“Swaps” are where a certain number of people agree to swap… Well, something, usually handmade, and they’re usually multiple, identical (or nearly identical) items.
It’s a fun way of sharing art, usually through the mail, but sometimes in person.
Zine swaps
In this case, a “zine swap” is where you send a certain number of copies of just one issue of your zine, to the person hosting the swap.
You’ll also send the host either postage, money for postage, or a self-addressed, stamped envelope for shipping other participants’ zines to you.
The number of zines you’ll send is usually determined by the number of participants, including the host.
So, if six people, including you and the host, are swapping zines, you’ll send five copies of your zine (plus postage).
Each other participant does the same, and the host adds their own set of five zines to the collection.
Then the host sorts all the zines into piles, so each participant receives one from each of the other participants (including the host).
After that, the host mails the sets to each person in the swap, and keeps one set for themselves.
So, each person in that swap will receive five different zines, one from each of the other participants, including the host.
Visual explanation of how a zine swap works
I think very visually. Even writing that previous section, I was counting on my fingers to be sure I got the numbers right.
If you’re like me, this illustration may help explain how swaps work. Jane is both a participant and a host, so – as a participant – she’ll make five copies of her own zine and add them to the swap.
I hope that makes sense, and I hope you’ll participate in – or even organize – a zine swap.
Artistamps are part of a larger art form called mailart. It’s been popular in different eras, most recently in the 1970s, then in the 1990s, and now – in the 21st century – it’s growing in popularity again.
WHAT IS MAILART?
Mailart (also called “mail art”) is art sent through the mail, and it’s visible on the outside of the postcard, envelope, or (less often) the package. That is, the visible part of what goes through the mail IS the art. There may or may not be art – or anything – inside.
The visible art – seen by those who handle the art (from sender to post office staff to recipient)- may be decorated with many things, including…
Artistamps
Artwork (hand-drawn or painted)
Collage art elements
Rubber stamps (hand-carved or commercial, used creatively)
Sometimes, the art is mass-produced, albeit on a small scale. That is, it’s printed in limited numbers and applied (or turned into) the postcard, envelope, or package.
In some cases, each piece of mailart is signed and numbered. (For example, “5/25” would mean the individual piece is #5 of a total of 25 created and mailed.)
Here are six of my mailart postcards, sent in 2023. Each recipient received a handcrafted postcard decorated with a one-of-a-kind torn paper collage on it.
WHAT ARE ARTISTAMPS?
Artistamps are art, in the form of a postage-type stamp. They’re also called faux postage, among other names that mean “fake postal stamps with art on them.” (Other terms for these faux stamps include postoids and cinderellas.)
Here’s one of my favorite artistamps. I created it using a photo from one of my visits to Avebury, England, where – unlike Stonehenge – you can actually touch the standing stones.
Some of us create our own fantasy countries, or perhaps mailing authorities, or both. Mine is Ballynafae, an imaginary island country just west of Ireland.
Some artists create a complete history, geography, and set of personalities related to their fantasy countries. They consider it part of the art.
And some mix fact and whimsy, as I did in my Kilmallock series, issued under my Ballynafae mailing authority.
This group of six stamps celebrates a real location – Kilmallock, Co. Limerick – using vintage photos from the mid-1990s… but I pretended that these were official stamps from Ballynafae.
Here are some of my Disney-themed artistamps. (NOTE: The original stamps’ images were crisper. These are slightly enlarged from my 2001 website post. I’ll replace the images when I find the original artistamp files.)
The “Tapestry” stamps are from photos I took in 2001 at the final performance of Walt Disney World’s “Tapestry” parade at EPCOT. (See video link at the foot of this post. Also, the lower “Walt Disney World 2001” stamp features family friend Jeremy Pace, when he was part of the parade’s finale.)
Here’s what a single set of artistamps can look like:
A little more info about artistamps…
Starting in the late 1990s, I was a member of the Electronic Collaboration Project (ECP), creating several artistamp series. And, in the Artists’ Mailing List (AML) group my issuing authority was AML-23.
Are you looking for drawing and painting ideas? Want to know what to draw in your art journal?
Here’s one very cute approach to art. Thanks to Jane Davenport, it can be easy, too.
Jane Davenport has inspired many people to create elegant and charming illustrations in their art journals. She’s made this easy with how-to books, as well as innovative art supplies.
Here’s her story, in her own words.
I bought one of her books, Beautiful Faces, because I felt like I was getting into a rut with my usual illustration techniques. (Generally, no one is likely to call my journals “cute,” but sometimes I’m aiming for pretty… and needed some insights. Jane’s book definitely helped.)
Examples: What to draw in your art journal, and how to embellish it
Next, in this demo, she shows how to use her die-cut embellishments.
Notice the art she’s starting with. It includes “mark making,” stencils, sketches, and more.
Also, her art journaling examples suggest great layering techniques for art journaling. (I might use them in some Goth- and Steampunk-style art journals, too. Purples, metallics, and so on…)
Even more ideas for what to draw in your art journal
Next, here’s Tamara Laporte (Willowing Arts) demonstrating some of Jane’s art supplies.
She starts with a blank page, then sketches in pencil, and then… well, you’ll see. (I’ve started the video at the 23-minute point. If you want to see the full unboxing, start from the beginning.)
Those ideas may be all you need to start experimenting with new drawing, painting, and mixed-media techniques, right away.
But, no matter what your art journaling style, when you’re deciding what to draw – especially in your art journals – I think you’ll find those videos (and products) inspiring.
How I’m adding drawing and painting to my art journals
Personally, I’m experimenting with magazine photos, pasting them (with Yes!Paste) onto a painted page, sealing them with gel medium, and then drawing & painting over them.
This involves layers. (If I’m going to use lots of layers or thick paint, I’ll prime the page with gesso, first.)
My art journaling isn’t necessarily sweet or romantic, but these techniques & materials can work for both “cute” and extreme artists’ journals, too.
Maps, cityscapes, landscapes… they’re not just for travel journals.
There are many ways you can include them in your personal art journals, too.
First, here’s Brie Hatton demonstrating urban sketching in her art journal. For many people, this is the easiest way to draw and paint local scenery in a journal. You can go for a walk, or sketch what’s outside your window.
The full video is about six minutes long, but I’ve set this to start at the four-minute mark. At that point, she’s done a light pencil sketch and has started using a marker over it, for her final lines. That’s what interested me the most: how she completed her sketch as a finished art journaling page.
Maybe drawing isn’t what you had in mind, but you’re still intrigued by landscapes.
If you’d like to create fine art abstract landscapes in your artists journal, I think Cathy Mevik’s demo will inspire you. If you’re not a painter, don’t let this scare you; I think anyone can create landscapes like these.
The video a little over 11 minutes long, but – for those who’d love to paint like this – it’s time well spent.
At the other extreme, here’s what James Gulliver Hancock draws. It’s a two-minute video, and he explains why he draws buildings, and what he learns as he draws them.
If you’d like to explore making maps, this book looks fascinating. As soon as I saw this review video, I ordered the book. (The video is eight minutes long, but you’ll get the general idea in the first two or three minutes.)
I thought it was okay, but I’ll admit it didn’t inspire me as much as I’d hoped. Here’s the Amazon link, anyway. Use the “look inside” to decide if it’s your kind of book: The Art of Map Illustration
If drawing and painting aren’t your strong suit, don’t despair. You can still bring maps and architectural designs to your journaling.
Here’s a landscape-y, map-y kind of art journaling demo. It’s by Carolyn Dube, and she uses a stencil, some acrylic paint, and a pen. The video is about four minutes long, and – once you get the idea – you can fast-forward through it to see how she completes it.
At first, Blythe Scott’s work may look like modern landscapes but, close-up, you’ll see mixed media elements. She’s using some materials that never crossed my mind, and they could go into a mixed media artists journals, too.
This five-minute video includes breathtaking outdoor scenes, how her art is inspired, and some great insights about studio work, using drawing, painting, and mixed media elements.
This 12-minute video is from Danny Gregory’s Sketchbook Club, showing the progress of “Moonlight Chronicles” art with Dan Price. I think it’s a wonderfully inspiring example of how you can share your art journaling with others.
https://youtu.be/B_J3Re04cHg
Here’s a 35-minute video showing where Dan Price lives and works, in an underground, kind of Hobbit-ish home.
Need a quick jolt of inspiration for your art journaling? These brief videos can help… a lot!
Danny Gregory is an icon of art journaling. His artists journals were among the first to go viral, starting with his art journaling website and his books, including The Creative License – Giving Yourself Permission to Be the Artist You Truly Are.
Danny’s art is diverse. Watching these videos, I was inspired to break out my pens & paints, and start randomly journaling my day.
Here’s a brief (less than one-minute) video noting how drawing makes you see better. I like that he’s not super-finicky about things being perfect. Everything is suggested, and gives you a sense of what he’s drawing. It’s not intended to mimic a photograph.
And – also from Danny Gregory’s YouTube channel, here’s a brilliant, short video about learning to watercolor in three minutes. This demo is by Felix Scheinberger and I picked up some really useful tips. (I’m not so sure about using a lighter to dry the art faster, but – other than that – I’m ready to try some of his ideas.)
If you’d like to see how Danny Gregory uses pencil + watercolor in a journal – following Felix’s tips – the last couple of minutes of this next video add more insights about this technique. That’s why it starts around the 3:56 mark.
(The full video is worth your time, but I’m mindful of friends who want to get to the art instruction, ASAP. So, if you want more insights, just pause that video & start it from the very beginning.)
Stage fright has been part of my life for as long as I can remember.
It’s very selective.
I’m fine in front of a crowd of thousands, especially in halls where the lights are on me and I can’t see the faces of anyone past the first row or two… and even they are too dark to see clearly.
Put me in front of an audience of 20 or 30 people, where I can see every face and every micro-reaction to what I’m saying…?
Panic.
Total panic.
I have to steel myself to even think about that kind of public speaking.
That’s why, when I teach, I have a firm rule: I need access to the classroom, in solitude, for at least 30 minutes before the students arrive. (Otherwise, I’m likely to blurt all kinds of things… usually extreme and unexpected. It can be confusing if you’re not ready for the panalopy of creative ideas that rush through my mind. The words can tumble out, sometimes a little scrambled, like high schoolers rushing to class before the “late” bell rings.)
During my personal pre-class time, I give myself a “pep talk,” and use breathing techniques that would make Dr. Lamaze proud, to relax myself enough to teach. With the right mindset – or at least mental distance from “not good enough” self-talk – I can teach a great class with lots of student involvement.
(Without exception, every class I’ve taught that fell flat… it’s because I wasn’t given that 30 minutes to prepare.)
Creating art can be a similar issue for me and many other people. We may not have that visible audience, but when the initial spark of inspiration fades, the voice of the inner critic can be worse than any heckler in the classroom.
(You know that student. She’s the one who sighs loudly and repeatedly. And, at the end of the class – when it’s too late to do anything about it -she tells you how deeply you’ve disappointed her, and how you really shouldn’t be teaching. Or making art. Or both.)
Regardless of where the message comes from, we’re often striving for impossible perfection… as artists and as teachers. The slightest shortfall or flaw seems magnified on a big screen and in HD, and every metaphorical pore and blemish is the size of the Grand Canyon.
In fact, we’re often our very worst critics. We hold ourselves up to impossible standards, and we’re usually using the wrong measuring stick.
Last night, I was disgruntled. I’ve been working on a series of small (5″ x 7″) oil paintings, based on memory and photos I’ve taken.
Unfortunately, the results are – so far – uninspired. (I’ll get back to that in a minute.)
Click to download the ATC file. (Original is 5″ x 8″.)
So, I took out my pen and paper, and started doodling one of my Pandorica-inspired pieces. (The Pandorica is a Dr. Who story element.)
I was so caught up in it, I let it run to the edge of the page. And then, I felt so disappointed, because that meant the piece would require an additional, larger support, just to be matted.
This morning, my husband pointed out that it’s a perfectly good work of art, as it is, and there are worse things than needing something in back of the work so it mats well.
He also reminded me that art is about the inspiration.
That gets me back to my paintings… the ones that aren’t turning out.
I said that they aren’t inspired, and I mean exactly that: I’m working on them, production-style. By definition, that’s an industrial approach. (Yes, I am reading Seth Godin’s The Icarus Deception. It’s brilliant, inspiring, and terrifying, all at the same time.)
So, I went back to my Pandorica doodles. I’m waiting for this evening’s sunset, hoping the colors will be inspiring enough to spark (and complete) some or all of the six little paintings currently on my easel.
I want to take them with me to M.I.T. next week, when we’re hearing Seth Godin speak and participating in whatever’s going on at that event. I’d like to hand out art, at random, as a random acts of kindness gesture. In other words, just for fun.
But… I feel a little stuck. And, I’ve been trying to work with a deadline more than inspiration. Bad idea.
It’s compounded by my fear of disapproval, or – worse – no reaction at all. Boredom. Kind of a “What, you think you’re an artist…?” reaction, as they drop the art in the trash. (Have I mentioned how well I can awfulize when I’m in this mode…? *chuckle and sigh*)
Okay. I’m not sure if this is more stage fright or the visual equivalent of writer’s block.
Either way, it’s putting the emphasis on the finished work and others’ opinions – even their potential opinions, if it’s work I haven’t shown anyone – instead of where it belongs, on the inspiration, and the creative expression that results.
But, what I’m describing in angst-laden terms is how we, as artists, make ourselves tiny and insignificant. And, it’s why we often stall and lose precious time in which we might be making art.
It’s a toxic, all-or-nothing approach. It’s so far from being in flow – in the creative process where we’re in touch with the sublime – we couldn’t find it with a road map, a compass, and a laser-tuned GPS.
The teaching…? I’ve become more selective. I decided not to be part of events where profits are more important than the quality of the courses offered to students. (One of my favorite events is still Dragon Con, though you may not think of that as an arts event, per se.)
The art…? That’s another matter. Recovering my willingness to be creative, out loud… that’s why I changed this website back into the blog it was in the first place, back in 1995 or 1996, when I began it.
And, it’s why I’m staring down virtual stage fright, posting last night’s Pandorica piece here, as a graphic and as an ATC you can download (and print at 300 dpi).
Click on the illustration, above and on the left, to print your own copy. Or just click on this link.
In an emergency, even with 30 days to come up with $2000, only 25% of Americans are sure they could beg, borrow or steal that much money.
If you’re in business, you need to know your potential audience and customers. In 2011, if your usual fans & collectors are among 75% of Americans, they can’t buy your $1500 painting, wall hanging or assemblage, no matter how gorgeous it is.
Sure, your art may be worth that much or more. Value isn’t the issue here.
The more pertinent questions are:
Do your business practices make your future customers feel better or worse about themselves?
Do they like how they feel around you and (especially) around your art?
Do you have rapport with them?
If they don’t feel that sense of mutual understanding on a personal level — even as artist-to-customer — they won’t be as open to connecting with what your art communicates.
Sure, you can focus on the minority who can afford your art. That may be a smart tactic, for now.
However, that probably shouldn’t be your exclusive focus. Even if you don’t put as much time into laying a foundation with the rest of your audience, they’re still important to your future as a successful artist.
Reaching the 75%
If you’re meeting some of that 75% at art shows, galleries, or even as you’re running errands — and hope to attract them as clients, customers and collectors in the future, when they’re back on their feet — now is the time to establish rapport. They’ll remember it later.
Think about what you can do, so they feel a connection with you right now. What can you give or sell to them that they can own, and — at the same time — help them feel better about themselves?
Even if the person can’t purchase any of your art right now, he or she should walk away thinking, “That art is so great. I’m going to own some of that, some day.”
Contrast that with the sad, “That art is beautiful, and yet another thing I can’t afford. Maybe I never will.”
See the difference?
So, make it possible for the person to connect with your art and feel good about it, right now.
The importance of gifts
Whether it’s a happy conversation, a free art postcard (like VistaPrint’s freebies, which I use), a link to a webpage where they can download something… make sure you connect with your friends and fans, and they remember it as a happy meeting.
This isn’t a reciprocity thing. It’s not, “I’ll give you this now, and you agree to give me something in return, later.”
The gift economy is a little different. It’s about bonding as individuals, and as a community, to establish a personal connection and goodwill for the sake of the group and each other, period.
What do you get out of this? You get to be part of a happier, more connected community in a happier, more connected world.
You get the satisfaction of having done something good. Too often, that’s vastly underrated.
Remain sensitive to what’s really going on, despite appearances.
It’s important to stay current about the world in general. Use other people’s surveys (such as the article linked above) to understand your audience and what’s going on with them.
Right now, the global economy is in transition. This effects artists as much as anyone else, and perhaps more than most.
This is your opportunity to do something nice and helpful… and be remembered for it.
Everyone wins!
Pave the road to your successful future.
It’s fine to focus on people with cash who also like your art. That’s common sense.
However, pave the road for your continuing success — and invest a little happy karma — by making it possible for everyone to own some of your art, right now.
It’s not difficult. It may require a little creativity, but you can do it.
(Note: If you liked my graphic at the top of this article, it’s a free download. You can click on the image or here to download it as a 5″ x 7″ poster. If you collect ATCs, click here for that free download.)
To understand more about
our economy and the importance of gifts
be sure to read Linchpin by Seth Godin
Well, my recents posts on the topic of copyright — especially related to Flickr and Google Images — seem to have opened a can of worms. (Hence the gummy worms image, at left.)
I did a little more research so I could refer people to the best resources & opinions I could find.
Here they are:
Sites like Buffer list LOTS of sites that offer free images for commercial use.
Personally, I use Pexels.com more than any other site. However, some of their topics have become stale.
But, if you’re searching at “old school” image sites, remember that not all of those pictures, etc., are legal to reuse.
Google aggregates (or “scrapes” or collects) images from all over the Internet, the same as they post the titles of webpages, and summaries or excerpts of them.
Nobody’s webpage is automatically in the public domain because Google indexed it.
Nobody’s photos are automatically in the public domain because they’re among the visual indices at Google Images.
Correctly attributing ownership is not enough to meet copyright laws.
That’d be like someone copying a recent movie and thinking it’s okay because all the credits are intact in the copy they added to a torrent site. (Oh. Wait. People do that.)
Google explains the rights pretty clearly. In a nutshell, you have permission to view the images in Google Images. You don’t automatically have permission to copy and use them.
Highlighted in yellow on the page linked above, Google reminds people to verify the exact terms of using images that appear at Google Images, even when the images bear Creative Commons licensing.
Here’s what Google says:
Before reusing content that you’ve found, you should verify that its license is legitimate and check the exact terms of reuse stated in the license. For example, most licenses require that you give credit to the image creator when reusing an image. Google has no way of knowing whether the license is legitimate, so we aren’t making any representation that the content is actually or lawfully licensed. [Link]
I hope that helps explain what people can & can’t do with your images, and what’s okay (and not) if you’d like to use someone else’s images in your art or other products.
Personally, I’m enthusiastic about Creative Commons licensing… but I’m also ferocious about copyright protections, too.
(As of mid-2024, I had to discontinue my own Freebies pages… over 50 pages of free digital downloads. The reason…? Someone inadvertently alerted me that people were using my free art, commercially.)
Photographers and illustrators are artists, too. Support them by respecting their copyrights.
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“Swaps” are where a certain number of people agree to swap… Well, something, usually handmade, and they’re usually multiple, identical (or nearly identical) items.
Maybe drawing isn’t what you had in mind, but you’re still intrigued by landscapes.
Stage fright has been part of my life for as long as I can remember.
Well, my recents posts on the topic of copyright — especially related to Flickr and Google Images — seem to have opened a can of worms. (Hence the gummy worms image, at left.)
Here’s one of the clearest explanations of what’s what at Flickr: 
A copyright thread at Digitalpoint