Ask Harriete

Fair Use and Copyright Issues for Artists

Dear Harriete,

I was wondering how you think about copyright issues regarding the printed images on metal that you use?
I am concerned about copyright infringement when so much of my work is collage. For  example, when I submitted my dinosaur Book  titled  "7 Extinction Events" to 500 Handmade Books  by Lark Books, It is a concern whether  I can comply with their requirement that we own the rights to everything in our books. 

Concerned Collage Artist,

Judy Hoffman

 Judy,

I have no problem using the recycled tin can materials and subsequently the images on the material in my work. As an artist I think that my work alters the images on the recycled materials sufficiently, not just in appearance but because of the reasons that I use this material and the concepts in the work.  The reason that I use the materials are multiple, but include the premise of using recycled materials, and a commentary about our consumer society. This is in addition to the content within the specific piece. To the right above,  you can see my book "Let There Be Light" included in 500 Handmade Books.

There are many examples of artists working with found materials dating back to Dada in the early 20th century all the way to the present. The primary issue that protects artists from copyright infringement is the concept of Fair Use within Copyright laws.

Below is a description about copyright and fair use.

Copyright law covers trademarks, trade names, personal names, publicity, rights and images of people even after they are dead. Copyright and trademark issues are often discussed together.

 

Fair Use Issues for artists related to Copyright   are described below:

• Fair Use is a limiting concept.
• Fair Use is used in defense of copyright infringement so the artist/defendant must be able to prove that the use of copyrighted material was designed to be a criticism or commentary. 
• Fair Use must be a parody not a satire.
• Fair Use in the artwork must be transformative. 
• In considering the concept of Fair Use of copyrighted materials in your artwork,  the famous brand name or trademark, for example, should not suffer damage from the artist’s commentary or Fair Use.
• In addition, the Fair Use of copyrighted materials should NOT create consumer confusion with the original product, or brand name.
• Fair Use is not a popularity contest.
• The Burden of proving Fair Use is on the Defendant.

 
Criteria of Fair Use (in approximate order of relevance)

• Artwork should be parody not satire.
• When you look at the artwork is there a simultaneous (immediate) recognition of parody?
• Is the artwork intended for a non-commercial purpose as a social commentary.
• Does the artwork dilute or tarnish a famous brand?
• There can be no suggestion of sponsorship from the famous brand or company.
• There can be no potential for confusion with the existing trademark  or brand name product.
• It is important for the artist to make work that avoids consumer confusion.
• The commentary under fair use must serve a different purpose than the original trademark or copyright images.
• The commentary (made by the artist) can not take dollars away from the parent copyright or trademark.
• The commentary can not confuse the consumer.

Fair Use is easier to prove if the artwork is transformative.
WARNING: Artists should NOT borrow or download images from the Internet.

Now, back to Judy's work. 

Judy, there is no doubt in my mind that the use of your collage materials sufficiently transforms the original materials into a Judy Hoffman statement. Obviously, this one-of-a-kind book is intended for non-commercial purpose as a social commentary.  None of your college materials dilutes or tarnishes a brand name, nor is there any recognition or inference that there is a sponsorship from any brand. This avoids all possibly consumer confusion. The purpose of your book is definitely different than the intended purpose of the original  found materials.

Look for a future blog about Parody v.s.Satire for more information related to this topic.
Sincerely,

Harriete
www.harriete-estel-berman.info

 

 

 

 

Work Returned from a Gallery Poorly Packed! What should I do?

Dear ASK  Harriete:
I'm hopping mad. A necklace was returned to me by a gallery that held a special exhibition of emerging artist's work. The necklace was all in a jumble in a loosely packed box (not the box or packaging I shipped it in, by the way). There is damage to the piece that I must now repair. Arrgghhhh! The gallery blames the shipping company and the shipping company blames the gallery.  How do I get someone to repay me for the damage?

Hopping Mad
Dear Hopping Mad,
From experience, I think you can rule out collecting from the shipping company as they only cover damage to work that has been packed properly.  Obviously, this was not packed properly.  Ideally, the gallery should bear at least a portion of the responsibility as they are supposed to know how to pack work to avoid damage. 

Realistically, you must document damages in order to make a claim; i.e. with photos of the necklace “in a jumble, in the loosely packed box” when it was returned from the gallery and compare these to the photos sent to the gallery initially with the work.  If so, use the “Claims for Damaged Work” document in the Professional Guidelines (http://www.harriete-estel-berman.info/profguidelines/profguide.html). The “Claims for Damaged Work” offers a step by step approach for making a claim for damaged work. 

To make a claim requires a good deal of time. Could you repair and refinish the necklace in the same amount of time? Also, keep in mind that telling the gallery that they did not pack the work properly without clear photographic documentation will probably “burn” any chance to work with them again.
It may be better to take this experience and learn from it. 

There is a very important factor is this situation.  Artists should assume that the people receiving and returning work are overwhelmed – especially around an exhibition – and no special attention will be extended unless you provide both the packing materials and clear packing instructions to follow.  
In general, if work needs special handling or extra care, I recommend that the artist should provide original packaging that is reusable, durable, and memorable with foolproof instructions and packing materials that the gallery should save for return shipping.  Even your shipping boxes need to look special so they are saved by the gallery and used for return shipping. Your original packaging needs to set such a high standard that the gallery follows your example for return shipping.

Suitable packaging for a necklace
Suitable packing for a necklace might include a flat foundation with ties to hold the work in place. Here are some step by step suggestions for preparing suitable packing for a necklace.
1. Start with sturdy cardboard with about one inch margin larger than the necklace. (If the necklace does not lie flat, then construct a 3 dimensional foundation from cardboard.)
2. Cover the cardboard with flannel or felt. Use "tacky glue" or something similar to glue the fabric to the cardboard. This fabric covering should look neat, tidy and professional.  Cover the underneath side of the cardboard completely also. The more attractive this looks, the more professional your packing for the necklace will appear and the more memorable to the gallery
3. Glue ties onto the flannel in strategic locations to hold the necklace in place. The ties should be made from ribbon or fabric seam binding.  Do not use string which may bind into knots that are impossible to open.  The fabric or ribbon will glue on better also.
4. Tie necklace into place using the seam binding with neat and tidy bows or slip knots.
5. Depending on the value of the necklace and the form, maybe a second layer of fabric over the top can prevent the packing materials from rubbing on the necklace during shipping.
6. Place the necklace on the flat cardboard (or cardboard form) in a box or plastic bag.
•    For small artwork, or jewelry a Tupperware-type plastic container may be an excellent interior box.
7. Double box. That means place the necklace in an INTERIOR BOX slightly larger than the necklace and then place that box in a larger EXTERIOR SHIPPING BOX with packing material surrounding the interior box.  
    •    Glue instructions for Unpacking, Display, Maintenance and Packing on your interior box.
    •    Always include a pair of disposable gloves with your work (placed inside the interior box).
    •    Place the following papers inside the interior box with your work:
        o     A List of Inventory (including wholesale and retail value).
        o    CONDITION REPORT  (especially if this is an important piece or traveling exhibition). Find the Condition Report in the Professional Guidelines at: http://www.harriete-estel-berman.info/profguidelines/profguide.html
    •    Include a current RESUME,  ARTIST STATEMENT and CD with images if you haven’t sent them already.
    •    Use brass brads or ties to securely close the box (if the lid doesn’t already seal like Tupperware, for example). DO NOT USE TAPE to seal the interior box. (Every time the box is opened it will damage the box, or add layers of yucky tape.)
8. Place the interior box into the exterior shipping box. The exterior shipping box should be at least one inch larger all around. This buffer space should be filled with foam peanuts or those new blown up/sealed plastic bags.
9. Ship with insurance. I recommend “USPS registered, insured mail” for items worth more than $1,000. Use USPS insured mail for items work $1,000 or less.
Never pack work in bubble pack secured with clear tape. The person unpacking the work can't see the tape and they may cut the work when cutting the tape.  In addition, when the tape is cut, the bubble wrap is damaged and not reusable for return shipping.

If you must use bubble wrap to wrap work, use colored masking tape which is easy to see and easily removed. If the above instructions are too elaborate for the value of the necklace, then perhaps the necklace could be mounted on a plain piece of cardboard (or even a piece of cereal box cardboard or file folder), tied with twist ties (to keep it in place), and then placed in a plastic bag.  Whatever the appropriate level, you want to send your work in packaging that is sturdy, neat, reusable and labeled properly for return shipping.

Sincerely,
Ask Harriete    

Question about Speaker Contracts

Dear ASK Harriete:

After our very successful workshop with you last fall in Boise, we're getting ready to present another one next fall and would like to improve upon the contract we will use between the Idaho Metal Arts Guild presenter. One of the main questions that has come up is about cancellation of the workshop, due to a lack of registrations, or other unforeseen problems. It seems to me that I've seen this noted in workshop applications, basically informing students that the organization reserves the right to cancel.
 
What we don't know, of course, is how that would be stated in the contract between the organization and the presenter, and what would be a fair amount of lead time between the last date to cancel and the date of the workshop.

Also, can you let us know if the organization normally makes the airline and hotel arrangements, or is that left to the presenter who would then be reimbursed?

Anything you can relay to enlighten on these questions and the subject of contracts
between organizations and presenters will be much appreciated!

Thanks,

Kay

Dear Kay,

I don’t have a firm answer for you on any question. There are many variables, I have yet to see a standard contract for a speaking/ lecture that seemed comprehensive. In the future, I will also try to find additional resources, so check back for additions to this blog. Maybe the readers to ASK Harriete will have some suggestions. Below is my response based  on my experience lecturing.  I have also found one Artist Lecture Contract in the book titled Business and Legal Forms for Fine Artists by Tad Crawford. Here is the link to the two page document.

Download forms_28.pdf,

Download forms_29.pdf

ENROLLMENT IN THE WORKSHOP
It is always a concern by both the lecture/workshop sponsor and the lecturer that the lecture or workshop  won’t fill. Usually, in the past, I would be double checking with the sponsor about enrollment before I buy the airline ticket…now that air travel seems to be more demanding with limited flight selection, buying the ticket might be more challenging.

I think that two to three weeks will have to be your initial cut off date. If you offer a discount for early enrollment, maybe you can get minimum enrollment  to cover your costs, and reduce the risk that your enrollment won't cover your expenses. The last minute enrollment will be your additional profit.

The other option is to figure that the workshop is a service to your membership, and  that making a profit is an objective, but not the sole reason to host the workshop. Therefore, low enrollment does not warrant canceling the workshop.

Focused advanced publicity to schools and guilds in your area, and surrounding states and communities can possibly avoid this problem altogether.

AIRLINE TICKETS
Usually,  the lecturer buys their airplane tickets. Sometimes the host wants to buy the tickets which is O.K., but it seems a lot of work for the host, and what if there is a problem with the tickets…it might make changing a ticket reservation a nightmare for the traveler if the ticker was purchased by another party or a different credit card. For these reasons, I suggest letting the speaker buy there own ticket. With security issues these days it seems the best alternative. The contract might state that you will cover the least expensive (or lower priced) ticket available, and indicate a price range based on your research.

CANCELED  FLIGHTS
Personally, I am always worried about a canceled flight. What will the speaker and the sponsor do? Try to design an allowance in your schedule. In other words, include a contingency plan right from the start. For example, ask the speaker to arrive the day before the workshop and plan taking them to sites in your city, such as local galleries, museums or a dinner with your guild membership. This way if the speaker is arriving late due to a canceled or delayed flight, maybe the dinner the night before might continue without the speaker, or meeting with the students scheduled the previous day will be rescheduled. Ultimately, with a back up plan integrated into the schedule, the speaker can still arrive later that night, or on time the next day for the important workshop.

HOTEL RESERVATIONS
I would suggest that you arrange for the hotel. The sponsor knows the area. The sponsor will be familiar with the best location and hotel for the price at a convenient location to either the workshop/lecture or one of the attendees that is offering transportation. Perhaps you can offer to pay up to a certain amount in the contract which covers a decent hotel.  If the speaker is not satisfied, they can stay at a higher priced hotel, and you just contribute from your budget the accommodation allowance stated in your contract.    

Signed,
Harriete
www.harriete-estel-berman.info

Lead content regulations for Jewelry

Dear Ask Harriete, 

I have a question for you. Concerning your recycled tin jewelry, how are you handling the new lead content regulations in California? Thanks for your time.

Signed,

Concerned  about new jewelry regulations

Dear Concerned about Lead Content in Jewelry,

You bring up a subject that I've never considered -- because the tin cans used in my jewelry do not contain lead or lead solder.    "Tin cans" have not contained tin or lead for most of the past century. 

The term "tin can" comes from the 19th century innovation for fabricating food storage cans. The technology at that time made steel cans that were "tinned" on the inside with tin to limit the exposure of the food to the steel.  Currently most cans are either plated with food safe plating or coated with plastic to avoid a metallic taste from the steel can.  Seams of tin cans are no longer soldered with lead solder.

The California law about lead content in jewelry can be viewed on line at:    California Department of Toxic Substances Control.

Rings and Things has a clear diagram of the CA Jewelry-Making Materials Classification as of March 20

The issue of lead content in jewelry has a lot more to do with inexpensive imported jewelry including toy jewelry for children sold in kits and "playsets."

From the Environmental Protection Agency:  July 8, 2004  The threat of lead poisoning from toy jewelry led the CPSC to conduct a voluntary recall of 150 million pieces of metal toy jewelry sold widely in vending machines. Unfortunately, another incident occurred in 2006, when a child died from ingesting a toy charm containing lead. This incident prompted the voluntary recall of 300,000 charm bracelets. The charm and metal bracelets were given as free gifts with the purchase of shoes from one manufacturer. http:://www.epa.gov/lead/pubs/toyjewelry.htm

One factor that isn't highlighted enough is that children's exposure to lead is often due to ingestion of the jewelry; i.e. they swallow the toy jewelry. Children young enough to put items in their mouths should not be given small items to play with.  Parents with young children need to be ever vigilant.  The danger of children ingesting small items isn't limited to toy jewelry, but coins, pins, beads, etc.  Vintage and adult costume jewelry could also present a problem with lead content.  It is the parents' responsibility to constantly monitor what their children handle or play with.

It seems unlikely to me that artists and crafts people in the United States are fabricating their own work with materials containing lead.  The dangers of lead exposure have been well documented and regulations have been in place for years.  Most raw materials are lead free; for example, low temperature solders and enamels have been lead free for many years.  Nevertheless, it.is important for artists and crafts people to know what they are working with during the fabrication of their work.  If you are unsure, the label will tell you if the product is lead free.  Carefully examine the labels on all your raw materials to make sure they are lead free for you own health and that of your customers.

Sincerely,

Harriete

 

Top Ten Tips for Success for Artists and Craftspeople from Wayne Robbins

Recently, in the June 2008 The Crafts Report magazine wood carver Wayne Robbins submitted his TOP TEN TIPS for Success for Artists and Crafts People. His suggested list included important suggestions that warrant repeating. It is definitely worth sharing with you. Do you have a tip for success that you would like to suggest?  Add it to the comments and I will get back to you. 

Harriete

TOP TEN TIPS
There are no guarantees for success when selling arts and crafts, but there are a few tips I've learned that have helped to sell my wood carvings:

• Select a style that is attractive and unique.
• Research  the subject and become the "resident expert" on you subject.
• Don't cut corners
• Show your passion and skill.
• Network with others!
• Don't sell yourself short. Never offer discounts.
• Be visible in the community. Show, demonstrate, and teach.
• Remember that everyone is a potential customer.
• Keep impeccable records,
• Stay relevant and evolve with the market.

Wayne Robbins
Wayne Robbins Woodcarving
Marine Mammals and Birds
www.waynerobbins.com
IMAGE DESCRIPTION:
First Breath, Beluga Whale and calf, Butternut

Example Return Policies for Retail Purchase

As mentioned in previous blogs, I offered to show you a variety of Return Policies from other artists or small businesses.  Next time you  go to a gallery, or small business and look for their Return Policy as an example. The goal for small business owner such as an artist or gallery is to balance the importance of satisfying your client against the cost and inconvenience associated with merchandise returns.

(Before we go any further, I think it is import to establish that I am not including as an example Return Policies from chains or major stores. Their business structure and financial stability differs significantly from the small business owner.)

  (Read the previous blogs about Return Policies for more information on the topic.

• Return Policies at Open Studio Events.
• Deciding your Return Policies for Retail Purchase
• What is a "Return Policy"?

Here are some examples of Return Policies for retail purchases that I found online from other artists and galleries.

Example #1.

RETURNS AND EXCHANGES:
I want you to love your jewelry item. If you are not completely satisfied with your purchase you may return the item within 14 days of receiving it for exchange or credit ONLY (excludes custom orders). Item must be in its' original packaging and in perfect, unused condition. Sorry, shipping costs will not be refunded.

Example #2.

RETURNS/EXCHANGES:
We want you to love the jewelry. You must email us within 5 days of receipt for return/exchange instructions. Sorry, we cannot refund shipping. Jewelry must be in original condition.

Example #3.

RETURNS/EXCHANGES:
Merchandise must be returned within 7 days for a full refund. Please include your receipt. Insure work for the full value with "tracking". Returns lost in return shipping will not be refunded.

Example #4.

RETURN POLICY:
Special orders are final sales and cannot be returned or exchanged.
Purchases from our inventory may be exchanged within two (2) weeks of the date of purchase either for another piece of jewelry or for store credit. We do not give refunds.

Example #5

RETURNS AND EXCHANGE
Special orders are non-returnable.
Regular orders can be returned within 7 days of receipt in their original packaging and in the case of jewelry, in unworn condition. Please notify the gallery by phone or email before the return.The client is responsible for returning the item(s) pre-paid and insured to the Gallery. Credit issued will not include original shipping and insurance charges. We reserve the right to not accept a return and may require a re-stocking or repair fee if the item has been at all damaged or worn. While our policies are firm for obvious reasons, we will do everything we can to work with you and make sure your experience with is positive.

Do you have a RETURN POLICY that you would like to share with other artists? That would be great to see and share. Please send your  Return Policy to Ask Harriete either using the CONTACT EMAIL for my blog, or  include your Return Policy in a COMMENT. Thanks a lot for helping other artists.

Harriete

Return Policies at Open Studio Events.

If you are hosting an Open Studio event is it likely that you anticipate retail purchases. With this in mind it is essential that you prepare a Return Policy BEFORE the Open Studio.

Read the previous blog titled: Deciding your Return Policies for Retail Purchase to find a list of possible issues that you may want to consider when writing your Return Policy.

Post your Return Policy in a visible location in the Studio. (If you do not post your  Return Policy it will be assumed that you have no restrictions on returns which is probably not the case.)

This should be at the location where you are most likely to make a transaction such as your sales counter, cash register or packing area. It would be a good idea to post an additional sign in another visible location. Posting your Return Policy signs prevents returns not consistent with the established  return policy. In addition, informing the customers in advance might make them more comfortable knowing your Return Policy before they decide to purchase an item.

Take a photo of your Return Policy signs. Save the photos of your Return Policy in case you need to prove your Return Policy was posted.   You can also use these photos for handy reference next time you host an Open Studio. It will help you remember all the things you need to get ready.

Prepare your invoices in advance with your Return Policy on the invoice. This can either be on the invoice in your computer, (ready to fill out with the customers name and the items purchased) or have a pre-printed invoice book ready. Print, stamp or use a sticker label  of your Return Policy on the preprinted Invoice book or sales receipt.

Do you have a way that you handle your Return Policy at Open Studio events that you would like to share with other artists and craftspeople. Please feel welcome to share your ideas in the comments.

Harriete

Deciding your Return Policies for Retail Purchase

As mentioned in the previous blog titled, "What is your Return Policy?' it is very important to establish your Return Policy and post this policy in a location where the sign is visible in advance of a purchase. If you are participating in online retail, then your Return Policy is often included in your "profile" information and/or on the shopping cart page.

If the purchase is made at your studio or store, post the information in a visible location where the item is purchased.

The following are some criteria that you may decide to include in your Return Policy.

• Under what circumstances will you accept a return?
• How many days does the customer have to return the items purchased?
• Does the item need to be return unworn, unused or in salable condition?
• What if the item is damaged? Will you accept a return?
• Does the customer need to include their receipt or  Proof of Purchase?
• Is the item returned for a credit with the artist to purchase other merchandise?
• Is the item returned for full credit to their credit card or PayPal?
• Is the item returned for a cash refund?
• If the client given a full refund? Is there a restocking charge?
• If the client is given a refund, is it  immediate; or within 2 weeks; 20 days; or a month?
• Do you refund the clients shipping expenses?

This is not a comprehensive list, but if gives you a good idea about what to consider and there are variables under each question. Goodwill is very important to keep with your customer, so flexibility may be essential regardless of your Return Policy.

If the item is returned because it is described as defective, seriously flawed, or poorly crafted then more than likely you are both legally and ethically required to accept a return no matter what your Return Policy may state.

Look for future blog entries for example Return Policies AND:

• Return polices at Open Studios
• Return policies at wholesale/retail craft show.
• Return policy for wholesale accounts.
• Return policies for commission

 
   

What is a "Return Policy"?

Dear ASK Harriete,
What your return policy was and how you came to it?
Signed,
Concerned about Returns. 

Dear Concerned about Returns,

The subject of a Return Policies is a great question and a huge topic. To break this down into manageable portions, I am going to make several entries in this blog on the topic over the next few days. There are many situations in which an artist may need a Return Policy including  retail purchase,  online retail selling,  open studio situations,  craft shows and for whole sale accounts. Flexible Return Policies by large stores have led the consumers to assume that all retailers are equally flexible but for the small retailer, such as an artist, offering complete credit for Returns can be problematic.

Personally, I never even thought about the concept of Return Policies until relatively recently since I only sold work through galleries.  In those situations, the Return Policy is determined by the gallery and represents the relationship the gallery has with the client.  It is rarely an issue discussed between the artist and the gallery.

With my recent adventures into retail selling on a number of online sites such as Etsy and Object Fetish jewelry (opening May 2008),  I started thinking about Return Policies, too.

Your first consideration should be to look at your state law about Return Policies. Thank goodness for the internet. Tonight I just typed in  - Return Policy in the California -  and the results for this search were easily found. Here is the link in case you live in California.

http://www.dca.ca.gov/publications/legal_guides/s-6.shtml

I have included some of this information below. Look on line for the law on Return Policies in whatever state or country you live in. The most important premise of a Return Policy is that it is clear and available to the consumer at (or before) the point of purchase.  You can have ANY Return Policy you want as long as the customer know what your Return Policy  is before they buy.

The most challenging issue about developing your own Return Policy is developing a policy that is considered reasonable by the client, encourages purchases, and is relatively easy for the artist to implement.

In future blogs, I am going to cover additional information about Return Policies including:

• Examples of Return Polices
• Return polices at Open Studios
• Return policies at wholesale/retail craft show.
• Return policy for wholesale accounts.

DISPLAY OF RETURN POLICY BY RETAIL SELLERS in California

(A SUMMARY IS BELOW.)  GO TO http://www.dca.ca.gov/publications/legal_guides/s-6.shtml
FOR A MORE COMPLETE EXPLANATION.

Most retail sellers allow a customer to return purchased merchandise within a reasonable time for full refund or credit, or for equal exchange. In fact, these refund policies are so common that customers have come to expect them when retail sellers do not post notice to the contrary.

However, some retail sellers impose conditions on accepting returned merchandise or do not accept returns at all. The California law requires retail sellers to post their refund policy, if the policy does not meet certain common expectations. These common expectations are:

• The retail seller gives a full cash or credit refund, and equal exchange, or some combination of these, and
• The customer may return the merchandise for at least seven days following purchase, if it is returned with proof of purchase.

When Return Policy Must Be Displayed

If a retail seller has a return policy which does not meet these common expectations, the seller must conspicuously display its refund policy as described in the next section. This conspicuous display requirement applies to any retail seller which sells goods to the public in this state whose return policy as to any of those goods does not meet these common expectations.

Moving into a New Studio Space

Dear Harriete,

I am a mixed media mandala artist. For the past two years I have been working out of my kitchen, and am now moving into my very first studio space.  It's an exciting time, but also a daunting task.  Do you have any suggestions that might make for a smooth(er) transition?    Is there a studio checklist perhaps for things I will need, but haven't thought of yet?   Storage ideas?  Easy ways to hang framed pieces that won't mean putting a lot of unnecessary holes in the walls?  This will primarily be a work space for me, but I do expect to be doing some retail sales, also.

Thanks!
Stacy Wills
A Magic Mom & Her Mandalas
www.amagicmomandhermandalas.com

Dear Stacy,
Moving in an official studio space sounds like a big step, the important thing it to make sure it inspires new work. It is good to hear that your thinking about how to display your work for an Open Studio event early on in this process.

FIND INEXPENSIVE STORAGE My first thought is storage. Every media needs storage for materials, supplies and finished work.Closed storage (cabinets) will look a lot neater than open storage(shelves) and keep the items in the cabinets clean. Look online on Craig’s list for “FREE” old kitchen cupboards or furniture or go to recycling centers or business to find the least expensive storage cabinets possible. IF you cover the eclectic mix of furniture  with a uniform color of paint it will look pretty neat and tidy.

STORING PAINTS AND CHEMICALS If you have any chemicals, solvents, flammable liquids or paints put them in a cupboard that is appropriately labeled on the outside of the cupboard with the appropriate signs (i.e. flammable, acids, chemical, etc.) These signs are available at the hardware store.  Acids should be stored separately from cyanide based liquids. Read the cautionary labels on the products for appropriate storage.

HANGING WORK For hanging work, older homes used to have a piece of molding attached to the wall 6" – 12” down from the ceiling. It was a great idea for hanging pictures without damaging the walls.  This would be a perfect solution. “Picture rail molding is still commercially available and is sometimes specified for new homes as well. Picture rail hooks are S-shaped steel hooks that fit tightly against the profile of the wood picture rail. Pictures are hung from picture rail molding by running Picture Wire down from the picture rail hooks (usually two per picture)” Information is from Picture Rails.    Picture rail molding  with suitable hooks may be available at your local hardware store, if you prefer.

CONSIDER MAKING LABELS FOR YOUR WORK As you hang your finished paintings, consider making labels just like those at the galleries and museums. One label for each painting. Labels should include: NAME of the Artist, DATE (year) of the work, MATERIALS (keep this short) and the RETAIL PRICE.  This can be formatted on your computer, printed on the printer and attached to foam core with rubber cement. Cut into rectangular shapes with a VERY sharp matte knife.  Attach to the wall with the gummy adhesive used for hanging posters without nails. Consider including  a short paragraph or artist's statement about the work prepared in exactly the same manner. This should be done perfectly, just like in museums and galleries to look professional.

PROTECT YOUR TOOLS Consider keeping the more valuable or expensive tools and paints in a cupboard so that they can be easily put away any time your studio is open to the public.
Another practical consideration is that when you studio was at home, you were probably sharing the hammer, screw drivers, pliers, etc,  that you used for home repairs with your tools demands in the studios. Now you will need to have your own tools for the studio. As you transition to your new studio space, keep a running list of tools you use in the studio and borrowed from home.  Buy a separate set of tools  for  the studio as your budget allows.

When your ready to host your first Open Studio, don't forget to download the document  Open Studio: Artist Checklist in the Professional Guidelines.

GOOD LUCK with your new studio,
Harriete
www.harriete-estel-berman.info
www.askharriete.typepad.com