," an ezine featuring tips, tricks and tools for generating free publicity. Subscribe athttp://www.publicityhound.com/ and receive by email the handy cheat sheet "89 Reasons to Send a Press Release."

Kendall College of Art and Design gets it!This is the second year I have been here to present a workshop. It is so refreshing to see an art college embracing art career sustainability beyond the normal paradigm of placing students in jobs after graduation. Kendall is ahead of the game when it comes to the concept of artist as entrepreneur. I salute illustration department head Jon Macdonald, faculty member Nancy Hart and career services councilor Christine Brown for empowering the students with an entrepreneurial spirit.The three day workshops are a big commitment, but despite other class assignments everyone showed up and stayed the course. We Skyped in stellar sessions with life coach Greg Montana and Licensing Expert Maria Brophy. Four participants from last years workshop, Amanda Schaub, Kirbi Fagan, Sarah Summers, and Alex Gilford spoke about their experiences over the past year and how they were applying what they learned to their art careers. We brainstormed on community art projects.Every workshop has some tears as people awaken to profound insights about themselves and others around them. A palpable buzz was felt by a very energized group of budding artist entrepreneurs.Alyssa Parsons summed it up this way:"Your workshop was amazing! Every hour was packed with useful information--I feel like I learned a year's worth of material in only three days. You'd think that having that much info crammed into my head in such a short period of time would be exhausting, but instead I feel re-energized. I've been so focused on trying to find an art job that I'd almost forgotten what it was like to paint something that I felt passionate about. Your workshop showed me that making a living and living my dream could co-exist after all. Thank you, a million times!"Thank you Alyssa and all the participants. You are on the path to accomplish some very exciting goals.

Drew and Maria Brophy are a team. I met them both at the Find Art Gallery in Newport Beach, CA two years ago and have since then enjoyed tuning into their lives of adventure and creativity.Drew has been "making things look cool since 1971." He has made his mark as a creative designer, illustrator and painter. An Avid surfer and adventurist he imbues his art with the natural world. Check out his site here.Maria is also a force of nature as a licensing/marketing consultant, art agent (to Drew), wife, and devoted mother to their son Dylan. She helps "creative people design the career and lifestyle of their dreams…" Her amazing blog is filled with insightful and educational information.They have been traveling around the US recently fulfilling art commissions and speaking engagements. They were kind enough to answer some questions about their empowered artful lifestyle. Maria will be speaking at my Artist As Brand Workshop at Kendall College of Art and Design this weekend.

©Drew Brophy

Greg: Drew, you have been a professional surf lifestyle artist for over 25 years. On your website it says, "Its my job to make things look cool." What does cool mean to you?

Drew:Though everything I paint is in my own artistic style, I listen to the client and discuss who they are trying to reach with the art. And the art is not necessarily what I think is going to look cool, but what their target market thinks is cool.What I would paint for a company trying to reach 10-14 year old boys would be different than for women age 20-30. It's my job to listen, and make a design for a product that a specific target group of people is going to think is cool!G:Why do you love what you do?D: Every day I get to watch a customer light up because my art has reached them in some way. That never gets old!

And, I love that I get to work with my wife and have been able to walk my son to school every day of his life.

Greg: Maria, tell me about how/why you decided to rep Drew.Maria:When we met in 1996 I saw great potential in Drew. At the time I was very successful, yet bored, working in the corporate world. Drew was 25 and was a full-time artist, but I could see bigger things for him. I started helping him with PR and growing his business.I found that I loved the business of art, and so eventually quit my corporate job and joined Drew full time.G: You share a tremendous amount of your marketing knowledge with others on your website mariabrophy.com. You also offer one on one consulting services. Why do you love what you do?M:I feel like I'm unlocking the key to a great mystery with each challenge in the business of art. It's exciting, trying different things, seeing what works and what doesn't.

Once I have something figured out, I'm excited to share it with others, and hopefully save them time. I love people, and so I am happy when I can help them.

G: I love people too, and one of the reasons I started presenting the AAB workshops.How would you both define artist empowerment?D: An empowered artist is confident and has a message or style and isn't afraid to put it out there.M:Empowerment is being in control of yourself enough to be able to design your life as you desire. Add the word artist to that and you've got an artist who can design their life and career to become one with their art. I love that concept!G: It has been my experience teaching at colleges that the business of art is neglected. Most higher education teach art making skill sets with an eye on preparing artists for entering the gallery world, or publishing and entertainment industries.What would be your suggestions for artists graduating with this mind set and do you feel it's sustainable?M:Art is a business, just like any other profession. A business has to make a profit to keep it's doors open. As my accountant once said, "If you aren't making a profit, then what you've got is a hobby." The problem is that business skills are not usually taught in art programs, and it's certainly not taught at home.For any artist wishing to have a career in art, rather than a hobby, I suggest that they first understand that business skills are as necessary as art skills. If they don't have the knowledge, that's okay, they can learn. All artists in school should take business courses; there are many online classes you can take, books to read, and blogs to learn from.G: Can you share a few licensing pointers?M:To be able to license your artwork, you need to:1 - Own the copyrights to your artwork 2 - Have a distinctive style, look, or theme 3 - Have a large number of art pieces in a variety of collections 4 - Have artwork that will look great on a variety of productsAnyone interested in licensing their art can learn more about it from my blog.

©Drew Brophy

G:Drew, since you are married to Maria does working a business together present any challenges? Do you always agree with each other when it comes to contracts and projects?D: We constantly have to discuss the direction of our business and how we want to handle specific projects. And of course, we don't always agree on everything! There was a time when we argued a lot over issues. Now, after years of working together, we've learned to compromise.One thing we always agree on is this; that we are on the same team. And it feels great to know that I've got Maria looking out for me; someone I can trust.G:What do you find is the most fun and lucrative part of your business: your illustration/art commissions oryour personal projects?

My personal projects are my best work. In the end, they are the most lucrative. I've earned more money off of my personal paintings than anything else.

For example, my two most popular images that I've made the most money off of in licensing and prints, are PURE JOY and SUNRISE. Both were personal paintings inspired by surfing, painted for myself.G:Do you feel there is a separation between the two or are they one and the same?D: It's always more difficult to listen to a client who wants specific elements in a painting. It's my job to simplify it as much as I can and try to get to the core of the idea. It's difficult. I want the end result to look good; it's my job to drag it out of them what they want, and then convince them that some things they want need to be left out.I think it's a true gift of an artist to understand what they are trying to get at. It's something that's come naturally to me. And then, it's so great when a client sees their finished artwork and says "that's exactly what I had in mind!"

G: Your love of nature is reflected in your art. Tell me more about this connection with the earth.

I love to travel to remote places and I live to surf. When you have an authentic connection like this, it comes through in the art.

G:Maria, tell us about the book you wrote with Tara Reed, "How To Understand Art Licensing Contracts"M:Imagine this; A large company falls in love with your art and asks if they can license your artwork to print on their products. You are excited, and wow, this is your dream come true! But, now, you are faced with a big, scary Licensing Agreement. You read through it, but don't understand the implications of agreeing to things like "exclusive" and "sell-off period" and "territories".I have seen too many bad contracts in my life. I have seen artists sign their rights away for nothing in return, because they didn't know what they were signing. I've also known of artists who have turned down really great opportunities, because they feared the contract so much.This is why Tara and I wrote the book; to help artists understand key terms in license agreements and how it all works, so that they can get the best deal for themselves without signing away their life!

G: Yes! Sounds like more empowerment.You are both very generous in giving back and inspiring other artists to excel and succeed. Do you have any last pearls of wisdom?D: I want people to understand that they are going to be happiest doing the things that they are good at. They will feel confident and respected and that they are contributing to society, and that will bring them joy. The trick is finding the thing that you love and what you're good at.I love to surf and travel. And I'm good at creating art and connecting with people. Somehow I've been able to put all that together. I wish everyone could so that they could be happy.M: Enjoy your time working, making steady progress. Savor all the small successes along with the big ones.

And don't wait for success to feel good. Feel good NOW about what you're doing!

G: I love the positive and loving vibe. Thank you both for your inspiration and knowledge! You are true spirits of the artful life. I encourage everyone to check out Drew and Maria's sites. Drew has a new product called the Aerial 7 DIY (paint your own) Headphones for artists. Check them out here.

Have you ever wondered why political discussions turn into emotional rants with little logic or factual basis to support them?

It's because perception is an act of creation. 

How we perceive the world and our reality is unique to each of us, but much it can be influenced by the tribe we associate ourselves with. The tribe usually starts with our family, relatives, friends, but may be as large as our towns, cities, states, countries. As humans we like to be in the company of people who have similar values and perceptions. Living in a tribe supports specific views which can nurture and protect but can also become rigid and unforgiving. This paradigm is especially evident when it comes to politics.

I just read a fascinating and informative book, "AMERICAN NATIONS" by Colin Woodard that explains why “American values” vary sharply from one region to another—how an idea like “freedom” as understood by an East Texan or Idahoan can be the polar opposite of what it means to a New Englander or San Franciscan. Woodard reveals how intra-national differences have played a pivotal role at every point in the continent’s history, right up into the 2012 election cycle.

There isn’t and never has been one America, Colin Woodard argues, but rather several Americas. The original North American colonies were settled by people from distinct regions of the British Islands, and from France, the Netherlands, and Spain, each with unique religious, political, and ethnographic characteristics. Some championed individualism, others utopian social reform. Some believed themselves guided by divine purpose, others freedom of conscience and inquiry. Some embraced an Anglo-Saxon Protestant identity, others ethnic and religious pluralism. Some valued equality and democratic participation, others deference to a traditional aristocratic order.All of them continue to uphold their respective ideals today, with results that can be seen on the composition of the U.S. Congress or the county-by-county election maps of most any competitive presidential election of the past two centuries.What does this have to do with Artist As Brand you ask?The parallel  is that your vision and art like a presidential candidate will attract and resonate with the values and perceptions of specific fans, patrons and collectors. It is simply a matter of finding your market tribe! These people vote by investing in you and your products. The AAB Workshop and AAB Workbook go into the details of how to do that.

© Greg Spalenka

It is amazing how much time can be taken up by doing research. After a day of scanning the internet looking for venues and blogs to connect with, checking out supplies, seeing what others are doing can sometimes feel like wasting time. But it isn't!

Market research is vital for your art business. Unless you are making art for a hobby or part of the old paradigm of hoping your gallery will do it for you then you are the marketing research department. You can team up with others to glean the gems each has found but most likely you will have to focus on your own products.

Most artists underprice their art. A formula that works for most products is-  Materials + Labor + Expenses + Profit = Wholesale x 2 = Retail

Here are two articles from Etsy that offer some good advice on price points. Some of this info pertains specifically to Etsy but much of it is simply good marketing sense.

A Simple Formula for Pricing Your Work

Market Research Tool Strategies

©Greg Spalenka

This post by Daniellexo, Etsy’s Seller Education Coordinator reflects on the evolution of ideas and how a good idea can spark a great one.

One morning I woke up to a Facebook message from one of my favorite college professors. I was excited to hear from her; she taught me so many lessons about creativity, and I often think about her when I’m sketching or working on new designs. Soon after we connected on Facebook, I caught one of her updates,

“Even if they seem like good solutions, avoid ‘clenching’ ideas. Hold them lightly, let them evolve and swim. Good ideas often transform into great ones if you give them enough room to play!”

I think I’ve had good ideas, but I know I often don’t give my ideas enough room to play. I wondered why that was, and I set out to write my own plan of attack. Here’s that plan-

©Greg Spalenka

Whenever artists decide to go it alone, make their own way,  fear comes along for the ride. As freelancer for so many years I understand where this fear comes from. The goal of being secure in your finances, being safe in general  (food, clothing, shelter) are real considerations and pounded into our brains since we were kids. However fear is also an illusion. What would it feel like if the concept of security was an illusion too? Would it freak you out? We live in an unpredictable world.What I have learned over thirty years of going it alone is that security is an illusion. Making friends with that reality brings a sense of freedom and empowerment. I can do what I can in this moment to live in my highest potential and reap the fortunes of what life has to offer. It is a mind set most people are not used to. The following is short post by Chris Guillebeau that touches on this concept too:Micro-entrepreneurship is changing the world. The best opportunities in the new economy are centered on creating your own assets.It doesn’t matter who wins the U.S. election, at least not in terms of how the economy affects you. No matter what happens, the unemployment rolls will continue to be full. Perhaps even worse, many people will remain underemployed by working at jobs that offer few benefits and little opportunities for advancement.Speaking of opportunities, however, there are now more than ever before. It’s never been easier to take matters into your own hands. All over the world, people are thinking differently about risk and security, and many of them are taking action on their new perspectives. This is a good thing.What is risky? Whether you work a “real job” or strike out on your own, relying on someone else is risky.What is secure? Creating your own freedom through side projects, independent work, instant consultancies, and creative self-employment of all kinds.What is freedom? The ability to make your own choices.Ultimately, freedom relates to value, which is taking responsibility for yourself by making something valuable for someone else.More...

Cedar City Airport

I departed the plane at Cedar City airport and walked into what appeared to be a living room or a snuggly lodge in the mountains. Plush chairs, side tables with plants, wood paneling and a fireplace greeted me with a down home quality I had never experienced in an airport before. It was really nice!When Ben Sowards invited me to present a workshop at Southern Utah University I jumped at the opportunity. Ben had taken the workshop at BYU two years earlier and now wanted to share the experience with his students.Cedar City is known for Bryce Canyon Natl. Park. and its Shakespeare Festival. It has many cute Inns and Bed & Breakfasts. I stayed at the Big Yellow Inn an elegant Georgian Revival Bed & Breakfast.

The students, faculty and alumni at SUU were so warm and friendly I felt embraced like family. Ben took me to the Centrum Arena where I lectured to an audience of two hundred.

Some of the SUU Workshop Participants (Ben is on the left)

The workshop was more intimate and filled with a group of enthusiastic students, alumni and faculty. I love seeing the lights go on in people's hearts and minds when they dive into the work and see themselves clearly. For many it is a powerful and cathartic when this happens so there are always tears at my workshops. This group jumped in with open hearts and much transformation was realized.

After that first realization they focus on melding their talent with the entrepreneurial spirit. There is real excitement when they recognize the potential of their unique ideas becoming reality. Building an industry around their creations instills a sense of freedom. It still takes fortitude and hard work but at the end of the day the productions are their own and so is the prosperity.

Student, Vachelle Thomas had this to say: "The Artist As Brand workshop was truly transformational. I feel so hopeful, like I have never felt before, and I want to thank you. I've spoken about the workshop daily, with people who attended and with others, to refine my core virtue statement and to sound out opportunities."

That's the spirit, Vachelle! I am looking forward to seeing the results of this group's passion.

The morning before I flew back to LA, Ben took me to see the sun rise over Zion's Kolob Canyon.

It was spectacular.

Thanks Ben! And thank you to all my new art spirit friends in Cedar City.

All photos by Ben Sowards.

Here is a perfect example of transforming a problem into a winning situation.

Last July Los Angeles saw the shutdown of the 405 freeway for bridge reconstruction. It was expected to create havoc on all the roads as people used alternative routes. However, some people saw an amazing idea in this mayhem.

More than 100 artists, arts organizations, advocacy groups and community partners teamed to launch what they called Artmageddon, with the  tagline "Less Car. More Art."  Artmageddon featured a series of events spread out across 16 neighborhoods in Los Angeles County, encouraging patrons to bypass the freeways.

“Instead of the message to stay off the roads while the freeways are closed, what if the message was, ‘stay in your neighborhood?’” said Ezra LeBank, a theater arts professor at Cal state Long Beach and one of the project leads of Artmageddon. “Los Angeles has so much amazing art, but there’s not a sense of togetherness.”With another massive shutdown of the 405 freeway approaching, a grass-roots effort is underway to offer Angelenos an artistic reprieve that's locally focused, timed for the second coming of Carmageddon, Sept. 29 and 30.

More here.

My awesome AAB workshop participants taken with a laptop. I was  showing them how to whip up a blog post and connect to Twitter. Amazing group of loving and talented souls. More about them later. Rah!

Make your packaging feel as important as the item you are sending to your buyer. Make it cool, and special. Treat this final wrapping as you would a gift for a friend or someone you appreciate. It will make a lasting impression even before the the art or product is seen. Etsy celebrates some wonderful examples, here.

Christine Brown

One of the best parts of teaching, lecturing and presenting workshops for higher education is the people I meet. I love connecting with all the talented, passionate individuals who enjoy teaching and inspiring others to greatness. Some of these special people work in the Career and Professional Development departments. Recently, I lectured at the AICAD and CIAD conferences at Ringling College of Art and Design and learned much about this group of professionals who guide students toward career opportunities.

Let's celebrate one of them!

Christine Brown is the Director of Career and Professional Development at Kendall College of Art and Design of Ferris State University.

GS: Tell us about your journey to becoming a Director for Career and Professional Development at Kendall.

CB: Like most people it was not a straight and narrow path but more like a bouncing balloon. It was a journey of learning about myself. I started out in college studying biology and chemistry, then becoming very interested in law and finally graduating with a Business and a Paralegal degree. There was something common in my choices of the various majors and it became more apparent when I began to volunteer at the local Women's Resource Center. I wanted to empower people. I discovered that whatever occupation I chose, working with people to improve their quality of life had to be a big component of the job. Whether graduating with a law degree and working for children's and women's right's or becoming a health care provider I wanted to make a difference.I had a couple of wonderful mentors who saw my passion. They provided me with the opportunity and training to work and volunteer helping students in a college environment as well as at the Women's Center. You cannot help but grow and flourish when you are doing what is your passion. I worked in Career Services at the business college where I received my degree, then asked to interview for the Director of the Career Office at Kendall in 1998. I have been here since and enjoy coming to work everyday.

Besides the paycheck, the real pay off is the box of letters and thank you notes I receive from people who feel that I made a difference.

.GS: It is wonderful when your work is aligned with what you love. What do you feel is the most important and fulfilling facets of what you do?

CB: That I have the opportunity to meet so many students, alumni, and people in the business community, then bringing these constituents together.GS: After returning from the AICAD and CIAD conferences it was apparent that much of the career councilors work is gathering statistics for government funding, fulfilling accreditation requirements, and seeking out job openings for graduates. The amount of bureaucracy you must wade through is immense. How do you prioritize these responsibilities and how does the student fit in?CB: We have had to be smarter in the way we work. Technology has become and important part of the equation in delivering services and information to our students and alumni. I am a one person office with an assistant which I share with another director. When I started enrollment was 550. We are now at an enrollment of 1400 so I have to be creative. I believe my mission is to prepare these students to be self-sufficient and resourceful. I still meet with students one-on-one, but the traffic is down due to the technology we have implemented. Students today like having 24/7 access online to services.GS: Self-sufficiancy is vitally important to sustainability. How do you learn the needs, and ambitions of your individual students?CB: Shut-up, Listen and Observe!GS: Sounds like good advice!It appears that the success of much higher education today is determined by its job placement capabilities. Preparing and plugging graduates into industry positions is a priority. I have never seen curriculum that focuses on creating an industry around an individual's talent and vision. Any thoughts on this?CB: I do not place people in jobs. I provide them with the skills to manage their careers whether it is job searching or starting their own business. Many of our alumni who come to the college and share their stories with our students are running their own consultancies. I personally would like to see more business-related classes geared towards artists and designers. West Michigan has some great support resources for anyone wanting to start a business. Just by the nature of art and design, most artists/designers should be prepared to negotiate contracts, work with clients, price their work, understand their markets and create new markets.GS: It has been my experience especially over the last decade that more and more students as well as professional artists are looking for ways to create a living from their own creations and stories. Have you noticed this shift at Kendall?

Yes, entrepreneurialism is on the rise.

.With the all the new community resources, business education and venture capitalists in West Michigan, I see more people making that leap. It is great to see how many of our graduates have opened their own design studios, art businesses and galleries. I recently met with our new college President who asked me what ideas I see in the future for Kendall. My response was to develop an entrepreneurial center/incubator for artists and designers. Guess what? He liked the idea and said he was sure there were grants and funding for this type of endeavor.

GS: Wow, that is awesome. Go to the top when you want to get something done!  The entrepreneurial center/incubator for crowd funding etc. are ideas all colleges/universities can implement now.You were instrumental in bringing me to Kendall last year to present an Artist As Brand workshop, and are now having me return again this November. What has been the feedback of the students, faculty and alumni?CB: I had students and alum who attended the weekend session call or stop by my office to thank Nancy and myself for sponsoring your visit. It was a great success and attendees felt they were connecting the dots of their life, aspirations and their work. There was excitement in the room because they felt like they had a focus and a direction. It was always there inside of them, but you gave them the window to look inside and discovery it themselves.

Artist As Brand Workshop at Kendall 2011

GS: That is wonderful to hear, thank you. I look forward to returning! One of the goals in the workshop is to bring clarity to an artist's personal vision, then connect that to a plan of action. I find that there is tremendous empowerment when tapping into ones own volition and seeing success rise from it. How do you define success?

Success to me is living the best life you can and becoming an inspiration to others.

GS: Sounds like a Heart Virtue to me!Art is like fashion, it changes and morphs throughout the years. Any suggestions for an artist’s sustainability and final pearls of wisdom?

CB: Stay connected with your art community and do whatever it takes to remain inspired to create.

1.  If you're not making mistakes, you're not taking risks, that means you're not going anywhere. 2. Don't be afraid to ask for help! 3. Trust yourself.

Inspiration is the word! Thank you Christine for sharing your journey, and insight into the world of Career & Professional Development! See you soon!And thank you to all the Career Service professionals who are beacons of light for students everywhere.

If your work is well done, has integrity and is imbued with love it will most likely reflect exceptional value and longevity. So it is with Blog posts. The following post by Chris Guillebeau is from 2010 but still vital as ever:I’m a big fan of Jim Collins’ work, especially the modern day classic Good to Great.Even if you’re not interested in business, the book is inspiring and practical. Nine years after publication, it’s still kicking ass, and deservedly so.I recently re-read my favorite passages, and I especially liked the introduction Jim used to convey how much the book meant to him before publication.

As I was finishing this manuscript, I went for a run and an odd question popped into my mind: How much would someone have to pay me not to publish Good to Great?It was an interesting thought experiment, given that I’d just spent the previous five years working on the research project and writing this book. Not there isn’t some number that might entice me to bury it, but by the time I crossed the hundred-million-dollar threshold, it was time to head back down the trail. Even that much couldn’t convince me to abandon the project.

One hundred million dollars! Can you imagine creating something you love so much that you wouldn’t part with it for less than that? Wow.Aside from making sure I have enough to live responsibly and have my adventures, I don’t focus a lot on money. But I think Jim’s right: most of us have some kind of walk-away price. It’s good to know what it is, because then you know how valuable your work is—even if it’s something you keep to yourself. More...

©Greg Spalenka

By Jack Kelly, CEO ofAdva Mobile, a mobile marketing and technology firm for Artists, successfully crowdfunded via IndieGoGo.Crowdfunding is this decade’s new tool for helping Artists raise money to reach their goals – and it just got better. Kickstarter, IndieGoGo, RocketHub, and other Crowdfunding service companies are being used successfully by Artists to raise money for projects, but the average Kickstarter campaign raises about $4,500.For the Artist with more serious aspirations – and a need for more serious funds – the new JOBS Act signed by the President has a provision that can help.Kickstarter and other Crowdfunding services require “rewards” for donations, but don’t allow you to offer a share of your profits as a reward for your successful project. That’s called “equity”, and only wealthy people were considered smart enough to invest in businesses – and Artists ARE businesses – where the risk of losing money was high but the potential for making money was significant.That’s what changed in the JOBS Act. Small businesses – again, that’s you – can now incorporate and sell ownership in their business venture, to the general public, exchanging a portion of your subsequent profits for an initial investment of capital. Equity Based Crowdfunding could become a disruptive force in the music industry, providing capital for the kind of marketing, production and touring support previously provided only by major labels to large Acts. This level of capital – up to $1 million (and there are restrictions on individual investment levels) is now available to small businesses, including those small businesses known as “Artists”.Continued...

I have heard artists say, "My art is not a product!"If you sell your art it is a product. If you create an edition of prints it is part of your product line. One of my favorite indie artists, Jeff Soto just started a product line of clothing.The name Stormcloudz came to Soto several years ago- "A storm cloud can be one of the most beautiful, powerful and sometimes dangerous forces of nature. I think the same can be said of art. It can be beautiful and at the same time it has the power to make people think and great art can make people act! I titled my last NYC art exhibit Stormclouds and thought that someday it could be a fun name for a brand."A brand you say? Jeff Soto is the brand, Stormcloudz is the name of the company.

Stormcloudz is rooted in Soto's love of the natural world, with designs featuring owls, skulls, flowers and mythical beasts. Visually the line takes inspiration from Soto's involvement in different artistic genres- graffiti, gig posters, skateboard graphics, illustration and fine art. It is very much an apparel project designed by an artist for people with artistic, creative minds.Currently, Stormcloudz apparel can be found online at Tilly's.He also asks to keep in touch on his Facebook page, Twitter feed and website. He would also like you to get involved! They have stickers and want to give them to you. Send a self addressed stamped envelope to:STORMCLOUDZ Stickerzc/o F4D Studios9960 Indiana Ave, Ste 9Riverside, CA 92503Jeff Soto is turning into an Artist As Brand master! Go Jeff!