Day 47 of the #jyportraitchallenge.Another watercolor I like. Getting to be a pattern. Hurrah!! She actually said she was done today.
Forgot to take process pics again. Too busy painting. Sorry!!
Quin scarlet and azo orange w dabs of the purple color background (why not spread the joy around?!) used for her hair otherwise Mary Whytes palette colors.
The purple on the background is a combo of ultramarine and perylene maroon a lovely combo. Painted w a Mary Whyte fav a cats paw, #10 Charles Reid kolinsky sable (both brushes at Cityart in Columbia, SC @cityartsc ) and 1/2” Robert Simons synthetic flat, arches 140 cp 9×12”.
Judith Yaws @judithyaws is doing a 30 day portrait challenge on ig @jyportraitchallenge Shes posting awesome photo references for the challenge. Thought i would join my friend Ruth @britpeach in this challenge.
These are done by drawing the large shapes first then the details. I am bad abt starting with the outline and details then filling it in like a color book so trying to change. If Mary Whyte can draw the big shapes first so can i?!
Interesting recommendations for your ig feed to improve it from a woman who has a zillion followers. Thinking abt taking her class at the end of the april. Obviously she knows something i don’t know.
From Dina Brodsky! Her Ig is @ dinabrodsky and she has 772000 plus followers! So she must know what she’s talking about!!
Today, a few thoughts on your bio.
Why your bio is important and how to optimize it
Instagram is the platform of choice for the art world, and most galleries, collectors and critics will look at your instagram account before they look at your website or CV. Most people’s first impressions are formed instantly, so the first thing to do is to make sure your account is the best possible impression of you as an artist.
Your name/handle: make sure this is what you want to be known by in the art world. I would suggest sticking to your actual name, or, if that’s already taken, Yourname_artist, yourname_paintings, etc. Since this is your professional account, keep it professional, rather than charming/whimsical/clever.
Your Profile Photo
Since most people are looking at instagram on their phone, your profile photo might be too small for them to make out. That being said, make sure its a photo of your art, you, or you and your art.
This is a place to say a few words about yourself as a person and as an artist. Also, a place to direct people to what’s happening in the link in your bio, which is the most important part of your profile
Link in bio/website
Why it’s important:
This is the only place on Instagram you can place a live link. This should be the place you direct people to the most important thing happening in your career at the moment – your next exhibition, a write-up in a major publication, or something actionable like a workshop you’re trying to fill or a studio sale.
Why it’s really important:
Did you know that the Instagram algorithm puts a disproportionate weight on whether people click on your link in bio? This means that if you direct people to the link in your post/reel, and they click on it, that post will get prioritized by the algorithm and become visible to more people.
DON’T put lots of links in your bio with tools like Linktree. Less than 1% of your audience will click your link–send them to the ONE place that’s most important to you.
Pro tip: if you do want your link in bio to direct people to several places, don’t do it via Linktree, Lnk.bio or other third party apps. Instead make a Links page on your website, like this: https://www.dinabrodsky.com/links
That way you are driving people to your website instead of a third party app.
Have finally had the honor and privilege of taking classes with her. I don’t think you can ask for a better hard working sharing teacher. If she knows it she will tell you.
Outside of a college art class the atmosphere is hard working and on your toes kind of environment. Lecture and Mary painting in the am then it’s your turn. If you work hard u can turn out two paintings in one day. Since my rotator cuff is shot I didn’t try that in the second class.
The first one I took from her I did a full sheet in under two hours. That’s a lot of fast painting. Since the studio floors were concrete as I told Mary I limped out in both feet. OUCH. But I would do it again if I had too.
Second time I sat. I really don’t like to and the floor was wooden BUT I didn’t want to limp the blocks to much car after class so I sat.
So since Mary says the secret to painting is to paint I signed up for a two day class in Charleston with her at Gudger Hall at St Johnnes Lutheran south of Broad on the Charleston peninsula.
A lovely old building. Of course the paint flew during the day and the evenings on Edisto were heavenly.
Oh one last nite before I close. When you take Marys class in Charleston she and Sharon treat the class and a plus one with a reception in her studio. Heavy hors d’ouevres and the wine flows.
Margaret in rainy Georgialina curled up on the sofa reading when she should be painting. xoxoxo