For many of us, art is a big part of our lives – even if we might not realize it. Nearly everywhere we look, we’re greeted with some type of art work, from the logos on our t-shirts to the prints on our living room walls to the more extensive art displays in our local art galleries.

An art dealer is a professional in the art world that is responsible for buying and selling pieces of art work, like paintings and sculptures. Of course, there is typically more to the profession than that. Art dealers must be able to choose pieces that may be popular with the general public or pieces that a certain client may like. In short, they typically need to find pieces of art that are almost sure to sell in order to make a profit, not just pieces of art they enjoy themselves.

Successful art dealers often share a few very similar characteristics. Most importantly, art dealers must have a true passion for and knowledge of fine art, art history, current art trends, and the entire art world in general. They should also have excellent communication skills and be very outgoing, which will help them establish a large network of other art professionals. Business skills are equally important, and these professionals should be able to get the best prices on pieces of art and keep track of their transactions.

What Does an Art Dealer Do?

As mentioned above, an art dealer buys and sells art. A few art dealers may deal in an eclectic mix of art, buying and selling pieces of all different styles, eras, and artists. Most art dealers, however, typically specialize in a certain type of art. Usually, they will buy and sell art created by one particular artist, from one particular era, or of one particular style.

An art dealer career generally involves a good deal of networking. These professionals should be able to find and keep in contact several different clients, art collectors, gallery owners, and auction house managers. They should also be able to remember what each client and collector likes and is looking for, as well as where he can get certain types of art.

Find pieces of art work is often one of the most difficult, yet exciting, parts of an art dealer career. An art dealer will almost always have his eye out for pieces of art that he knows he can get a good deal on and sell for a profit.

When searching for the perfect piece of art, these professionals will often go to the ends of the earth – literally. An art dealer career often involves a great deal of travel, and these professionals will travel to different cities and countries. Sometimes, an art dealer will find artistic treasures tucked away in the most unlikely places, like flea markets, street corners, or backwoods towns.

Art dealers will also usually have more convenient methods of securing pieces of art. For instance, they may have a certain artists or group of artists at his disposal. These professionals will also often visit art galleries and auction houses to buy art as well.

The art world can be fickle, however, and keeping up with current art trends is extremely important. In general, an art dealer must be able to sell pieces of art for more than they bought them for, if he is to make a profit.

What Are the Education Requirements For a Successful Art Dealer Career?

individuals interested in pursuing art dealer careers should be educated well in art. Completing a bachelor’s degree program in fine art or art history is usually the recommended start for an art career of this type. Some aspiring art dealers may even choose to take courses in or concentrate on a specific art period, art style, or artist during this time.

Although a bachelor’s degree may be enough to secure an entry level position in an auction house or gallery, most individuals pursuing art dealer careers will also go on to earn graduate degrees in their chosen specialties. These advanced degrees enable them to become experts in their chosen specialties and gain a number of contacts that will later be useful in their careers.

Where Do Art Dealers Work?

Many art dealers start their careers by working in art galleries, art auction houses, and museums. This enables them to get valuable experience in the world of buying and selling art, and they are usually able to start their networks of other art professionals and enthusiasts.

Eventually, many art dealers will start their own businesses. They may sell art from office space or their homes, or they might take a giant leap and open their own art galleries or auction houses.

What is the Average Annual Salary of an Art Dealer?

The average salary of an art dealer can be very difficult to determine, particularly because the art world can be very fickle. In fact, because the market often experiences severe ups and downs, art dealers almost never earn a steady income. Some months, they may make a great deal of money. During other months, however, they may make next to nothing. Usually, an art dealer’s income is determined by the economy, and they will be able to make more during better financial times, when more people have more money to spend on luxuries like art.

The Bureau of Labor Statistics does not keep track of art dealer salaries, but they do keep track of the salaries of similar professionals. Museum curators and museum techs, for instance, had a median salary of $42,310 in 2010.

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30 novels later, Freethy is a No. 1 New York Times bestselling author who has sold more than one million books and still hasn’t burned out yet. There is no doubt that writing a book of any length is a process that involves writing, editing, marketing, and finding a publisher. But that hasn’t stopped hundreds of thousands of aspiring novelists to try their hand at the craft anyway. The number of amateur novelists out there is exactly why we found Freethy, so that these aspiring novelists could learn from the experiences of someone who has been there and done that.

How did you first become interested in writing? Did you always see yourself as a novelist, or were there other types of writing you were interested in as well? 

I grew up in a house filled with books so reading was always a part of my life. My mother was a voracious reader and she started writing a book while I was in high school. While she never actually published a novel, she wrote several books, and she was my inspiration to give it a try. I never imagined I could make money as a novelist.

Talk a little bit about your education and professional career before becoming a novelist? How did you end up where you did? How did that experience help you get where you are today?

I received a B.A. in Communication Studies from the University of California at Santa Barbara. I took quite a few English classes along the way as well. After graduation, I had several interesting jobs, including a stint as a player representative for the women’s professional tennis tour. I jumped from sports into public relations for non-profits and later high tech companies. However, my favorite part of the job was the writing. Eventually I sat down and wrote that novel I’d been thinking about for a very long time.

Talk about how you arrived at the decision to actually sit down and write a novel. Was there a lot of thinking that went into it before you started or did it just sort of happen out of the blue?

I’m not sure what precipitated my decision to open up a file and type Chapter One. It was something I had thought about for a long time. I did immerse myself in the world of books and publishing, joining writers’ groups, studying books on craft, talking to every writer I could find. I was still working part-time at a day job and had two toddlers, so those early days were one big juggling act. But someone once told me that a page a day is 365 pages a year, which makes a book, and I tried to keep that advice in my mind. If I wrote one page a day, eventually I’d have a book. And it worked!

What were some of the specific challenges you faced in both the actual writing process and finding the time to work on it. What were some of the tricks you used to stay on task? How did you approach the actual writing?

The first book took me about a year and a half to write. I have to admit that I was intimidated by the blank page. I had read so many books that I felt sure I could write one, but when it came down to actually stringing words and plot together, I discovered it was more difficult than I had imagined. But I forced myself to write something, knowing that I could fix it later. Writing is a lot like exercising. If you do it every day, it gets easier. When you take a break, it’s harder to get going again. So trying to find some time every day to write was my challenge, and even if it was only for twenty minutes, it was important to make the time to get something done.

I have always heard that finding a publisher as an author is very difficult? Talk a little bit about that process and how you decided on the publisher you eventually signed with, and what sort of considerations went into that decision.

Finding a publisher is extremely difficult. Many publishers only accept submissions from agents and sometimes landing an agent is also tough. Writing organizations are a great place to find good publishers. Every genre has a national writer’s group. I belong to Romance Writers of America, which has 10,000 members, about 30 percent are published and the rest are aspiring novelists. There are many other groups to support thrillers, thrillers, sci-fi, children’s books, so whatever genre you’re writing, there’s a group for you.

Now with the eBook revolution, there are more opportunities for writers to independently publish their books directly through retailers like Amazon, B&N and Apple, to name a few. So there are two divergent paths in publishing developing. You can still publish your book with a traditional publisher, or you can make your own way in eBooks and indie publishing. Both have their own challenges.

Before I forget, why romance novels? Was that a subject you were always interested in or did you just find that you were very good at writing those in particular?

Romance is a really broad category. Within the genre there are many niches allowing writers to incorporate, mystery, paranormal, and historical elements. All of my books have a love story, but they also have mystery and suspense and even a little magic on occasion. I love to read books in this genre. Romance is closely tied to women’s fiction, which are books that delve more into relationships between friends, sisters, etc. I tend to blur the lines between these two genres as I love to add complexity to my stories.

Now talk about your career now that you have become established. Is it easier to write the books and come up with topics now?

Writing is never easy. It seems like it should be, but it’s not. As a writer, I’m always trying to make each book better than the last. And while I doubt I will ever run out of ideas, it can become a challenge to make every story as unique and fresh as possible. My career has had many peaks and valleys. But I still love to write books and I know I have a great job!

You have obviously created a living doing this. What are some of the goods and bads about basically being in business for yourself? Are there any things you wish you had done differently in hindsight?

When you work with a traditional publisher, you have a team of people supporting your book, an editor, an art department, marketing and sales people, etc. However, your book is also one of hundreds the house is putting out that year, so you can get lost in the crowd. When you independently publish, you have to hire people to help you with the areas you can’t or don’t want to do yourself. I like running my own business and getting a bigger cut of the royalties, but it is a lot of work. Publishing contracts can be long and complex, but there are lots of people who can help decipher the language.

Finally, we ask everyone, but what advice would you have for someone who is considering writing a novel. What are some of the things they should know and what advice do you have for people thinking about?

Rejection is a big part of the business. Writers have to develop a thick skin. Your work is reviewed from the time you send out a few chapters to a critique group, to when you submit a book to an agent or an editor, and later when your book is published. Reading is subjective and no matter how talented a writer you are, there will always be people who don’t like your work.

You have to accept that fact from the beginning and just write what you love and hope someone else loves it, too. If you want to make a career as a writer, you have to write more than one book. And lastly, I would tell writers that ultimately it’s all about the book. You can spend hours and money on promotion, but your book has to be good. So spend time on the craft of writing not just on the business.

YOU CAN FIND BARBARA FREETHY:
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Dreamcakes Bakery

This Homewood bakery earned its spot on the list thanks to an innovative business strategy and staggering variety of flavors and designs. They don’t just sell plain old cupcakes every day, their clever cupcake schedule introduces new flavors like Mississippi Mud and Banana Pudding throughout the month and they also keep customer favorites like Caramel Sea Salt Mocha and Chocolate High readily available every day. The shop is run by the mother-daughter combination of Jan (CEO) and Katie (Creative Director) Moon and the shop has released its own “Big Book of Cupcakes” and has its own cupcake truck that travels around the Birmingham area ensuring their product is available to everyone who wants them.

For more information, be sure to check them out:

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Megalicious Cupcakes

Recently named Montgomery’s Best Cupcake by a local magazine, Megalicious Cupcakes makes up for their relative lack of diversity in flavors by picking a dozen or so flavors and making sure they make those cupcakes great. From their chocolate cupcakes topped with delicious caramel butter cream to their Pina Colada cupcake which can be made with or without alcohol, Megalicious delivers some of the tastiest cupcakes in the Southeast.

For more information, be sure to check them out:

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Cupcakes by Tish

It is not every day that someone can turn their passion into a flourishing business, but that is exactly what Tish did. A love for baking quickly turned into a privately-owned cupcakery that has become one of the best places in Alabama to satiate your sweet tooth. In addition to the nearly 50 different types of cupcakes – including mouth-watering flavors like Raspberry Lemonade and Italian Cream – the shop offers three different sizes and only uses fresh ingredients to ensure a quality product. It can’t be easy to bake a litany of cupcakes from scratch every morning, but that is what it takes to earn the rave reviews that Cupcakes by Tish has collected since its inception.

For more information, be sure to check them out:

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Cooper Cupcakes

They may not have an official storefront but that hasn’t stopped Cooper Cupcakes from making a name for itself as one of the best cupcake shops in the Montgomery area. If you are looking for a large cupcake shop with an impersonal feel, then Cooper Cupcakes isn’t for you. But if you have a hankering for freshly made and delicious Red Velvet cupcakes delivered with a personal touch, then you will be hard-pressed to find a better place to satisfy those cravings.

For more information, be sure to check them out:

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Twist Cupcakes

Any cupcake shop looking to make a lasting impression should take presentation seriously. At Twist Cupcakes, it is clear that customers appreciate not only the storefront’s décor but also the effective and clean designs of the cakes themselves. The shop combines a solid variety of flavors with an attention to detail in their baking and an emphasis on customer service to leave a lasting impression on their customers. If you are a cupcake purist and only care about how they taste, make sure to try the salted caramel cupcake or the Irish cream cupcake, you can’t go wrong with either one.

For more information, be sure to check them out:

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Simply Sweet Cupcake Boutique

From the rhyming name of the shop to the daily rotating cast of cupcakes it isn’t hard to see why Simply Sweet Cupcake Boutique has become one of the more well-known cupcake shops in the Mobile area. Not only do they have a staggering variety of flavors, but they also encourage customers to come up with their own themes or design ideas and then they will work with those customers to create original designs for their tasty treats. From the presentation to the taste, Simply Sweet is a must-eat for cupcake enthusiasts who find themselves in Mobile.

For more information, be sure to check them out:

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Sweets Cupcakes and Cakes

Ever wonder how the sausage cupcake gets made? Head over to Sweets in Tuscaloosa where you can watch the staff design your cupcakes up close and personal. The shop is the brainchild of two experienced bakers and their experience shines through in the taste and design of their cakes. They even push the envelope with three-dimensional cupcakes that have become wildly popular in the area. Their cakes have a tendency to be slightly larger than what you might expect, but most would consider that to be a good thing, especially after you have the chance to bite into their freshly baked and delicious cakes.

For more information, be sure to check them out:

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Celebrations Bakery

We aren’t sure why, but it always seems like a family-owned bakery provides a more pleasant experience both in terms of atmosphere and taste than a large, impersonal, chain store, and Celebrations is no exception. Located in Northport, Celebrations bakes far more than just cupcakes, and they pride themselves on thinking outside of the box when it comes to cake designs, styles, and colors. Not impressed by the staff’s design? That is okay because Celebrations will also let you custom-design your own cake or cupcake and then use their design expertise to turn your vision into a reality.

For more information, be sure to check them out:

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Flour Girls Bakery

When it comes to buttery treats that will leave you hankering for more, look no further than Flour Girls, a cozy shop in Mobile that uses real butter cakes and buttercream icing to make their cupcakes’ taste a memorable one. It is always a good sign when your customers enjoy your product, and the loyal denizens of Flour Girls don’t just like the cupcakes, they swear by them. The shop won’t wow you with fancy designs or overly artistic icing displays, but they make up for it by creating some of the most delicious cupcakes in the Southeast and adding caring customer service to help leave customers with a lasting impression.

For more information, be sure to check them out:

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Mary’s Cakes and Pastries

We would be remiss if we didn’t give Mary Cesar, the owner and operator of this well-known pastry shop, some credit for larking out on her own and creating a Northport favorite. Her route to cake-making was rather circuitous, but now she uses her degree in cake design and experience working in a variety of kitchens to create some of the more impressive cupcakes in terms of taste and design. Of course her specialty is wedding cakes, and her cupcakes fall under the “other pastries” category. But that doesn’t mean they should be forgotten about either. So if you are looking for an excellent combination of taste and style, Mary’s is a great place to start.

For more information, be sure to check them out:

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Whether it is fine art, stationery cards, or wedding invitations, Jachimowicz has put her considerable printmaking skill into Coffee n Cream Press, her online shop where she sells her best work and tells the world a little bit about her inspiration as well. You won’t find anyone who doesn’t consider printmaking an art form, but you will find plenty of people who probably don’t know the first thing about printmaking and how it is done.

Luckily for you, our goal with these interviews is to help shed light on different art careers that might otherwise go unnoticed and unappreciated. And luckily for us, Leah didn’t just half-ass the interview, she was thorough and detailed, and the result is an engaging interview that has information, anecdotes, and lessons to be learned. Enjoy!

When did you really become interested in art and think about it as a career? Was there a seminal moment along the way or have you been interested in all forms of art since you were young?

Art has always been an integral part of my life- be it crafting my own stationery, drawing my favorite cartoon characters or attending oil painting classes as a child, I have always loved spending time on my art practice.

Talk about your art education a little bit. Did you major in an art-related subject for undergrad and then attend the Academy of Art, or was the decision to get an MFA rather impulsive?

When I was an undergrad student at the University of California at Santa Barbara, I was not sure which major I wanted to apply to- in fact it took me until the last possible moment to declare Art Studio as my major. I attended the basic Art Studio courses intended to give an overview of the program and was not entirely satisfied until I discovered printmaking. As crazy as this sounds, the moment I pulled my first print I was hooked. Since that defining moment, I have studied various different printmaking techniques at both U.C.S.B and The Academy of Art University in San Francisco.

The decision to attend Graduate school came about a year and half after finishing my Undergraduate Degree. I felt empty without the facilities to print regularly and was enamored with the idea of moving back to the Bay Area and living in San Francisco. The Academy of Art University was extremely intriguing for these very same reasons; I loved the idea that I could attend Grad school without having to go back to a college campus- The Academy is right in the heart of the city. Upon my first visit to the school I knew I wanted to attend.

Talk about your education a little bit. What were some things you learned in school that you still use? Were there specific teachings that were essential to your printmaking development? What was the education like as a whole?

 The first type of printmaking I studied long enough to perfect was letterpress printing. U.C. Santa Barbara has an amazing letterpress and book arts program where I learned my printing skills from Harry Reese of Turkey Press. It was also in this program that I learned Adobe Illustrator and Photoshop and how to build website. I use these skills today with my business and custom print jobs. I also learned the process from start to finish in making my own film and photopolymer plates, both skills I use today.

I was very satisfied with the program and as senior, I earned credits working in the Print Lab as tech. This was extremely helpful in understanding the inter-workings of a shared printmaking studio. Since the majority of artists involved in printmaking work in shared spaces and on communal presses, I believe this was extremely detrimental in my development as printmaker.

At the Academy of Art I was able to perfect and refine both my skills and conceptual process. Because the professors are working artists, I learned an abundance of skills that would help me to plan for projects, explain my concepts, and take criticism to enhance my work. I learned many different and new mixed media practices which Carrie Ann Plank introduced to me in my last semesters of study. I currently use those skills to create limited edition mixed media prints (involving drawing, painting, and different photo-copy processes) as well as currently sharing an artist studio with her.

My first year at the Academy Macy Chadwick of Incahoots Press started the letterpress printing program. Since then, I have not only taken classes from her, but I also have been an assistant in her studio and have the fortunate opportunity to use her letterpress in return for work hours. It was in her studio that I started my own business, Coffee n Cream Press.

Explain the process of printmaking to someone who might not understand it fully? Maybe broadly take me through the steps of a project from start to finish. What is your approach? What are some of the key steps? How long does it take?

Printmaking is a multi-process art form, involving many steps before actually “pulling a print”. When working on a letterpress printing project I either draw or paint an image to create the first step of a design. I then scan that drawing or painting into Illustrator to use the program for creating text and refining the drawn or painted images. Once the final design has been approved (either by a client for a custom job, or myself) the file is then sent to a company to make them into photopolymer plates through a photographic process.And that’s not even the printing part.

The type and images are raised up on the photopolymer plate and form the printed image area. I then print the plates by hand on the Letterpress at my studio.  Each print is hand fed into the press and then rolled over the plate on the press bed manually. Ideally once the press is set, it should only take a few hours to start and finish a job. But, according to Murphy’s Law, that rarely happens. It’s a lot of perfecting, muti-tasking and putting out fires.

It is clear that your history plays a significant role in your art? Explain why you chose to use your history as an influence rather than just creating pretty patterns? How specifically does your history and family background influence the art you make?

I think because the subject of the Holocaust is so heavy and emotionally demanding, I find it less challenging to express myself through my art rather than through talking or writing about it. I almost feel like I don’t have a choice, like it just comes pouring out of me without even knowing it. I have always been intrigued by the Holocaust, even as a child and the images from that event are forever etched in my head. I also think that more recently my rich family history has played more of a stepping-stone in creation rather than the main focus. I have a few issues of my own that tend to show up in my work now, more so than ever.

What are some of the worst and best parts about printmaking?  What are some of the particularly difficult or interesting challenges you face when making a print?

I wouldn’t say that any parts of printmaking are necessarily bad- but I can tell you that it is a labor of love. It’s time consuming and can have it’s off moments, but there is something extremely satisfying about the way your image makes an impression into the paper that is unlike any other art medium.

Obviously you knew this was what you wanted to do when you went to school but was it a nerve-wracking decision to sell your art? Did you think about only doing printmaking as a hobby or doing it on the side? 

It was extremely nerve racking. I had a very difficult time coming to terms with the fact that I was, not only going to put at price on my work, but was going to have to deal with rejection along the way. I was pretty much kicking and screaming the whole way leading up to finally making the steps to owning a business. There was about a two-year period after graduate school where I didn’t know what to do with my degree. I have always waited tables part time and continued to do so after graduating.

I tried applying for teaching jobs at local colleges, but was told I didn’t have enough teaching experience to qualify. I spent time looking into working at art galleries, and dabbled in picking up weekend shifts here and there at a gallery in Potrero Hill. Nothing seemed to stick. I worked minimal hours at the Academy of Art supervising printmaking and book arts workshops and doing one-on-one tutoring, all the while still feeling unsatisfied with my life. Even doing a few custom print jobs and working, as an assistant to Macy Chadwick just wasn’t enough.

My sister is a jewelry designer and owns a business, her and my mom work together and they not only inspired me to look into working for myself, but they pretty much forced me into it. Rachel was participating in a local artisan event in San Francisco and encouraged me to print some stationery cards and sell them at the show. I designed about ten prints and made a little over a hundred cards, I sold almost all of them and ran out of a few of the designs. The rest is history.

No, it wasn’t that simple, it still took about a year to really understand that I could make a living off my stationery cards, custom wedding invitations and fine art. I am still in the process of getting to that final step of being able to quit the restaurant and focus solely on Coffee n Cream Press, but now I can see it on the horizon.

What are some of the pros and cons in having a career that is your art? Do you ever get burned out? 

I have always worked in the service industry while preparing for my own career; so working with people has always been a strong point for me. The good thing about being an artist is it’s hard to get burned out on something you love. If I am feeling like I’m teetering on the edge of a mental breakdown, I take time off.  The hardest part about working for yourself as an artist is that the work is never done. You can work on your business twelve hours a day and you still have to get up the next morning and keep at it. But, because your concepts and designs are always changing and evolving it makes it tolerable. I can tell you for sure, it is not a monotonous job.

What advice would you share with someone who is considering a career or a major in art?

I would say the thing that everyone says, never give up. As hard as it is it will only be harder if you don’t do it. Artists are meant to create, and we are destined to do so. Oh and one last thing, there’s no crying in the print lab.

YOU CAN FIND LEAH JACHIMOWICZ & COFFEE N CREAM PRESS:
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Admit it – you hear voices everywhere. On your morning commute to work, at night when you’re watching the evening news, and possibly even late at night when you can’t sleep.

No, not the ones in your head. We’re talking about the ones supplied by voice-over artists.

Voice over is a type of off-stage or off-camera dialogue. Although the intended audience can hear this dialogue, the individual doing the voice over is usually not seen in a production. Voice-over artists are often called upon to read scripts that provide information that cannot be deduced from the main action in a production. It can then be played “over” – or during – a visual media production or during a radio broadcast.

This type of “voice art” is often used as a way to provide information during commercials and infomercials. It can also be used to add to the plot and storyline during productions, such as plays, television shows, movies, documentaries, and sports broadcasts. Radio commenters and dee-jays can also be considered voice over artists.

What Does a Voice-Over Artist Do?

The main responsibility of a voice-over artist is to, in most cases, read a script and speak. That’s it. Sound simple? Think again.

First and foremost, a voice-over artist must have a good voice. However, they should also be able to read and speak well. Usually, this means that they need to read whatever script that’s put in front of them with the right attitude and tone. In general, these artists must be able to convey the right type of message, with real feeling and emotion in order to make it believable.

Depending on the project, a voice-over artist might be called upon to read scripts several different ways. A voice-over artists working on a television commercial, for instance, might be asked to sound genuinely excited and cheerful about a product or service. A voice-over artist working on a public service message, on the other hand, may be asked to convey a message in such a way that it creates an emotional impact on its listeners.

Talented voice-over artists may be able to read a script a handful of times before his clients are completely satisfied. There are times, however, when a voice-over job may require a voice-over artist to read through a script several times before the clients are truly satisfied. This is not always the artist’s fault, though. Sometimes, a message might be read a few different ways, such as with different words emphasized each time or pauses in different places, each time until it’s perfect.

Although it may seem like an easy job, it does require hard work, talent, and dedication for a successful voice-over career.

What Skills and Education Are Necessary for a Successful Voice-Over Career?

A good voice is obviously one of the most important things to consider when a voice-over career is your voice. In order to start this type of career, your voice should obviously be one of your best assets. You should also be able to speak and read well, even eloquently.

However, without the proper education or training, a good voice is basically useless when trying to start a voice-over career. Many professional voice-over artists recommend taking voice lessons, for instance. You can also choose to take some acting courses or even get an acting degree, since a large part of voice-over work is essentially acting work.

Where Do Voice-over Artists Find Work?

Getting voice-over jobs is a little more difficult than actually doing them. Because of the steep competition you’ll be faced with and the tendencies of clients to use a handful of experienced voice actors, finding a voice-over job is often no walk in the park.

To get started, you’ll first need to have a demo CD made. It is often best to record these demos on professional recording equipment with the help of professionals in the voice-over industry. Some reputable agents, for instance, might be able to help you create voice-over demo. Agents can also help you land voice-over auditions and gigs as well.

Connecting with recording studios might be another option. Some of these studios allow aspiring voice-over artists to record their voices, which are kept on file. Potential clients can then listen to different voice-over artists and choose the one that suits their needs. These clients might work for television studios, movie studios, radio stations, advertising agencies, and theaters.

What is the Average Salary for a Voice-Over Artist?

Determining the average salary for a voice-over artist can be difficult, but generally, more experienced and talented voice-over artsists will be able to make higher wages.

Usually, voice-over artists are paid per job. They can make anywhere from $20 to a couple hundred dollars for just an hour of work. According to the Bureau of Labor Statistics, though, radio and television announcers made an average salary of $40,510 in 2011 and actors made roughly $33.82 per hour.

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But, believe it or not, her writing is almost a side project when compared to her extensive experience as a costume artist. Margaret has been painting and dyeing costumes since 1989 for Broadway Theater, dance, television, film and circus. So it is safe to say that when it comes to making a living as an artist, Peot knows what she is talking about, which is why we asked to interview her. We were persuasive enough that she graciously agreed to answer our questions and the result is an enlightening, entertaining, and informative read for any art enthusiast at any level.

LET’S START WITH YOUR ART BACKGROUND. WHAT IS YOUR ART BACKGROUND AND HOW DID IT LEAD YOU TO YOUR COSTUME PAINTING CAREER?

I studied painting and fiber arts at Miami University in Ohio, and also worked in the theater department painting backdrops for plays. When I first came to New York, I painted scenery and murals, and then got a job at Parsons-Meares, LTD, a costume shop, as a dyer. My first painting job for Parsons-Meares was “Creature” (butterfly-like unitards with mullions and wings) and Flower costumes for chorus girls for Siegfried and Roy and the Mirage Hotel.

WHAT EXACTLY IS “COSTUME PAINTING?”

Costume painters are artists who paint fabric to enhance a costume designer’s vision: Monkeys, gnomes, lizards, evil fairies, riveted metal, graffiti, and tattoos–stages full of creatures and magical textures. When the fabric to realize a designer’s vision can’t be purchased, costume painters step in.

Designers provide sketches and research to help the painter start the sample process. The painter imagines how to translate the sketch into full scale reality and then creates a sample to explain her solution to the costume designer. The dialogue with the designer starts with a single sample that initiates reaction and questions on the part of the designer. Some projects can be solved with only one sample, but it is more usual to go through several steps.

“Painting” can mean spattering and spraying completed garments so that they look worn, grass-stained, or old, painting animal skin, fur or feathers, or creating elaborate patterns to be painted onto fabric. The painting is only part of the process: fabric can then be further embellished with applique, sequins, or beads. Every project that comes into the shop presents new challenges. Costume painters solve the problems, using wax resist, shibori, stencils, natural sponges, stamps, painting through laces and nets; paint is applied with brushes, airbrush, silkscreens, a roller or even a feather.

Samples are then tested for wearability and durability, and the draper uses the samples to test different appliques, beading samples or stitch finishes. Costume painting, like the theater in general, is an inherently collaborative process. Everything must fit together, ultimately to serve what is happening on stage.

There is a show of costume painting samples running currently at The Fashion Institute of Technology in the galleries at the research library: On Stages, In Stages: Painting for the Theater from Parsons-Meares, LTD, running til April 30, 2012 at the Gladys Marcus Library, in the Goodman Building (E) at 27^th Street and &th Avenue.

CAN YOU TRAIN SPECIFICALLY TO PAINT COSTUMES?

            All the costume painters I know come from different backgrounds. There are a couple of college painting majors, a classics student, a scenic artist. Some start as dyers. But it is largely on-the-job learning—lots of trial and error, and passed-down lore.

DO YOU HAVE AN ART-MAKING PRACTICE THAT IS DIFFERENT FROM WHAT YOU DO FOR A LIVING?

As I paint with brushes and lots of colors in my “day gig,” my studio art practice has developed into black and white woodcuts—no colors and no brushes!

YOU HAVE ALSO WRITTEN BOOKS: AN ART TECHNIQUES BOOK, A BOOK ON MAKING INKBLOTS FOR KIDS, AND NOW THE SUCCESSFUL ARTIST’S CAREER GUIDE? HOW DID THAT COME ABOUT?

People have always said to me, “I wish I could be an artist, too. But I can’t even draw a straight line!” My first book, Make Your Mark Explore Your Creativity and Discover Your Inner Artist, is an attempt to answer this, offering no-fail, no-drawing-necessary techniques for making beautiful marks on paper: rubbings, stencils, roller prints, gouache resist, gyotaku (fish prints) and inkblots, to name a few. Some of these techniques are ones that I rely on for painting costumes.

Then the inkblots turned into Inkblot: Drip, Splat, and Squish Your Way to Creativity, a book for kids of all ages.

WHAT COMPELLED YOU TO WRITE THE SUCCESSFUL ARTIST’S CAREER GUIDE?

            I began writing The Successful Artist’s Career Guide a long time ago. It started as a conversation with another artist about what we wish we had been told in college about making a living as an artist. So many people get an art degree, and then after six or seven years, give it up to get a “real job,” perhaps with benefits and health insurance. I think now more than ever, it is easy to find work as an artist, and furthermore, to get to choose where you want to live, what specifically you’d like to do there, have a family, pay taxes—all the normal stuff of living. It is possible to live a sustainable life as an artist—no starving necessary!

SO WHAT SORT OF ADVICE WOULD YOU GIVE TO AN ARTIST WHO IS JUST BEGINNING TO THINK ABOUT TRYING TO TURN THEIR ART INTO A CAREER?

The most important thing is to make a decision about what you want to do: what you want to be doing, where you want to do it. Be as specific as possible, and then begin to take steps towards what you have decided you want. Even if you make the wrong decision, it is still better than not making one at all—because if you never decide, you are in a state of perpetual limbo—neither moving forward or backwards.

Once you make some specific plans, doors will begin to open and close, opportunities will present themselves for you to hold up to your plans to see if they fit. Making a decision about what you want is the most powerful thing you can do.

YOU CAN FIND MARGARET PEOT:
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Pick up Margarets New Book at:   Barnes and Nobles or Amazon.

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The Five

1. In news that may only be interesting to myself and alumni of the University of Southern California’s School of Theatre, administrators have decided to change the name of the school and it will now be referred to as the USC School of Dramatic Arts. The school essentially made the switch to show it is committed to a broader base of dramatic platforms, but they did make sure to point out that theater will still be the cornerstone of the school. Anytime something as well known as USC’s School of Theatre changes its name, there are some re-branding concerns. But considering how similar the two names are, and considering that nothing else about the school or its faculty is changing, this is strictly cosmetic news. So, in other words, move along people! Nothing to see here.

2. If there was ever a more obvious symbiotic relationship than movie stars and the National Endowment for the Arts, you would be hard-pressed to find it. As art budgets and grants continue to be the subject of scrutiny, they need as much publicity as possible, and who better to provide that publicity than Hollywood’s biggest stars. Now, if I had to choose an excellent champion of this cause, I could do much worse than movie and television star Alec Baldwin, who joined musician Ben Folds and a slew of other artists in Washington, D.C. last week to lobby Congress for more funding for the arts. Celebrity artists of all shapes and sizes have been doing similar work for years, but it’s still nice to know that there are some (at least partially) self-aware celebrities who are willing to throw their influence around.

3. In California they didn’t even need Alec Baldwin to stand up and fight for the arts, because a coalition of state politicians, parents, and business leaders are drumming up support to put the arts back in the California public school system. It turns out that business leaders want to hire creative employees rather than automated robots with advanced degrees, I know, go figure. This news helped spawn Create CA, a initiative designed to bring funding, awareness, and formal education of the arts back to the California public school system. The initiative is still in its infancy, so art lovers shouldn’t be celebrating just yet. But it is extremely encouraging to see that a broad group of concerned citizens from all walks of life are willing to fight for their arts.

4. Remember that study from the National Endowment for the Arts that said arts education can be extremely beneficial to students in low-income schools, well the government took notice, and now Obama and his decision-makers have decided to pump up the arts education in eight struggling schools with the hopes that student achievement will be positively affected by an increase in creative education. It’s nice to see the government recognize that students in low-income schools haven’t had much exposure to the arts at all, and now the government will inject an additional $1 million into each of the eight schools and hope that music classes, drama classes, and painting classes will help spur the children’s academic performance in other areas as well. Only time will tell, but you can’t help but love the willingness of the government to try something new when nothing else seems to work.

5. Forbes deserves kudos for bringing this to our attention, but infusing my favorite Gameboy game, Pokemon, with artistic expression could be one of the cooler things I have seen in months. This Tumblr account asked 151 artists for their artistic take on each Pokemon character and the results are breathtaking both in beauty, imagination, and diversity. Does this project have any significant worth in the grand scheme of the noble pursuit of art? Probably not. But it is a really cool way to showcase 151 different artistic styles in one project, so they deserve mentioning.

My favorite of the gallery.

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So enjoy the interview, and if you ever find yourself in San Carlos and in need of a gorgeous picture frame, stop by Cherry Street Framing and Janet will take care of the rest.

You mentioned that you have been interested in art since you were young. How did you become interested in art and what is your background in art?

Ever since I was a little kid I was always interested in creating stuff and making art. My mom was actually a school teacher and quite a good artist. I remember she used to make me these little paper dolls and I loved them. My grandmother made hats and my grandfather was an industrial arts teacher. So I saw all of these people making art and I got interested myself. I went on to major in art at San Jose State University but when I graduated, I didn’t really know the answer to the question of “What’s next?” But I had an uncle who started his own business creating architectural models of buildings and he was quite successful at it, so that gave me a sense that starting my own business could work.

Your art interests actually extend beyond framing, so what are some of the other types of art you enjoy and how did that shape where you are today?

I liked to do a wide mix of different things. I would make little sculptures or work in the garden and do landscaping things. I tried making arrowheads and wood carvings and a bunch of other different types art as well. When you do so much people think you are kind of nutty, but it is definitely a good thing. I was always interested in art history and as a framer that is really useful, because you need to have a sense of art history so you can help people pick the right décor for their frames. You don’t need to be an expert, but you do need a sense of it to help people have the right feeling about their frames.

So you went into business for yourself and opened Cherry Street Custom Framing. When did you actually open the store and what were some of your first experiences like?

After school I bumped around a bit before finally I met up with some people who worked at a frame shop. I hung around for long enough that I eventually got myself a job and worked there for a number of years. The people I worked under were really good framers and I learned a lot from them. One day it was suggested to me that I could open my own shop, which was a scary thought, but I just kind of did it blind anyway.

The shop opened in 1984 and it was definitely overwhelming at first, but you just had to learn how to do certain things. I think the biggest problem some might have is that you have to do everything yourself. You are your own accountant, your own customer service agent and you do all of the designing yourself. All of that was a little more daunting and it still is, and that is the dilemma of an owner/operator.

I imagine building a customer base without current technology was difficult as well, so how did you turn your shop into a success? How did people find out about your shop?

There was a lot of word of mouth where people saw my work and they liked it, so they told their friends. I think the people sensed that I wasn’t just slapping any old frame on a picture; they could really get a sense of the thought and design that went into my frames. When I frame something, I try to select things that are classic, so they will want that frame for a long time. Since I am an artist already, I don’t feel the need to make a statement with every frame. I want to create something beautiful and timeless but not every frame needs to reflect that.

Talk more about how the framing for customers actually happens. They can make requests or ask for your input, so how do you determine how to design a frame for someone who doesn’t know what frame is best?

The key for me is to really listen to the person and get a sense of what they want. I talk to the person, get a sense of what type of person they are. I call on my experience and I ask them about their home, the environment the frame will hang in, the colors in the home. I can’t overemphasize how important it is to get this information. The design differs for something that is going to be put in a corporate setting than something that will be displaying a precious family treasure. I try to reassure them that I am going to give them lots of choices of what to pick, but you still have to sense what is right for them. If they want my advice, I give it to them, but I try to work with them and not force them into something.

When you look at the finished product, you want to see the art, not the frame. It needs to look effortless. If you notice the way something is constructed too much, then you are noticing the wrong things. First you measure and look at proportions, which are really important in framing because sometimes a small antique painting needs to be framed out with a bigger frame.

You have been doing this now for almost 30 years and I bet it becomes a bit of a grind. Do you ever get tired of owning and operating your own shop and how do you try to keep yourself sane?

There is definitely a certain amount of getting sick of what you do, and that is when you need to get into something that gives you that energy again, whether that is painting or something else. I think the thing people need to know about framing is that it always takes longer than you think. A little frame can take an hour and a half; bigger stuff can take a couple days.

What advice would you give to an artist who is considering going into business for themselves and opening up their own shop?

Get yourself some business classes and don’t ignore that part of the job. Finding a mentor would be helpful as well but you definitely need a basic understanding of how to handle the money part of things or else it won’t work.

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The Five

1. The University of Iowa is honoring one of its most famous faculty members by turning an old house into an art colony where aspiring artists can live and work together. The faculty member was Grant Wood, the painter of the celebrated American Gothic piece and the University is turning the house where he used to reside into a cultural center. Kudos to the university for finding an inspired way to not only honor a great artist and former faculty member, but also promote the world of art in general.

2. It is only loosely related to art, but David Stabler of The Oregonian had an interesting take on anger, and how it can be used to fuel creativity. He uses Steve Jobs, painter Mark Rothko, and poet Adrienne Rich as examples of creative geniuses whose infamous tempers may have actually aided in their brilliance rather than hindering it. There aren’t a lot of redeemable things about being an uncompromising jerk, but as Stabler points out, that anger “can be mighty useful if you’re trying to change norms, subvert tradition or undo constraints.”  There is certainly a fine line between fueling your work with anger and just being a jerk, but we can appreciate Stabler coming at anger from a different direction.

3. Here is a compelling look at the College of Wooster’s new Museum Studies class. Compromised primarily of upperclassmen, the class was an instant hit with the students and it is exciting to see that students are getting the opportunity to not only get their feet wet in the world of museums, but also that they get to basically be student curators as a part of a class assignment. It is even more exciting to know that a bunch of the 17 students in the inaugural class aren’t even art majors.

4. A pair of artists from Iran got lucky, received difficult-to-get “diversity visas” to travel to the United States, and now they are trying to jump start their art careers in the United States as well. It takes quite a bit of courage to leave established art careers anywhere in the world, but for Sahar Fattahi and her husband, Ahmad Rafieir, it must have taken a tremendous amount of courage to leave their steady life in Iran and travel to the United States. I mean the young couple haven’t even found their own place yet. They are looking for jobs, sleeping at a friend’s house, and exploring what they call “the art center of the world.” Here is to hoping they find what they are looking for and find their niche in the art world.

5. In light of news that Serbian police are now guarding what is believed to be a once-stolen Impressionist painting by the legendary Paul Cezanne, Time took a detailed look at five of the most famous art heists in history. If you stay abreast of current events or are a fan of art, you may recognize one or two of these heists from the news. But Time goes into way more details and it is a really fun read.

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What is a Theater Director?

Imagine yourself sitting in a darkened theater. You watch as the actors in the play flawlessly deliver each of their lines and hit their cues every time, without fail. You’re captivated as the story unfolds before your eyes.

To most audience members, the production of a play often appears to be effortless and seamless. However, there are a number of elements needed to put on an amazing production. For example, the sets and lighting need to be perfect, and the actors need to be at the top of their game. It doesn’t stop there, though. Each of these elements must mesh perfectly with each other to result in a seamless production. Theater directors are the professionals that are mostly responsible for pulling these types of productions together.

Theater directors are responsible for overseeing nearly every part of a theater production, from beginning to end. Being a theater director is often a very difficult job, and it requires excellent communication skills and the ability to work under pressure.

What Does a Theater Director Do?

While other theater professionals typically focus on one or two elements of a production, a theater director typically needs to concern himself with nearly all aspects. They will often be responsible for supervising and overseeing other members of the cast and crew, for instance. The majority of theater directors will usually work very long hours, acting as a leader for other members of a theater production. In many cases, a director’s work will begin before rehearsals begin and before rehearsals even begin.

One duty of a theater director might be to choose which plays will be performed. In order to do this, he will usually read through several scripts before choosing the best ones.

A theater director might also be in charge of auditioning and hiring actors and assigning parts. In small theaters, directors might be in charge of this entire process, but in larger theaters, they may have help. For instance, they may be assisted by an assistant director or even a casting director. In some cases, a theater director may be responsible for discharging or replacing an actor that is unable to perform his duties.

Rehearsals are also a major responsibility of a theater director. It is often the theater director that is charged with organizing regular rehearsals. These rehearsals are extremely important, because they give the actors chances to practice their lines and act out their parts. A theater director will also usually try to make sure that every actor shows up for every rehearsal that is scheduled for opening night. During these rehearsals a director will often help guide the actors in their roles and possibly instruct them on their lines, movements, and facial expressions.

Among all of his other duties and responsibilities, a theater director might also have a number of other jobs and responsibilities. These professionals, for instance, will often approve set and costume designs. Small theater companies might also place the director in charge of promoting a play or performing other unrelated tasks, such as keeping the books.

Many would think that opening night is finally a chance for a theater director to sit back, relax, and enjoy the fruits of his hard labor. In some cases, this might be correct, but not always. It is often up to the theater director to try and fix anything that goes wrong on opening night or any other night that a production is performed in front of an audience.

What Are the Necessary Education Requirements for a Successful Theater Director Career?

The majority of theater directors typically start their careers with a bachelor’s degree in theater or a related field. In general, theater directors should have a good grasp of every aspect of theater, from playwriting to acting to set design. Because of this, many aspiring theater directors will usually take as many different theater courses as possible.

Some performing arts schools also offer master’s degree programs in directing theater productions as well. These usually take a few additional years to complete, and they enable students to focus on giving actors and theater crew members instructions and guidance.

Those pursuing theater director careers should also make sure that they have plenty of “hands-on” experience in a theater setting. For most, this means being involved in their schools’ theater programs or community theater programs. While a sound education is a great way to start a theater director career, nothing beats real world experience. Look for acting schools to suit your needs.

Where Do Theater Directors Work?

Not surprisingly, a theater director usually works in places like community theaters, school theaters, opera houses, and performing arts centers. Some might also work for traveling theater troupes.

However, if you’re looking to pursue a theater director career, keep in mind that this position will not usually be rewarded to you overnight. The majority of theater directors actually started as other types of theater cast and crew members. They may have been actors, playwrights, or set designers, for instance. In general, it usually takes theater professionals several years to work their way up to theater director positions.

What is the Average Annual Salary for a Theater Director?

According to the Bureau of Labor Statistics, the median salary of theater directors in 2010 was $68,440. There are several different elements that might influence a theater director’s salary, however, such as the size, location, and popularity of the theater where the director works. For instance, a theater director working in a Broadway theater house that is packed every night will usually make much more than a theater director working in a community theater in a rural area.

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