Category Archives: Art Tips & Techniques

The Importance of NOT Being In Earnest – The Underpainting

Things are coming along well in my residency at The Banff Centre. With three  large paintings on the go at the moment, I’m well on the way to getting what I’d hoped for. The work you see below represents about four days of painting for me, also allowing drying time. This time period encompasses the original thumbnail sketching and all work to bring it to this point. Friends often remark that I’m very prolific, it doesn’t often seem nearly fast enough for me. There are more paintings in my head than I will ever be able to complete in my lifetime…and that does create a feeling of being in earnest. When I’m creating like this, it’s hard to sleep and maintain a regular family schedule – another source of anxiety!

Underpainting Detail - Stage One.

Underpainting Detail – Stage One. Terre verte allows for a luminous skin tone in the final layers. Setting the stage is crucial for success in this technique.

Getting an idea out of my heart and head is not always easy. Sometimes it comes together, and sometimes it doesn’t. I wanted to try a different approach to my work and underpaintings on this group, which are slated for exhibition from my Gwaii Haanas Artist In Residence experience. The colours on the underpainting are different from how I generally combine the subject and technique. I’ve taken an approach to combine the quick onsite plein-air experience with the more academic figurative approach. So far, it’s coming along, and I anticipate that it will provide the results that I’m looking for.

The underpainting can set the tone (literally) for the work, allow you to plan out in paint what you may have already done in the sketch, alter the scale, define the values and tighten the composition. I’ve never worked this large (40×60 and 40×72) with this particular underpainting approach. I’m very pleased with how it’s coming together.

Underpainting - 40x72 - Janice Tanton. Oil on linen

Stage 1 – Underpainting – 40×72 – Janice Tanton. Oil on linen

Working with terre verte, I’ve blocked in the underpainting for the figure within the landscape. Terre verte, raw umber or burnt umber are my preferred first value underpainting pigments.

Stage 1 - Underpainting - 40x72 - Janice Tanton. Oil on linen

Stage 2 – Underpainting – 40×72 – Janice Tanton. Oil on linen

In the second stage, I’m considering the seascape as quite a different situation than the figure, and have decided to work with a transparent red ochre as the underpainting colour. With regard to the temperature of the painting, I think of this as the “negative” phase in that as I work the painting, areas that are warm will ultimately be cool. That transparent red ochre will provide a beautiful visual foil to the cool greys and blues of the sea water and landscape yet to come. Conversely, the warm tones of the skin, underpainting with the ghostly terre verte always provide a rich and interesting flesh tone for me, when applied in a proven glazing technique.

"Mid Life Crisis" ©2012 Janice Tanton. Oil on linen panel.

My onsite reference painting from Gwaii Haanas – “Mid Life Crisis” ©2012 Janice Tanton. Oil on linen panel.

Have a look at the four images below. This piece is at the next stage. I am establishing the darks in the landscape. As the trees are very strong compositional elements, I want to have a good idea visually, of how they are going to affect the work. This section of the painting is based upon an plein-air piece that I did onsite in Gwaii Haanas in the area of Murcheson Lagoon.

Second Level Underpainting - Step 1

Second Level Underpainting – Step 1

(If anyone had told me 8 months ago that I’d be painting purple trees, I’d have thought them mad.) However – onsite, that’s exactly the colour that they appeared to be. Quite a magical place.

Second Level Underpainting - Step 2

Second Level Underpainting – Step 2

Here, I’ve started to block in the areas of the mossy ground. I’m looking for “what it’s doing”…how it flows and the motion that I remember seeing. Everything has life to it. Paint that life – paint what it is “doing” and your works will have a vibrance to them.

Second Level Underpainting - Step 3

Second Level Underpainting – Step 3

I want to show the earth as echoing the musculature of my model. It’s important to me in this painting, that we consider our relationship to the landscape so I’m working that feel in in on the middle ground area of the underpainting.

Second Level Underpainting - Step 4

Second Level Underpainting – Step 4

Here, I’ve gone a bit further with the detailing in the motion of the trees. There is a big tug upwards and downwards on many of these branches. When I was there, I recall a synergy of existance between the land, the sea and the earth. I’m looking to emulate that with the composition, and one of the ways to do that is with the web of branches. I’m conscious also that much of this branch work will be covered in dappled light and leaves in a later stage. Knowing what’s “under” it all is part of the planning and pouring of yourself into the work.

Underpaintings are like the bones on which to drape the muscles, organs and flesh of a painting. Considering what underpins the work, both in philosophy and physical structure is an important part of the process and ultimate feeling of the work.

…so much art to create….so little time….

Let’s Get Physical :: A Little Less Conversation and a Little More Action


Right…so, in a further attempt to “shake it up” in the studio, get loose and unwind, I spent some time creating a wicked playlist of boogie music. I’m a firm believer that painting with all your body, heart and soul is the best way to get those emotions down in paint. Lots of the time, I choose more classical pieces, but from time to time, I really need to get moving.

My husband and kids thought I’d gone crazy when I stopped the classical and opera music and started blasting out “Brick House”, “Sympathy For The Devil”, “Baby Did A Bad, Bad Thing” and “Polk Salad Annie”. I’m sure the neighbours think something very strange is going on, as I keep the doors and windows to the studio open all the time and this music up loud. He he he…

Chaka Khan….We feel for you!

However…I must say, the mood in the household has picked up and everyone is going around doing “the bump” and dancing through the day. (Kevin is even cleaning out the garage.) Grace was even singing “Chaka Khan….I feel for you…..” all over the house. Ah…she’s her mother’s daughter, after all.

Well, I have to say it’s really “moving me” in more than one way. I’m finding myself dancing to the music and the works and they’re coming a lot easier.

Kinetically speaking, shaking your booty while you’re working is good not just for the figure…but for the figurative! It seems to move the work along quicker, make the brushstrokes a lot more emotive and physical. Using a large brush can help that loosey-goosey approach too. I’m finding I’m looking for the biggest brushes I can get at my hardware store.

Here’s part of the eclectic “shake it up” playlist. Maybe it will help you too!

Polk Salad Annie – Tony Joe White
A Little Les Conversation (JXL Radio Edit Remix) – Elvis Presley
Breakdown – Tantric
Lizobuya – Mbongeni Ngema
Freedom Is Coming Tomorrow – Khanyo Maphumulo
Southland Concerto – Hans Zimmer
I Have The Touch – Peter Gabriel
Sita Al Sobh – Hussain All Jassmi
The Isreaelites – Desmond Dekker & The Aces
In The Summertime – Shaggy
Turn The Page – Bob Seger
Get Down Tonight – KC and the Sunshine Band
Soul Man – Blues Brothers
Candy Shop – 50 Cent & Olivia
Getting’ Jiggy Wit It – Will Smith
Love Shak – The B-52’s
Sixty Minute Man – The Dominoes
Roll Over Beethoven – Chuck Berry
Vivrant Ting – Q-Tip
Solsbury Hill – Peter Gabriel
Car Wash (Shark Tale Mix) – Christina Aguilera & Missy Elliot
Stuck In The Middle With You – Stealers Wheel
I am A Man of Constant Sorrow – The Soggy Bottom Boys
Shotgun – Junior Walker & The All Stars
Brick House – The Commodores
The Name Game – SHirley Ellis
Beautiful Day – U2
Sacred Love – Sting
Desert Rose – Sting
Joke Thing – Snow
The Glamourous Life – Shiela E
Hips Don’t Lie – Shakira and Wyclef Jean
Sympathy for the Devil (Neptunes Remix) – The Rolling Stones
Night Time Is The Right Time – Ray Charles
Powerless – Nelly Furtado
Caligula – Macy Gray
Sweet Home Alabama – Lynryd Skynyrd
American Woman – Lenny Kravitz
Can’t Stop – Jack Soul
Use Me – Hootie & The Blowfish
Coconut – Harry Nilsson
Tusk – Fleetwood Mac
Brushes (Never going Back Again) – Fleetwood Mac
Missionary Man – Annie Lennox & Dave Stewart
State of Independence – Donna Summer
Baby Did a Bad Bad Thing – Chris Isaak
I Feel For You – Chaka Khan
Kiss – Art of Noise & Tom Jones

 Get down tonight!

All That Glitters…IS Gold!

Linen, 24k Gold Leaf and a Soul…

Work In Progress - "The Yellow Raincoat" ©2012 Janice Tanton. Oil and 24k gold on linen. 24"x 48"

Work In Progress - "The Yellow Raincoat" ©2012 Janice Tanton. Oil and 24k gold on linen. 24"x 48"

Work In Progress - "The Yellow Raincoat" ©2012 Janice Tanton. Oil and 24k gold on linen. 24"x 48"

Work In Progress - "The Yellow Raincoat" ©2012 Janice Tanton. Oil and 24k gold on linen. 24"x 48"

There are many things one thinks about in a painting. Often, it’s how to handle your chosen medium and how to best reveal the light in a three dimensional form on a two dimensional surface. Recently, I read The Golden Spruce by John Vaillant in preparation for my residency in Gwaii Haanas National Park. It caused me to think more deeply about my materials and the link between materials and the work being created and I have a painting in mind that I want to create when I’m back in the studio at the end of June.

Living in my head isn’t fun sometimes. A kajillion thoughts are there at any one time, and the only place I find peace is at the easel. The thought of this idea for a painting has been tugging at me for a month, and in the midst of all the crazy CRA stuff, and getting ready for the monumental trip….still, I couldn’t sleep for wanting to try something out: 24 karat gold leaf on a linen oil painting. In doing some research, I found a few contemporary artists who are working with this on panel…only one I could see so far that was working with it on linen. For thousands of years, classical artists have been using gold leaf to create works, religious icons, embellished architecture.

I spoke with folks from Saskatoon (to source out natural shellac), to New York City, Los Angeles, Toronto and finally….in Calgary. Everyone was generous with their ideas, techniques and information on materials. Here in Calgary, I found Jennifer at Mona Lisa Art Supply.  Jen knew quite a bit about gold leafing and when I explained to her what I was thinking as far as the conceptual thought for the paintings, she got excited and was very helpful in showing me a few ideas about how to go about it and the technical qualities of what I was proposing to work with.

Last night, I took the plunge in this painting…and am VERY excited with how this is all going!

The Yellow Raincoat ©2012 Janice Tanton. Oil and 24k gold on linen. 24"x 48"

Work In Progress - "The Yellow Raincoat" ©2012 Janice Tanton. Oil and 24k gold on linen. 24"x 48"

How To Make Small Wire Armatures for Sculpture Projects

Here, I’m going to teach you how to make small wire sculpture armatures that you can use for sculpture, stop motion animation, school projects or just to create fun, posable figures.

Possessing a  number of different tools and skills in your bag as an artist allows you to find different forms of expression for your ideas. One of the things I love doing is to create sculptural works.

In order to have a strong and expressive sculpture, the “bones” of a good armature are necessary. Here are the instructions and material requirements to how make small (approx 8-9″) armatures for the human form.


1/16″ gauge aluminum sculpture wire – 1 piece – 44″ long and 1 piece 5″ long.

Enjoy! Let me know what you make. I’d be thrilled to share photos of your work here on the blog, so please send them to me.

Paint Fast, or Die! – How To Survive Painting Boredom & February In The Mountains

Deck Plein Air Painting Setup

Plein Air Setup on my deck.

I’ve been working on some very large pieces for a couple of months for the CAMP body of work. The works – some of them 8 feet long and 4 feet high,  require multiple layers of glazing, attention to detail and draftsmanship and an eye for subtle light and form. I’ve gotta say it…”UG…it’s boring the heck out of me and my Artist ADD has kicked in.”

To freshen up, and begin to feel as though I’m getting something done, I’ve taken to some quick alla prima plein air landscape work this past week. It’s a good feeling to hit the hay at night feeling like I’ve finished a piece!

One of the reasons I love painting outside is that it forces you to see and to paint quickly. Choices must be made in a split second if you’re working on fast-moving clouds, mountain sunrises or prairie sunsets. Not only that…but the mountains in February are damned cold, by anyone’s measure. Your fingers and your paint freeze and thicken up, so you MUST work quickly. You must look only at colour and shape and the rest will follow.

The plein air paint setup that I use isn’t yet what I’d call ideal, but I’m okay with it. I have an easel from EasyL which I find a bit wieldy for instant setup and capturing that quick moment. I’ve had it for quite a few years. This one that I have – The Versa… is too big for a quick “up and down”. I’m looking forward to the small pochade setup. I’ve got the tripod already, so have just ordered the small 8×10 box which should be easier to setup, pack in and out and move quickly.

I have a couple of Jullian French Easels, which I find incredible if you are going to spend any time on one location with one painting. It packs a lot of equipment but is way to heavy to carry in and out of remote locations. Great for teaching outdoors, or in the studio though.

Here are a few of the first attempts at cold weather painting that I’ve done:

February Sunrise from My Upper Deck ©2012 Janice Tanton. Oil on linen panel. 6"x8"

"February Sunrise from My Upper Deck" ©2012 Janice Tanton. Oil on linen panel. 6"x8"


"Evening Sunset at Siksika" ©2012 Janice Tanton. Oil on linen panel. 8"x10"

"Evening Sunset at Siksika" ©2012 Janice Tanton. Oil on linen panel. 8"x10"


"Grassi At Three" ©2012 Janice Tanton. Oil on linen panel. 8"x8"

"Grassi At Three" ©2012 Janice Tanton. Oil on linen panel. 8"x8"

This last piece was done in the studio, from a photo and memory I had of an evening we spent camping on Agawa Beach in Ontario. Although it’s technically not a plein-air piece, the memory of the evening was so vivid and strong for me, that I feel it has translated well to this alla prima studio piece and I like the light in it. Having the chance to use some juicy, wet brushstrokes is wonderful!

"Agawa Evening Sunset"

"Agawa Evening" ©2012 Janice Tanton. Oil on linen panel. 8"x10"

Holding My Breath…Learning When To Stop Working On A Painting

I have times when I feel like I should abandon a work because I can’t quite figure out what it needs next, or how to approach it….or if it’s even worth it. Sometimes I keep going and end up totally messing things up when really what I should be doing is getting some distance and perspective on the piece.

Over the weekend, I was pretty sick. That forced “rest” meant no visiting the studio to see how “bad” things were in my mind with this work…and no chance to make a mistake out of impatience or indecision.

Not only did my body benefit from the rest, so did my mental attitude towards the work and I felt a bit more confidence in my approach to the painting this morning.

After a day’s good rest in bed, I hobbled upstairs to find “The Artist’s Daughter” not quite as poorly as I thought it at the last pass. In a couple of short hours of painting, I was able to bring it to a point today where I’m pleased and can clearly see the next few steps to get to the vision in my head for this piece.

Here’s where I’m at today and now I’m taking another rest, having learned my lesson.

"The Artist's Daughter" Work in Progress. Day 3. ©2012 Janice Tanton. Oil on linen panel. 18"x14"

"The Artist's Daughter" Work in Progress. Day 3. ©2012 Janice Tanton. Oil on linen panel. 18"x14"

To have a look at the progressions to this point, visit these related posts:

The Toughest Critic

The Artist’s Daughter – Day 1 (Video)

The Artist’s Daughter – Day 2 (Video)

The Artist’s Daughter – Work In Progress, Day 2

I started this painting earlier in the week, and have continued to work through the underpainting according to some of the methods taught by Jacob Collins and his wonderful group of teachers and students at The Grand Central Academy. You can see the work done on Day One as well as the initial sketch.

The Artist's Daughter - Work in Progress, Day 2 by Janice Tanton
The Artist’s Daughter – Work in Progress, Day 2 by Janice Tanton 14″x18″ February 10, 2012.

Light and the Changing Seasons

I find it challenging later in the day to work in my studio when the sun streams in from a large south facing window. At some point in the day, I always get visually tired. This usually happens around 2:00 in the afternoon for me. I start early in my studio, around 5 am and sometimes before the sun rises.

In the winter, the light changes dramatically in a very short period of time and from November to the end of January, it’s tough to fit in some quality lighting time in the studio.

The summer…of course…has a huge timeframe for me to work in excellent natural light. You can see how much the light changes in the second leg of this video.

I’m interested in artistic process and would love you to share your thoughts on your own process here.


I’m working with a different palette than I would normally use to execute a portrait, as well as the different technique so this is very much a learning process for me.

I use M.Graham Walnut Oils. Love their pigment concentration and I’m not allergic to them, which is a huge bonus. I don’t need lots of crazy turpentines in the studio, and the workability of the paint is to die for.

The palette is one suggested by Scott Waddell in his video and as this is sort of my own self-directed learning workshop, I thought I’d go with what Scott uses in his demos. The only thing that I have added is a cobalt blue.

Here’s the palette:

  • Titanium White
  • Ivory Black
  • Cadmium Yellow
  • Yellow Ochre
  • Burnt Sienna
  • Raw Umber
  • Cadmium Red
  • Alizarin Crimson
  • Cadmium Orange
  • Cobalt Blue

I’m finding the palette a bit of a challenge, as I have never used Ivory Black or Burnt Sienna before, and have opted for a time-consuming glazing and over-glazing technique in the past vs. a more direct use of mixed paint in this technique. I’m beginning to see how this could speed my process a bit and how I might use the glazing to really augment the depth and feel of the work once I’m in the later stages. This will take a few days to dry now, so look for another progression post perhaps next week! Here’s the video for Day One and Day Two that has brought me to this point:

 The Artist’s Daughter – Day Two, Work in Progress by Janice Tanton

Related Posts:

The Artist’s Daughter – Work In Progress, Day 1

Earlier this month, I finished a sketch of my daughter Grace. My intent is to work through this painting in a method akin to the school of academic realists currently working in New York and around the world.  I’m a big fan of Jacob Collins and his contemporaries at The Grand Central Academy and I’d love to spend some time there with guys like Scott Waddell and Graydon Parrish.

In the meantime, while I contemplate the pipe dream of a summer studying in New York with these guys, I’m going to take a crack at working through this method and approach to classical painting.

With that in mind, here’s the start of the painting of “The Artist’s Daughter” that I worked on this afternoon. After finishing the sketch, I made a transfer outline onto a 14″x18″ belgian linen board that I hand finished myself. (More on how to do that in another post, methinks!) The board has been primed and sanded, and then received a coat of raw umber a couple of weeks ago just to tone the surface. I used raw umber to start this, and I’ll post more as I go along.

Here’s the initial sketch:

The Artist's Daughter: ©2012 Janice Tanton. Graphite on paper. 18x14.

The Artist's Daughter: ©2012 Janice Tanton. Graphite on paper. 18x14.

And here’s a quick one minute video I cobbled together this afternoon from some shots of the painting as I worked. I wanted to change the image slightly and tilt her head into the painting more. Nice to try something new! These are just the first stages of the painting. I thought it would be nice to share my process on this with you.

Please follow this blog for updates on the progression of works. Share your process with me. I’m interested in how you approach a painting or a work of art in any form.

Related Posts:

The Initial Sketch

The Artist’s Daughter – Work In Progress, Day 2

The Artist’s Daughter – Day 3 – Learning When to Stop Painting

Artful Techie Tuesdays – Video Tips and Tools for Artists

Yesterday, an artist friend asked me some questions about how I make videos of my artwork process. Hmmm…let me see…..

I’ll be the first to admit it – the last thing I think about as I’m about to start a painting is to set up the video camera and hit record. In my rush to create, it’s not a habit that I’ve gotten into, and yet it’s one of the best ways to share technique, information and tips with other artists. After all…isn’t that what it’s all about? Getting better and being the best we can be?

I’m resolved to do better at this in the future so look for some additional video tips…and if I don’t get them done, then DOG me and remind me I said it here.

Here is a video that I recorded when I was of sound mind and had everything ready to go. When time lapsed, it helps me to review my own process in making an underpainting and also to share, from concept to finish – how a work is created with other artists and some of my students.

Pretty cool, huh? I got “into” it when I finished this painting, and missed hitting the “Play” button for Episode 2. Live and Learn…I have to make this a better habit.

I’d like to share some tips with you on things I have found helpful in the process of producing your own artist’s video.


Lighting – make sure that your working area is well lit. You can see in my video, the sun moves back and forth across the room a little bit and it’s not as well lit as it could be. I don’t mind this, because it’s a reflection of my working studio and it doesn’t seem to interfere with the video quality too much. I could also have adjusted this in the editing phase, but just got too excited to upload it and share. If you’re setting up lighting for the camera – make sure that you do some cross-lighting with about three floods if you need them, all from different angles and that don’t conflict with what you need for your painting light, or cast an Alfred Hitchcock-like silhouette of you on the canvas while you’re working. Not so pretty.


Canon Vixia HFS200

Canon Vixia HF S200

Get a GOOD tripod and leave it setup in your studio all the time. I actually use my EasyL Easel tripod that came with my plain air kit. It rocks, is light and folds up into a handy carry kit that I’ve packed on and off planes without any security trouble. Make sure your camera is charged and ready to go all the time, or that you have a power supply (and a neatly tucked away cord system) so you don’t have to trip over it in your studio….(that’s happened to me, I’m such a klutz!).

Make sure that you have the best camera angle to your easel. If you have more than one camera, by all means shoot at several angles so that you have interesting camera shots to edit together in post-production. This is where it’s cool for artists interested in filming more often, to have a couple of inexpensive Flip cameras to use. (see below)

Rule #1: Buy the best video camera you can afford. Film in HD.

We have a Canon Vixia HFS 200 that is super and we’ve dragged it across Canada, filming in various lighting conditions for many different projects. We also use two FLIP Ultra HD cameras.  (You can get one through our Amazon affiliate store page – they are under Film, Cameras and Media) They’re super portable and great for plein air or mobile work. We use our iPhones sometimes, but usually that’s a spur of the moment thing and I never have a proper tripod setup for it.

We also have a GoPro that we use. My husband Kevin is into aerial video photography. You can learn lots of techie stuff from him over at RCHelimenace if you’re into gimbals, gyros and transceivers (<<that’s all GEEK to me. I have no idea what they are, but he does, so if you’re interested…ask him!)

The GoProHD Hero2 has a lovely wide-angle view setting and a fish-eye setting too so that you can get some super-wide panoramic shots if you need them. It’s a tiny little thing. You’ll feel like you’re someone out of Mission Impossible. This camera is one of the most used action-filming cameras in the ski industry. It also mounts on a helmet, the truck or any moveable object which makes it great for hiking shots and various other shots that require a small camera in a fast-moving environment. Here’s one of our family favourite videos by Jeb Corliss, “Grinding The Crack”. It takes our breath away every time. Maybe a bit more adrenalin than I get in the studio…but close sometimes! You can see the high quality that the GoPro gives. Fun little toy with some power packed into it!


Do what you do best. Filming is about telling a story, so think about what you might want to tell…before you tell it. Make a plan and have it ready. Look for a beginning, a middle and an end.

In this case, I simply wanted to “tell” about my process from sketch and through a final painting. It would be boring to sit through three or four hours of watching me paint but thinking ahead artistically, about HOW to tell this, I thought it would be good to speed up the film in a time-lapse and show it that way. Most folks are awed at the process of the artist, but don’t have the patience to truly understand what goes into this…or watch you paint….or watch your paint dry. How you tell the story is as important as the story itself.

A three minute video is about what you should be shooting for in this online video medium. Folks are used to the “three minute” rule and as you can see, it’s pretty simple to find a three minute song that accompanies the story. That’s about as long as you’re going to keep their attention. In this case, Lyle Lovett’s “If I Had A Boat” was the soundtrack to my film, and appropriate for the intent of the visual art piece.

Artful Editing

I work with Final Cut Pro Studio. It’s a massive editing suite that most professional filmmakers rely on, and the only place I can see where it’s still available is through Amazon, although some retailers might still have it kicking around. There is a new version that Apple has come out with, Final Cut Pro X now, not nearly as expensive as my original software copy, but reviews are mixed. I can’t recommend or diss it, as I haven’t tried it, although I’ve had a look at the interface and it looks much easier and intuitive than the older FCP version. It retails through the Apple Store for $299 Canadian. I haven’t switched over to that yet, as I’m still comfy with Final Cut Pro Studio which includes other modules such as Motion Graphics (the bumper that sets up the front end and back end of the video above…which I love and could play with forever), Colour, and Soundtrack Pro.

My sons use iMovie and they are whizzes at it… which is wonderful, but I’ve grown accustomed to FCP now, so find iMovie not quite all there for the things I ultimately require when making artful-type movies.

If you aren’t a tech lover, I’d suggest iMovie as it has a much lower learning curve. However, if you’ve got your eye on “Hollywood” and wanting to learn enough to produce some pretty fancy videos, you can learn FCP Studio through Both versions of training are there for FCP Studio and FCPX. They have a fabulous training library which is always being updated and the instructors are fantastic, knowledgeable and easy to understand. All in your own time, on your own computer and really reasonably priced at around $25.00 a month for a subscription.

I edited the video above, “Self Portrait In Canoe” for use in an installation for an exhibition that I did in 2010. Converting old family footage and splicing it all together with FCP, I spliced Johnny Cash’s rendition. The video actually played inside a real canoe in the gallery, surrounded by objects from my life and that of my co-artist for the show, Don Ahnahnsisi McIntyre.

Distribution – Your Own Studio System

Not much good having a great video and not sharing it. I like to host my videos on other sites rather than my blog. This increases the traffic and the sharing. And you know how much I love to share!  YouTube, Vimeo, Veoh, DailyMotion,, Metacafe are all video channels to which I post my video content.

What?!…you say? That will take me forever. How do I do all that, paint, deal with social media, marketing, yadda…yadda…yadda.

Easy-peasy, I say. There is a fabulous service called TubeMogul that will upload your video in one shot to all your channels and give you some rocking stats by which to gauge your distribution success or failure. I love TubeMogul, and it’s easy to use. MGM…move aside. Independent internet distribution is here!

Now I realize that this post is a bit general in focus. I’ll expand on the topics on future Artful Techie Tuesdays.


GREAT Related Posts:

Alyson Stanfield’s Art Biz Blog – 4 Quick Videos To Use In Your Art Marketing