Here is a step-by-step introduction to writing a helpful, engaging, and fair media article. If you want to share knowledge, persuade, inform, or entertain an audience through the written word, this is your skill. An article is essentially a non-fiction piece of prose, usually found in newspapers, magazines, journals, or online platforms, designed to cover a single topic thoroughly and engagingly. A Journo on the Hunt. The Big Picture Article writing isn't just about stringing sentences together; it's about structure, clarity, and purpose. Every successful article has three core components:  * A Killer Hook/Introduction: Grabs the reader's attention immediately and states the article's main point (the thesis).  * A Clear Body: Presents well-organized arguments, evidence, and details to support the main point.  * A Punchy Conclusion: Summarizes the key takeaways and often leaves the reader with a final thought or call to action. Writing an article is about more than just saying "I liked it" or "I hated it." A great article helps other people make a decision. Whether you are reviewing a movie, a restaurant, a piece of software, or a pair of shoes, the fundamental structure remains the same. Phase 1: Preparation (Before You Write) You cannot write a good article if you don't observe the details.  * Take Notes: Don’t rely on your memory. If you are at a restaurant, note the music volume. If you are testing a vacuum, note how heavy it feels.  * Determine the Criteria: Judge the item based on what it is trying to be. You shouldn't judge a fast-food burger by the standards of a Michelin-star steakhouse.  * Identify the Audience: Who is reading this? Are they technical experts, parents, budget shoppers, or foodies? Phase 2: Structuring Your Article The best articles follow a logical flow. You can use this structure for almost anything. 1. The Hook (Title & Rating) If you are posting on a platform like Amazon or Yelp, the title is the first thing people see.  * Weak: "Good product."  * Strong: "Great battery life, but uncomfortable to wear."  * Rating: Be fair. If it wasn't perfect, don't give it 5 stars (or 10/10). If it wasn't a total scam, don't give it 1 star. Most things fall in the 3–4 star range. 2. The Introduction Set the scene. Briefly explain what you are reviewing and the context.  * Example: "I bought the XYZ Headphones because I needed something noise-cancelling for my commute. I've used them for two weeks." 3. The Body (The "Meat") This is where you detail your experience. A good way to organize this is the Pros and Cons method.  * The Good: What worked well? Be specific. Instead of saying "The camera is good," say, "The camera takes excellent photos in low light."  * The Bad: What failed? Again, be specific. "The interface was slow," or "The steak was overcooked."  * The Comparisons: How does it stack up against competitors? "It's cheaper than the iPhone, but the screen isn't as bright." 4. The Verdict (Conclusion) Summarize your thoughts. Who is this for? Is it worth the money/time?  * Example: "If you are an audiophile, skip these. But if you just want affordable headphones for the gym, these are a great value." Phase 3: Tips for a Quality Article To make your writing stand out and actually be helpful, keep these principles in mind:  * Be Specific, Not General:  * Bad: " The service was rude."  * Good: "We waited 20 minutes for water, and the server rolled their eyes when we asked for the menu."  * Check Your Bias: If you hate spicy food, don't leave a bad review for a curry house because the food was spicy. Review it based on quality, not just personal preference.  * Mention the "Why": Explain why something matters. "The cord is short" might not matter to everyone, but "The cord is too short to reach a standard outlet" is helpful context.  * Proofread: A review full of typos loses credibility. If you are stuck, you can use this universal "Copy/Paste" template and copy this structure and fill in the blanks: > Title: [One Sentence Summary of your Opinion] > Introduction: I recently tried [Product/Service Name] because [Reason for trying it]. > What I Liked: >  * [Point 1] >  * [Point 2] > What I Didn't Like: >  * [Point 1] >  * [Point 2] > Conclusion: Overall, I would give this a [Number]/10. I recommend this to people who [Type of person], but if you are looking for [Alternative feature], you might want to look elsewhere. Your goal is to be a powerful communicator, and you need to take complex or interesting ideas and present them in a way that is accessible, engaging, and trustworthy. Connecting Value with Consumers Media articles sit at the intersection of business, psychology, and creative arts. At there core they are about communication—specifically, paid, non-personal communication from an identified sponsor using mass media to persuade or influence an audience. In today's crowded marketplace, great products and services often fail simply because the right people don't know they exist. Articles are the essential bridge that connects the value an organization offers with the needs and wants of its target consumers. What is Article Writing, Really? We will now explore the different types of media (from traditional print to modern digital platforms). While often confused with broader concepts like marketing or advertising, article writing is a specific component. Think of it this way:  * Marketing is the comprehensive strategy for bringing a product to market, including research, pricing, distribution, and promotion.  * Advertising is the paid part of the Promotional Mix (which also includes Public Relations, Sales Promotion, and Personal Selling), and the Key Characteristics of Advertising:  * Paid: The advertiser must pay for the media space or time (e.g., a TV slot, a billboard, a Facebook ad).  * Non-Personal: It targets a mass audience rather than an individual (unlike personal selling).  * Identified Sponsor: The source of the message (the company or brand) is always clearly known.  * Persuasive: The ultimate goal is to move the audience to think, feel, or act in a specific way (e.g., buy a product, vote for a candidate, change a behaviour). Why Does Article Writing Matter? Because it plays a crucial role for multiple stakeholders:  * For Businesses: It drives sales and revenue, builds brand awareness and equity, and helps a company maintain a competitive edge.  * For Consumers: It provides information about new products, helps them make informed choices, and can even finance the media they consume (e.g., free websites, broadcast TV).  * For Society: It can promote social causes (like public health campaigns) and drive economic growth by stimulating demand. Your First Step To begin, can you think of a product or service you recently saw that truly captured your attention? What made it memorable, and what was the likely goal of that being offered? Articles in the media are a constantly evolving field, so effective presentation focuses heavily on combining theory with real-world, hands-on practice. Based on best practices, here are the key elements and strategies for presenting an article effectively: 1. Emphasize Experiential & Applied Learning in a practical discipline, where readers learn best by doing.  * Real-World Projects:  * Client Work: Partner with local non-profits or small businesses to have students develop real plans, social media campaigns, or SEO audits for them.  * Product Launch: Develop a new product idea and execute an entire process from conceptualization, market research, branding, to a promotional plan.  * Case Studies: Analyse both successful and failed campaigns from well-known brands (e.g., Apple, Nike, Tinder) to understand strategic choices, consumer behaviour, and outcomes.  * Analytics Skills: Teach people to use essential tools like Google Analytics or other business intelligence, by assigning projects that require them to analyse campaign data and make data-driven recommendations. 2. Focus on Core Concepts & the Service Landscape, while the tools change, the fundamentals remain crucial.  * The Basics: Ensure a solid understanding of:  * The Marketing Mix (4 Ps/7 Ps)  * Consumer Behaviour and Buyer Personas  * Market Research and Segmentation  * Strategic Marketing (SWOT analysis, competitive advantage)  * The curriculum should heavily feature:  * Content Marketing and Storytelling  * Social Media Marketing (strategy, platform selection, measurement)  * Search Engine Optimization (SEO) and Paid Search (PPC)  * Email Marketing  * Adaptability: Stress the importance of continuous learning and adapting. 3. Encourage Collaborative & Interdisciplinary Learning, which rarely happens in a silo, so fostering a relationship is vital.  * Group Projects: Assign complex, multi-stage projects that require teams to manage different aspects of a campaign, mirroring a real marketing department.  * Interdisciplinary Context: Explain how media presentation intersects with other fields like finance (budgeting, ROI), psychology (consumer behaviour), and data science (analytics).  * Industry Connection: Invite professionals to speak or serve as leads, giving people an opportunity to interview them and learn about their day-to-day challenges and successes. 4. Curriculum and Instruction Tips  * Action-Based Objectives: Use Bloom's Taxonomy to set clear objectives that focus on what students will be able to do (e.g., "Students will be able to conduct an SEO audit," not just "Students will know about SEO").  * Avoid Jargon: When introducing new concepts, define terms clearly and relate them to common, relatable examples (e.g., B2C experiences like Uber or Airbnb).  * Use Certifications: Some people use professional certifications (like those from Google or HubSpot) as part of or instead of textbooks, as they are often up-to-date and practical.  * Do you have a particular topic in mind you are looking to sell, then utilize a variety of media: Use videos, podcasts, and online platforms, in addition to traditional outlets, to share ideas and keep the material engaging. ©Daniel Fisher, of All Seasons Art Studio, 2025 #designstrategy

From ®All Seasons Art Studio ​It's not just about protection—it's about presenting your art, diplomas, and memories in their best light. ​Every piece of art, from a child's watercolour masterpiece to a priceless photograph, requires more than just a wall to hang on. It requires an "edge"—a deliberate boundary that separates the artwork from the distraction of the surrounding room. This boundary is the frame, and mastering its selection is the crucial final step in the artistic process. A thoughtfully chosen frame doesn't just protect; it acts as a subtle narrator, enhancing the mood, drawing the viewer's eye, and giving the piece its professional, finished presence. ​The Four Pillars of Presentation: How Picture Framing Elevates Your World. ​ Before you choose a style, it helps to understand the four essential components of any professionally finished frame: ​ The Frame (Moulding): This is the outermost structure. Its profile (shape), width, colour, and texture determine the overall aesthetic—from sleek modern metal to heavily ornamented gold leaf. ​ The Mat (Mount): The thick paper border that creates visual space between the artwork and the frame. It protects the art from sticking to the glass and, more importantly, provides "breathing room" for the piece. ​ The Glass (Glazing): The protective shield. Modern options include standard glass, lightweight acrylic (Plexiglass), and crucial museum-quality UV-protective glass, which prevents fading. ​ The Backing: Usually an acid-free foam core board that provides structural support and protects the back of the artwork from environmental damage and dust. ​Frame Style: Matching Mood to Moulding ​ Choosing the right style is where the art truly begins. The goal is to select a frame that complements the piece without competing with it. ​ Modern & Minimalist: For contemporary art, digital prints, or black-and-white photography, sleek, thin profiles in black, white, or brushed metal (aluminum or steel) are ideal. These frames offer a strong, clean line that focuses all attention on the artwork itself. ​ Traditional & Classic: Oil paintings, charcoal sketches, and formal portraits thrive in rich, wooden frames with darker stains or subtle detailing. Gilded (gold) frames work wonderfully for warm-toned pieces or historical reproductions, adding formality and gravity. ​ Rustic & Organic: Watercolour landscapes, nature photography, or fibre art often pair beautifully with unfinished, reclaimed, or naturally stained wood profiles. A distressed barnwood frame, for instance, adds textural interest that grounds the piece in nature. ​The Matting Magic: Creating Space ​ Often overlooked, the mat is arguably the most powerful tool in the framing arsenal. It functions as a buffer zone, preventing visual conflict between the colours of the art and the colour of the wall. ​ Colour Choice: For almost all art, the best mat colour is a neutral white, off-white, or light grey. This neutrality allows the colours in the art to pop without interference. If you want a double mat (two layers of mat board), the inner, thinner layer can pick up a subtle, muted accent colour from the artwork. ​ Width is Key: Generous matting instantly elevates a piece. A standard 8x10 photograph benefits from a 2–3 inch mat border, while larger prints can handle 3–4 inches or more. Leaving more space at the bottom (a technique known as "weighting the bottom") is a professional trick that visually stabilizes the piece. ​ Acid-Free Protection: Always insist on acid-free or archival-quality mats. Standard cardboard mats contain acids that can migrate into your art over time, causing irreversible yellowing known as "mat burn." ​Investing in Glazing and Longevity ​ While standard glass works for prints, protecting original art, high-value photographs, or pieces destined for sunny rooms requires an upgrade to UV protection. ​ UV Glazing filters out the harmful ultraviolet rays that cause colours to fade and paper to become brittle. This is a non-negotiable investment for anything you hope to keep for a lifetime. ​ Non-Glare Options reduce reflections, making the art visible from any angle. Museum glass is the premium choice, offering both UV protection and near-invisible clarity thanks to anti-reflective coatings. ​ The Final Decision: DIY or Pro? ​ For standard posters and everyday photographs, off-the-shelf frames are a budget-friendly option. However, for anything unique, irreplaceable, or professionally created, custom framing is worth the investment. ​A professional framer offers expertise in colour theory, knows how to handle delicate paper or canvases without damage, and can source moulding and mat combinations that simply aren't available commercially. They will also use techniques like hinging to allow the art to expand and contract naturally, ensuring the piece stays flat and pristine for decades. ​ The frame is not an afterthought; it is the final, essential element that completes the story of your art. Choose wisely, and you'll transform a simple picture into a commanding visual statement. For standard posters and everyday photographs, off-the-shelf frames are a budget-friendly option. However, for anything unique, irreplaceable, or professionally created, custom framing is worth the investment. A professional framer offers expertise in color theory, knows how to handle delicate paper or canvases without damage, and can source moulding and mat combinations that simply aren't available commercially. They will also use techniques like hinging to allow the art to expand and contract naturally, ensuring the piece stays flat and pristine for decades. The picture frame elevates your world because it is not an afterthought; it is the final, essential element that completes the story of your art. Choose wisely, and you'll transform a simple picture into a commanding visual statement. ©Daniel Fisher, of All Seasons Art Studio, 2025 #designstrategy

Unlocking Mindfulness in our busy lives, distractions often pull us in different directions, creating stress and confusion. The teachings of the Buddha shine brightly, offering clear guidance and hope. His wisdom, expressed in powerful quotes, can help us grow personally, embrace mindfulness, and find inner peace. In this blog post, we'll look closely at meaningful quotes from the Buddha, explore their deeper meanings, and discuss how we can bring these teachings into our everyday lives. We will share relatable stories and practical examples that emphasize self-improvement, compassion, and the path to living mindfully. A serene Buddha statue surrounded by lush greenery The Power of Unlocking Mindfulness Mindfulness means being fully aware of what is happening around us and within us at any moment. It can be developed through meditation and conscious living. The Buddha stressed the importance of mindfulness, encouraging us to observe our thoughts and actions without judgment. One well-known quote from the Buddha is: "The mind is everything. What you think you become." This saying underlines how our thoughts shape our lives. Positive thoughts can create positive experiences, while negative ones can lead to suffering. Consider this: a study by the University of California found that practicing mindfulness can reduce stress by nearly 30%. A simple approach to adopting mindfulness in daily life is to pay attention to your self-talk. Instead of saying, "I can't do this," try reframing it to, "I will give it my best shot." This change in perspective can open new doors to possibilities and encourage growth. Embracing Impermanence The concept of impermanence is central to the Buddha's teachings. He taught that everything in life is temporary and that holding on to things—whether they are possessions or relationships—leads to suffering. A relevant quote is: "Nothing is permanent. Everything is subject to change." Understanding this concept can help us appreciate moments and release attachments that no longer benefit us. Think of a tough breakup. At first, it may seem unbearable, but with time, healing becomes possible. Research shows that about 75% of people experience personal growth after a breakup. Recognizing that emotional pain is temporary allows us to face life's challenges with resilience and strength. The Importance of Compassion Compassion is a key part of Buddhist philosophy. The Buddha taught that nurturing compassion for ourselves and others is vital for personal progress and inner calm. He said: "Hatred does not cease by hatred, but only by love; this is the eternal rule." This quote highlights that responding to negativity with kindness can disrupt cycles of suffering. Consider a situation where someone has harmed you. Instead of holding on to resentment, you could choose to understand their perspective. Research from Harvard University indicates that practicing compassion can significantly enhance your emotional well-being. By embracing this approach, both you and the other person can find healing. The Journey of Self-Conquest Self-conquest is a recurring theme in Buddhism, involving controlling our desires, fears, and negative emotions to achieve inner peace. The Buddha said: "You are your own master. You make your own destiny." This highlights the power we hold over our lives. Taking responsibility for our thoughts and actions shapes our future. When stress feels overwhelming, take a moment to breathe and reflect. Ask yourself what you can control and what you need to release. This self-reflection can lead to increased clarity, helping you feel more empowered in demanding situations. Cultivating Gratitude Gratitude is another vital aspect of mindfulness and personal development. The Buddha taught that being thankful contributes to a more satisfying life. He said: "Let us rise up and be thankful, for if we didn’t learn a lot today, at least we learned a little, and if we didn’t learn a little, at least we didn’t get sick, and if we got sick, at least we didn’t die; so, let us all be thankful." This encourages us to recognize gratitude, even in small aspects of our lives. To practice this, consider keeping a gratitude journal. Write down three things you appreciate every day. Research has shown that regularly practicing gratitude can lead to a 25% boost in happiness over time. By focusing on abundance rather than lack, you will cultivate a sense of contentment. The Path to Inner Peace Inner peace is something many of us seek, yet it often feels out of reach. The Buddha's teachings present a clear path to achieving tranquility. He said: "Peace comes from within. Do not seek it without." This quote serves as a reminder that true peace is found not in external circumstances but inside us. To cultivate inner peace, you can incorporate simple mindfulness practices into your routine. This can involve short sessions of meditation, deep breathing, or mindful walking. Data from studies show that even five minutes of mindfulness each day can lead to significant reductions in anxiety and stress levels. Reflecting on Wisdom for Personal Growth The teachings of the Buddha offer timeless insights for transforming our lives. Reflecting on his quotes and implementing their wisdom allows us to embark on a path of personal growth, mindfulness, and compassion. As we navigate life’s complexities, let’s remember the value of self-conquest, the beauty of impermanence, and the strength of compassion. Embracing these concepts unlocks a deeper sense of mindfulness and leads to a more fulfilling existence. As the Buddha said: "What we think, we become." Let’s choose our thoughts with care and cultivate lives rich in peace, gratitude, and love. Think about how you can weave these teachings into your daily life. What small adjustments might help you increase mindfulness and compassion? Every step does count, and every moment presents an opportunity for growth. -Created Using References and Quotes along with AI. #aestheticphilosophy

By embracing Zen Wisdom, Buddhism offers invaluable insights into the nature of existence, self-discovery, and life’s delicate balance. Through the teachings of notable figures like Dogen Zenji, we can explore themes that resonate with our daily experiences. This blog post examines the journey of self-discovery and motherhood, the paradox of knowledge, the significance of mindfulness, the harmonization of opposites, and the significance of life and death. Each theme is illustrated through quotes and reflections that encourage us to contemplate our lives more deeply. A tranquil Zen garden representing peace and mindfulness The Journey of Self-Discovery and Motherhood Dogen Zenji, founder of the Soto school of Zen, emphasized self-discovery as a lifelong journey. He famously said, “To study the Buddha Way is to study the self. To study the self is to forget the self.” This quote captures the essence of Zen practice: the inward journey leads to a deeper understanding of our true selves. For many mothers, this journey is particularly transformative. Nurturing a child often compels us to confront our identities, beliefs, and limitations. A study from the Journal of Happiness Studies revealed that 64% of mothers reported significant personal growth during motherhood, highlighting how challenges can spur self-discovery. Moments spent with our children—whether reading a bedtime story, assisting with homework, or playing together—often reveal insights into our own desires and fears. I have found that these tiny moments act as mirrors, reflecting the parts of myself I may otherwise overlook. The Paradox of Knowledge and Understanding Zen philosophy often portrays paradoxes that challenge our conventional thinking. A fundamental paradox is the relationship between knowledge and understanding. Dogen stated, “Knowledge is not the same as understanding.” In Zen, knowledge refers to mere facts, while understanding involves deep, experiential insights into reality. In our fast-paced world, we often confuse knowledge with wisdom. For instance, studies show that while over 70% of people feel educated about mental health, only about 26% feel truly equipped to manage it. This discrepancy highlights the need for understanding, which requires stillness, contemplation, and direct experience. Practically, we should aim to move beyond merely accumulating facts. When facing challenges, instead of relying solely on information, we can take a moment to reflect on how those experiences resonate with our inner selves. This shift can spark profound insights and drive personal growth. The Importance of Mindfulness and Being Present Mindfulness is a fundamental aspect of Zen practice, emphasizing being fully present in the moment. Dogen taught, “When you are in the midst of a task, do not think of anything else.” This principle encourages us to immerse ourselves deeply in our actions, no matter how mundane. Daily life often pulls us in multiple directions, making distraction the norm. According to a study from the University of California, multitasking can reduce productivity by as much as 40%. Practicing mindfulness enables us to appreciate the present moment more fully. For example, turning everyday tasks like cooking into mindfulness exercises can be transformative. Focusing on the texture of ingredients, the sound of sizzling food, or even the rhythm of stirring can elevate routine activities into profound moments of awareness. This practice enriches our enjoyment and fosters clarity in our lives. Harmonizing Opposites and Achieving Balance Zen teachings frequently explore duality and the need for harmonizing opposites. Dogen expressed this beautifully by saying, “To be in harmony with the world is to be in harmony with oneself.” Achieving balance involves embracing both the light and shadow sides of our existence. In life, we encounter conflicting emotions and experiences—joy and sorrow, success and failure, love and loss. Rather than resisting these contrasts, Zen encourages acceptance and integration. Studies indicate that people who accept their emotions tend to experience less anxiety and greater life satisfaction. Practically, this means allowing ourselves to feel a full range of emotions without judgment. When experiencing sadness, for instance, we can acknowledge it as an essential part of our human experience rather than avoid it. By embracing our emotions and their lessons, we build resilience and a deeper understanding of ourselves. The Significance of Life, Death, and the Urgency to Awaken Zen Buddhism emphasizes life’s impermanence and death’s inevitability. Dogen poignantly stated, “To be alive is to be aware of death.” This awareness can motivate us to awaken to the present moment and live fully. Understanding life’s transient nature encourages appreciation for each moment. It helps us prioritize what truly matters, allowing us to focus on cultivating meaningful relationships and experiences. A study found that reflecting on mortality can boost our commitment to what we care about most. Reflecting on mortality has inspired me to be more intentional in my actions. Whether spending quality time with loved ones or pursuing passions, the awareness of life’s fleeting nature serves as a vital reminder to live authentically and deliberately. Integrating Zen Wisdom into Daily Life As we explore Zen Buddhism's profound teachings, integrating them into our daily routines can enhance our lives. Here are two practical takeaways: Cultivate Self-Discovery : Dedicate time for self-reflection. Consider journaling, meditating, or spending quiet moments in nature to connect with your inner self. Practice Mindfulness and Acceptance : Bring mindfulness into your daily actions. Use moments of routine as opportunities to be fully present. Also, accept a range of emotions as part of your journey, acknowledging their contributions to your growth. Reflecting on, and Embracing Zen Wisdom The teachings of Zen Buddhism reveal essential insights about existence, self-discovery, and life’s balance. Through the wisdom of Dogen Zenji and the exploration of themes like mindfulness, duality, and the significance of life and death, we can deepen our understanding of ourselves and our place in the universe. As we navigate life's complexities, embracing these teachings can enhance our daily experiences. By practicing mindfulness and accepting the full range of our emotions, we can awaken to the beauty of each moment, nurture meaningful connections, and lead more fulfilling lives. In the spirit of Zen, let us continue this journey of self-discovery and find peace along the way. -Created Using References and Quotes along with AI. #aestheticphilosophy

Do you feel like you’re interested in Art? Do you have many questions about writing? Are there any specific points about life you want to explore, then consider contacting me to make a connection.   I am enterprising by nature and use my initiative to identify different and better ways of doing things, often by understanding the bigger picture I am willing to take some risks to achieve better results. I think about how I can develop your confidence and learn new ways of getting your ideas off the ground, as everything has a place and an order. Meaning; I try to be effective in what I do as being organised in advance really can be a positive asset in life.   ​​​By helping others with their work, to exceed their expectations I put a lot of effort and energy into the extra hours and can be capable of working longer than most other artists.  In my willingness and drive to take part and contribute, I usually have a positive 'can do' approach and like to make things happen, often in group activities I contribute to achieving goals, and develop this strength by using it in my everyday life to help others feel good about themselves.   I've made many products in; academia, sewing, collage, jewellery, books, models, sculpture, ceramics, photography, and graphic design, but nothing quite compares to my first love of painting and drawing. And having an online conduit for my creative talents, I have a duty to act fairly and in accordance with my Code of Ethics, where I promise to:   Honour the interests of my customers transactions. Use clear and concise language as standard. Treat my customers complaints with respect. Maintain required insurances where appropriate. Honour my own, my business partners, and my clients, good standing.   My inspiration enables me to share observations with the world at large either in oils or often applying watercolours to my smaller studies in pens and pencils. As by taking visual inspiration and turning it into presentation, Painting and Drawing becomes a testimony to my love of art, with Writing as a staple of my years in training and not forgetting my penchant for Creative Design as a tool for retail and commerce. Creativity has become my life, and life is what you make it; hence I have chosen to practice good customer service. ​ ​​Because in a work situation this is likely to mean success for the customer, hence I understand how my job contributes to the clients' overall goals. I put myself in other people’s shoes, including colleagues, and fast-track this understanding by identifying people who can help build my knowledge of business and commerce.   But to aid the development of current ideas and solve problems, I neither pigeonhole, stereotype, nor typecast, and instead challenge assumptions with confidence and understanding because, in aiming high and exploring new ways of doing things I cannot help but produce new and original ideas. Hence, I am an all-round artist providing commercially styled drawings and paintings from the Scottish School and subscribe to an independent approach in art by managing an informal studio practice. As such, my products are conservation friendly, guaranteeing the safe and secure condition of the item/s for up to one hundred years under normal exhibition and display circumstances. ​ ​​This is because I take pride in everything I do and focus on delivering quality work that is of the highest standard in life, which is very much a case of building good relationships with people who enjoy taking part in team discussions, I listen, persuade, and negotiate, with respect for the role of each person. People come in different shapes and sizes, and to improve social skills I watch the people who do best in a team to explore what I can learn from them.   My education includes seven subjects at SQA level 4, one subject at SQA level 5, four subjects at SQA level 6, and an extensive range of certifications in various fields which have all been achieved through Northeast Scotland College. I hold other registrations which currently include being able to practice demonstrations under the Protection of Vulnerable Groups Scheme. I am PVG checked with Disclosure Scotland and hold a completely clean record of disclosure which allows me to hold an insurance policy that covers my professional indemnity within UK authority.   To manage my time I am normally punctual, prepared and naturally focus on how I can do things better, whether trying to improve my performance at work, or just seeing how I can improve and influence the things that really matter, getting better every day comes naturally to me. Good planning usually helps me get my work done on time and I regularly take responsibility for managing how well I perform, but what I want to achieve in the future is to know when to ask for help as I rarely give up when things get difficult. I like people who I can ask for feedback and advice. ​ ​I assert confidence in problem solving and lateral thinking as the reason I endorse the practice of, contributing positively by thoroughly preparing myself and collaborating creatively by aiming high in life. I assume that my presence or the interests of partners and colleagues can have a positive influence, where mutual recognition and respect can be shared. Thus, in encouraging the views of others in the discussion of a commission, I can negotiate between artists like me and arts organisers with the aim of achieving an unclouded vision and decisive pathway forward.   By engaging colleagues in the research of an outcome for a project, I can produce and deliver work, exhibitions, or products for the client, and hold the ability to liaise with the leads on the progress and direction of a commission. Thus, by keeping the organisation - and - community informed about the achievements I contribute promotional content to the scheme's portfolio.   The advice given within these pages enables the client as well as myself to engage with the profession, and I advocate that you the client understand the use of this portfolio of resources to protect and expand the additions to your service. As according to the Artists Information Company, a code of practice can be a commonly agreed set of principles which demonstrate the conditions of the work to be undertaken.   I'm a very moral person with strong ethics and can be very aware of the difference between right and wrong when it comes to looking at the facts of a situation and understand the cause. I tend to explore viable solutions before coming to a decision and maximise this further by ensuring that I evaluate my solutions each time. I always act in the way I believe is right, with my decisions and actions always guided by my ethics and values.   Because my principles are important to me, I love to write about them, whether I am updating my status online or creating articles, I enjoy the experience of writing at all sorts of times and in all sorts of places. Often finding myself demonstrating how to communicate with others by naturally focusing on what is important to them, I live life believing in open and honest communication. Being open to change and having a positive attitude enhances my optimistic and resourceful nature, and as such has become the heart of everything I do.   My Code of Practice can help unpack the commissioning and delivery process for my engagement in the arts, as managers need clear and effective information, guidance, and tools, to foster connections not only creatively but responsibly. As such I only utilise analytics and metrics to measure public opinion, and this then informs the strategies I use to create my goods and promote my services, with the knowledge I must safeguard the data of the people that frequently use both my online and physical property. ​ ​​®All Seasons Art Studio contains a varied showcase of Painting's and Drawing's including Writing, aimed at providing the answers to thinking positively, trusting simply, and living wisely. If you the client wish to query this agreement, then contact [ dan@allseasonsartstudio.org ] stating your precise request, with respect to the Disclosure (Scotland) Act 2020 and the UK Data Protection Act 2018, or UK Consumer Rights Act 2015 and Trademarks, Designs and Patents Act 1988.   I retain all rights to the ®All Seasons Art Studio, ®D.M. Fisher.  ®Mr Daniel M. Fisher and ®Daniel Fisher trademarks under UK laws, and at no point shall any of my work be reproduced or copied by a third party or organization without either attribution and/or prior consensual agreement. I am and shall remain the sole legal representative of my estate, where copyright ownership rests and reserve the right to refuse sale or publication of my goods and services at any time.   ©Mr Daniel M. Fisher, of ®All Seasons Art Studio, 2024 #artbusiness

The aim is to truly represent all sections of society and for each person to feel respected and able to give their best. My morals and ethics guarantee that my products are sustainably sourced, as-well-as ethically procure my marketing information, and ensure my business methods are conservation friendly. This allows me to hold products insurance, to cover my professional indemnity, and public liability assurance, and provided the conditions are safe and secure this guarantee will last under normal circumstances. This is because I advocate for the ethical use of the world's network of resources, and can determine a commonly agreed set of principles, which demonstrate the conditions of manufacture, which begin to raise the standard of working production, into a consistently high quality of life for everyone. And so by protecting the environment in which ®All Seasons Art Studio operates, with a continuing commitment to improve its civil processes across all the business interests, and encourage my business partners and those in the wider community to help support this effort globally.   ®All Seasons Art Studio is developing an action plan to supplement periodic reviews on performance and will grant access to these outcomes only in the appropriate manner and at the appropriate time.   I recognise these key impacts:    My energy use.   The procurement process.   Waste generation onsite and remotely.   Emissions produced that go into the atmosphere and potentially the water courses.   General water use.   Company transportation policy.   General procurement of all products, equipment and suppliers.   And will strive to:    Embrace environmental standards in all areas of operation and to exceed relevant legislative requirements where reasonably practicable.   Assess work processes and highlight where I can minimise impacts.   Minimise waste through careful procurement and recycling processes.   Procure sustainable products wherever feasible [e.g. recycled, FSC or low environmental impact products and energy from renewable sources].   Provide information, instruction and training in good social practice and remedial actions.   Reduce accident and incident risks from environmental impacts for all people who may be directly or indirectly affected by the businesses processes.   Adopt and maintain a transport strategy that is environmentally friendly.   Research social outcomes by including ethical methods used in the public realm to improve social practices.   The aim is to truly represent all sections of society and for each person to feel respected and able to give their best, as such the organisation - in providing goods and/or services and/or facilities - is committed to being against unlawful practices in this country. As ®All Seasons Art Studio belongs to an independent approach in art on account of being able to demonstrate and give instruction on arts and humanities under the Protection of Vulnerable Groups Scheme.   My purpose is to:   1. Provide equality, fairness and respect for all in good conduct, whether temporary, part-time or full-time.   2. Not unlawfully discriminate because of the Equality Act 2010 protected characteristics of:   age disability gender reassignment marriage and civil partnership pregnancy and maternity race (including colour, nationality, and ethnic or national origin) religion or belief sex sexual orientation   3. Oppose and avoid all forms of unlawful discrimination included in:   pay and benefits terms and conditions of employment dealing with grievances and discipline dismissal redundancy leave for parents requests for flexible working selection for employment, promotion, training or other developmental opportunities   My commitment to:   1. Encourage equality, diversity and inclusion in the public and private realms, as it shows good practice and makes good business sense.   2. Create an environment free of bullying, harassment, victimisation and unlawful discrimination, promoting dignity and respect for all, and where individual differences and the contributions of all are recognised and valued. This commitment includes the and support of human rights and responsibilities under the equality, diversity and inclusion policy.   3. Which means helping myself and my affiliates conduct themselves appropriately, by helping to provide equal opportunities in employment, and prevent bullying, harassment, victimisation and unlawful discrimination.   4. I understand, as well as my affiliates, that we can be held liable for acts of bullying, harassment, victimisation and unlawful discrimination, in the course of their employment, against fellow employees, customers, suppliers and the public.   5. I take complaints of bullying, harassment, victimisation and unlawful discrimination by fellow employees, customers, suppliers, visitors, the public and any others in the course of the organisation’s work activities seriously. Such acts will be dealt with as misconduct under the organisation’s grievance and/or disciplinary procedures, and appropriate action will be taken.   6. Particularly serious complaints could amount to gross misconduct and lead to dismissal without notice. Further, sexual harassment may amount to both an employment rights matter and a criminal matter, such as in sexual assault allegations. In addition, harassment under the Protection from Harassment Act 1997 – which is not limited to circumstances where harassment relates to a protected characteristic – is a criminal offence.   7. Make opportunities for training, development and progress available to all who will be helped and encouraged to develop their full potential, so their talents and resources can be fully utilised to maximise the efficiency of the community.   8. Make decisions concerning my affiliations to be based on merit (apart from any necessary and limited exemptions and exceptions allowed under the Equality Act).   9. Review business practices and procedures when necessary to ensure fairness, and also update them and the policy to take account of changes in the law.   10. Monitor my circle of influence in regards to information such as age, sex, ethnic background, sexual orientation, religion or belief, and disability. So as to encourage equality, diversity and inclusion by meeting the aims and commitments set out in this policy. Monitoring will also include assessing how the practice and any supporting action plans are working, by reviewing them annually I consider taking action to address any issues.   If you wish to file a grievance, put the grievance in writing to my particular choice of advocacy service which in my case is ACAS (The Advice, Conciliation and Arbitration Service). You should keep to the facts and avoid language that is insulting or abusive.   Grievance hearing:   ACAS will call you usually within 5 working days, to discuss your grievance. You have the right to be accompanied by a colleague or trade union representative.   After the meeting you will be given a decision in writing, usually within 24 hours. If the manager needs more information before making a decision, they will inform you of this and the timescale.   Appeal:   If you are unhappy with the decision on your grievance you can raise an appeal and you should tell your solicitor.   You will be invited to an appeal meeting, normally within 5 working days, with a more senior manager at ACAS or myself ©Mr Daniel M. Fisher.   You have the right to be accompanied by a colleague or trade union representative. After the meeting I will give you a decision, usually within 24 hours. My decision is final.   Operational procedure:   I use this procedure to help and encourage all my clients and customers to achieve and maintain good standards of personal conduct and job satisfaction.   The company rules and this procedure apply to all parties within the sphere of the law, with the aim of ensuring consistent and fair treatment for all parties concerned    A hearing process can be stressful for everyone involved as different people might respond differently to stressful situations. I understand the prospect of legal action might cause distress and affect mental health, so please talk to your named person, guardian or manager before taking legal action.   I only consider formal action where appropriate, and do not take remedial action against you until the case has been fully investigated.   For formal action I will advise you of the nature of the complaint and give you the opportunity to state your case before any decision is made at a case meeting.   I will provide you, where appropriate, with written copies of evidence and relevant witness statements before a hearing, and will only dismiss you for a breach of protocol in the case of gross misconduct, when the penalty is dismissal without notice and without payment in lieu of notice.   You have the right to appeal against any disciplinary action at any stage if the alleged misconduct needs this.   Your right to be accompanied:   You have a statutory right to be accompanied by a companion where litigation could result in:   A formal warning, Some other disciplinary action, Confirmation of responsibility,   The right is to be accompanied by:   Someone you work with, A trade union representative who’s certified or trained in acting as a companion, An official employed by a trade union,   You should tell your authority as soon as possible if you would like a companion so I can make arrangements in good time, and if you need any adjustments for example in the case of a disability speak to your representative.   The procedure:   The first stage of formal procedure will normally be either:   A warning about unsatisfactory behaviour if relations do not meet acceptable standards. This will set out the problem, the improvement that is required, the timescale, any help that may be given and the right to complain.   I will advise you that this is the first stage of the formal procedure and will keep a note for future reference, but it will then be considered spent – as long as you achieve and maintain satisfactory levels of conduct.   Or a first warning for misconduct if conduct does not meet acceptable standards. This will verbally set out the nature of the misconduct, the change in behaviour required and the right of appeal. The warning will also tell you that a final written warning may be considered if there is no sustained satisfactory improvement or change. I will keep a record of the warning, but would be disregarded for long term purposes.   In my final warning I might give you a written warning if:   The offence is sufficiently serious, There is further misconduct, There is a failure to improve relations,   This will confirm the full details of the complaint, and the improvement required. It will also warn that failure to improve may lead to dismissal or some other action short of dismissal and will refer to your rights within the equality and human rights commission.   I will keep a copy of this written warning but it will be disregarded for disciplinary purposes as long as you achieve and maintain satisfactory conduct or performance.   Dismissal or other action:   If there is still further misconduct or failure to improve behaviour the final step in the procedure may be dismissal or some other action short of dismissal such as blocking, distancing, or segregation, otherwise known as dismissal.   Dismissal measures can only be taken in the appropriate circumstances and you will be provided with a warning:   Reasons for dismissal, Date the event happened, Confirmation of all final payments owed, Right to appeal,   If an action short of dismissal has been decided on, you will:   Receive confirmation of the full details of the complaint, Be warned that dismissal could result if there is no satisfactory improvement, Be advised of the right of appeal contractual obligations,   You should heed the warning as long as you achieve and maintain satisfactory conduct and behaviour.   Gross misconduct:   The following list provides some examples of offences which are normally regarded as gross misconduct:   Use of Physical violence and bullying, or discrimination and harassment and victimisation, which violate human rights regulations. Deliberate and serious damage to - or misuse of - my organisation’s property or name which amounts to theft or fraud. Bringing my organisation into serious disrepute by purposely causing loss or damage or injury through negligence.   I might consider carrying out an investigation if there is a serious issue in the situation, by which I will tell you that there is a serious breach in my code of conduct.   I do consider each situation carefully before deciding on the need for more investigation or action, but a suspension of services does mean you are considered to be unlawful in some manner.   I understand this might be stressful so I will:   Only suspend support and operations if there's no other option, and always consider your mental health and wellbeing as part of the decision making process.   Appeals:   If you want to appeal against any of my decisions you must do so within a number of days as I do hear all appeals but the courts and their decision is final.   At the appeal any disciplinary penalty imposed will be reversed only if my decision is found to be biassed, unlawful, or of another dishonest motive.   Use of the organisation’s grievance procedures does not affect the client's right to make any informal grievances and complaints about my work or practices. You should start by speaking with me whenever possible, as we may be able to agree on a solution between us, as the cause of the harm may usually be in a position of trust and power, such as a healthcare professional or manager of which there can be many forms of abuse and neglect.   Sexual abuse includes:   indecent exposure sexual harassment inappropriate looking or touching sexual teasing or innuendo sexual photography being forced to watch pornography or sexual acts being forced or pressured to take part in sexual acts rape   Physical abuse includes:   being hit, slapped, pushed or restrained being denied food or water not being helped to go to the bathroom when you need to misuse of your medicines   Psychological abuse includes:   emotional abuse threats to hurt or abandon you stopping you from seeing people humiliating, blaming, controlling, intimidating or harassing you verbal abuse cyberbullying and isolation an unreasonable and unjustified withdrawal of services or support networks   Domestic abuse is typically an incident or pattern of incidents of controlling, coercive or threatening behaviour, violence or abuse by someone who is, or has been, an intimate partner or family member.   Discriminatory abuse includes some form of harassment, slur or unfair treatment because of:   race sex gender and gender identity age disability sexual orientation religion being married or in a civil partnership being pregnant or on maternity leave   Internet scams and doorstep crime are common forms of financial abuse and can be someone stealing money or other valuables from you. Or it might be that someone appointed to look after your money on your behalf is using it inappropriately or coercing you to spend it in a way you're not happy with.   Neglect includes not being provided with enough food or with the right kind of food, or not being taken proper care of, leaving you without help to wash or change dirty or wet clothes, not getting you to a doctor when you need one or not making sure you have the right medicines all count as neglect.   You're more at risk of abuse in your home if you're isolated and do not have much contact with friends, family or neighbours and you have memory problems or difficulty communicating with your carer. Or if you do not get on with your carer because they are addicted to drugs or alcohol and relies on you for a home, financial, or emotional support, find out more about domestic violence and abuse.   If you think you're being abused or neglected there are many people you can talk to. If you feel you are being abused or neglected do not worry about making a fuss. Tell someone you trust as soon as possible i.e. speak to friends or care workers who may have an understanding of the situation and be able to take steps quickly to improve the situation. Or talk to professionals such as a GP or social worker about your concerns, or ask to speak to your local council's adult safeguarding team or co-ordinator. And if you believe a crime is being, or has been, committed – whether it's physical abuse or financial – talk to the police or ask someone you trust to do so on your behalf.   The advice for carers in spotting signs of abuse in older people is not always easy, but to spot the signs of abuse in a person being abused, they may make excuses for why they're bruised, may not want to go out or talk to people, or may be short of money. It's important to know the signs of abuse and, where they're identified, gently share your concerns with the person you think may be being abused. If you wait, hoping the person will tell you what's been happening to them, it could delay matters and allow the abuse to continue.   Behavioural signs of abuse in an older person can include:   becoming quiet and withdrawn being aggressive or angry for no obvious reason looking unkempt, dirty or thinner than usual sudden changes in their character, such as appearing helpless, depressed or tearful physical signs – such as bruises, wounds, fractures or other untreated injuries the same injuries happening more than once not wanting to be left by themselves or alone with particular people being unusually lighthearted and insisting there's nothing wrong Also, their home may be cold or unusually dirty or untidy, or you might notice things missing.   Other signs include a sudden change in their finances, such as not having as much money as usual to pay for shopping or regular outings, or getting into debt. So watch out for any official or financial documents that seem unusual, and for documents relating to their finances that suddenly go missing.   If you feel someone you know is showing signs of being abused, talk to them to see if there's anything you can do to help. But if they're being abused, they may not want to talk about it straight away, especially if they've become used to making excuses for their injuries or changes in personality. Do not ignore your concerns, though, because doing so could allow any abuse to carry on or escalate.   What should you do if you're worried about someone who may be experiencing abuse or neglect. Start by talking to the person in private, if you feel able to do so. Mention some of the things that concern you – for instance, that they've become depressed and withdrawn, have been losing weight or seem to be short of money. Let them talk as much as they want to. But be mindful that if they've been abused, they may be reluctant to talk about it because they are afraid of making the situation worse, do not want to cause trouble, or may be experiencing coercion or threats.   Stay calm while the person is talking, even if you're upset by what you hear, otherwise they may become more upset themselves and stop telling you what's been going on. As it can be very difficult for an abused or neglected person to talk about what's been happening to them. Unless you're concerned for their immediate health and safety and feel it's vital to act straight away, give them time to think about what they'd like to do.   If you're right and the person has been abused or neglected, ask them what they'd like you to do. Let them know who can help them, and tell them you can seek help on their behalf if they want or if it's difficult for them to do so themselves. It's best not to promise the person that you will not tell anyone what's been said. If an adult is being abused or neglected, It's important to listen to what they say and not charge into action if this is not what they want.   If an adult has told you about their situation, you might want to talk to other people who know them to find out if they have similar concerns. There are also professionals here that you can contact and pass on your concerns to e.g. the person's GP or local authority social workers who deal specifically with cases of abuse and neglect. Call the person's local council and ask for the adult safeguarding co-ordinator. You can also speak to the police about the situation because some forms of abuse are crimes, so the police will be interested.   I fully agree to the tenets of these principles which are outlined by ©Daniel Fisher of ®All Seasons Art Studio, 2024. The morals and ethics were originally designed by Zero Waste Scotland, (ACAS) The Advisory, Conciliation, and Arbitration Service, and Aberdeenshire Adult Care and Support Service. ​ ©Daniel Fisher, of ® All Seasons Art Studio, 2024 #artbusiness

What Can You Offer? It is said that self is a phantom concept as often what you see in others is yourself in disguise, and this way of life aids us to agree on what is normally regarded as acceptable to us. Who are you, and what are you. Could it be that you are no more than a product of indoctrination through the formative years, given rules and regulations that must be adhered to, or have you gained the capacity to listen, observe, experiment until you find what sits comfortably within the self. Each one is different, yet still basically the same, and what we see in others will strike a note of being at ease or conversely unease as the shadow and hidden parts of our self are recognised. So, what can you offer. what is normality, is it another form of social expectation, the reality of which is different for everyone. As our apparent natures become illuminated like a mirage of worldly desires from strong influences, we begin to identify with the enigma that is mind, and this informs and shapes our standards as individuals. Over time we appropriate these from various cultural and social influences which once experienced eventually teaches us to work towards self-determination and detachment, or inclusion, thus resulting in a greater understanding and sense of self, and so life becomes less complicated. In this case the herd mentality then is simply a sign of citizenship, which according to the theories of the social sciences means we are all social animals by nature. You are, however, far-fetched it may seem, imbued with the personal capacity to choose, and choose accordingly. We form our beliefs through trial and error, success, and failure, learning as we go along and either adopting or discarding, the mores of the community we live in. However good or bad the reality of the person, people, or situations we see in life are, the fact is the big "I am" exists and is doomed to failure. We as a species make our world a place of many delights but also many pitfalls. I doubt any human in history has ever said they live life as though there are no limits, but then again.... life is what you make it. Choose and choose wisely. ©Daniel Fisher, of ®All Seasons Art Studio, 2023 #aestheticphilosophy

You are what you are not? My life experience has taught me to distrust my all-too-often blithe accusations of stupidity, which are normally aimed internally at people who refuse to comply with my wishes or demands. You are what you are not?........................ ​ I choose a better type of attitude towards others and expect a kinder and more compassionate response, in which usually comes from myself as a form of love and empathy because, in the choice to be free from blind hatred and intense fear, I realized both cripple my sense of continuity in life. ​ ​This concept is usually called self-realization and is based on the idea that being human is a given, as we all have earned a world of insight gained from hard failure and loss, which is unlocked in us and then disseminated when we finally discover our true nature. ​ Faith in this case is just a steppingstone to a creative solution, as I have the courage to propound an answer and then find I later question my own key ideals in the process, which is a real reason to listen and learn. ​ By using self-awareness, I gain another form of learning, and being by nature self-directed is of no fundamental consequence to learn to see my mistakes, as what is required is the desire to change in the first place. This can be half the battle, with choice, will, and intent my allies in conquering my reluctance to be objective, which always comes with the feeling of not being able to cope with life’s demands. ​ As encouragement, if I can participate in something then I find a shred of self-determination and a positive direction, however small my contribution might be, my life becomes enriched because of feeling in control. Stubbing the notion that if I do not take part, I have no recourse for complaint when life becomes tough. I am of the belief, the more I stretch myself out-with my comfort zone then I become more open to the possibility of creating a greater safe-zone around me. This is because it’s hard for me to accept that all life is solely dependent on bad experiences, as often what is necessary is just to see the truth. ​ I call it self-confidence, and to me it's the freedom to live and act authentically; by observing my reality I naturally come to my own conclusions, and in the process begin to understand other people better. ​ I do not know what motivates some people as frankly I have only ever seen a certain amount of inherently neurotic ideation in some, as a crippling sense of insecurity that renders them fragile. ​ Entitlement can lead to self-interest which can spiral out of control and lead to a rapid deterioration in physical and mental health. ​ To learn who I am, I became, independently minded. ​ ©Daniel Fisher, of ® All Seasons Art Studio, 2023 #aestheticphilosophy

Explore Art Theory with Mr. Daniel M. Fisher. Delve into artistic practices and techniques. Discover insights into Art Theory and its applications. | All Seasons Art Studio "Sight-Size" - This measuring method is where you stand back and measure an object in the real world according to a fixed point - usually a pencil held at an arm’s length and then scale it up or down according to your needs. "Envelope" - Constitutes the block in phase where you work inside a broad shape, then onto smaller shapes for smaller parts of the image, starting broadly at first until you reach a certain degree of refinement.   "Positive & Negative Space" - Is the area in and around that object which can either advance or recede, the area around the object is what defines the boundaries. ​ "Implied Line" - is a series of points in the image that suggest a path for the eye to follow. ​ "Comparative Measuring" - Determining the length or width of an object by comparing it with another, e.g., the length of the torso compared to the size of the head. ​ "Relational Measurement" - Well coordinated critical points of departure to confirm the locations of other points, orientating the relationships around each other. ​ "Length and Tilt" - Convexity on the body is a “Fullness” or is outwardly rounded, with a point of origin, an apogee [highest point], and an insertion point at the end. They are either “Continuous” which means they are either fluid and seamless, or “Discrete” which means each form is distinct. ​ These describe the qualities of every line, which combine to create the inclination and dynamism of every shape. ​ "Triangulation" - Using two or more points to locate a single new point e.g., “non-parallelism” which is comparing the sides of the same form to make sure they are asymmetrical. ​ "Caliper Vision" - A process of measuring two points on opposite sides of the form. ​ "Staging" - The division of planes on a canvas according to Foreground, Middle ground, and Background, or in figurative painting this is the proximity of a character to the viewer.   Divisions either by grids or by diagonals e.g., Thales Theorem or a ground plan of an architectural façade.   [A]    To attain true realism, first you must choose a canvas that is the optimal size for the room in which it is to be displayed in, then understand the optimal viewing distance. By doubling or tripling the longest edge once you have found the ratio for the room. [B]    2”x2” square canvas = 4” or 6” vantage point. [C]    Use this ratio of the vantage point to measure the scene and find the optimal Viewpoint from which to paint the scene from e.g.: [D]    With a 2” side times by a 4” vantage point = 8” from the scene in the real world with a 2”x2” square canvas.   "Line Drawing"   · Alignments are the angles and lines that form positive and negative shapes. · Landmarks are used to scale and connect disparate parts of an image. · Proportion is used to create perspective e.g., Geometric and Iso-Metric Perspective. · Direction of energy of the lines in the composition or “Rhythm”. · Character is either open or closed or blocking you. · Personality is either leaning in or leaning away.   "Mass Drawing" · The “Essence” is the simplest forms the object can be built with. · Pose is the silhouette formed by the person or object forming one large shape. · Clothes are either hanging, draping, stretching, or compressing. · Volume caused by scale, values, and shadows.   "Role" - The relationship the characters have to the viewer and between themselves. "Vantage Point" - A viewpoint from which the viewer has of the scene. ​ "Golden Section" - Divide the canvas by 2:62. ​ "Counterpoints" - Give objects differing spaces from the edges of the canvas, e.g. group objects at uneven intervals i.e. 1,3,5,7,9,11 and of differing sizes and shapes. ​ "Counter-Change" - Overlapping objects can deceive the eye into seeing recession. ​ "Juxtaposition" - Opposing design ideas used to create tension. ​ "Juxtaposition" - The use of opposing design marks used to create balance. ​ "Juxtaposition" - The change in difference of two or more elements that oppose each other.   "Focal-Point" - A primary area of emphasis that is the most interesting to look at, and secondary areas of emphasis are what supports the main centre of interest.   "Picture Plane" - The flat plane at the end of your vision of a scene and it encompasses the picture you want to paint. ​ "Selective Focus" - When the object in the centre of your vision is in sharp focus and everything else is fuzzy and out of focus. ​ "Vanishing Point/s" - Point/s on the horizon line that all the objects slant toward creating perspective.   "Linear Perspective" - One point perspective and defines only the form. "Isometric Perspective" - Multi-Point Perspective: An oblique view that defines the space the object is in. ​ "Geometric Perspective" - Based on multi-point perspective containing multiple objects e.g. a Diagram or a Relief. ​ "Foreshortening" - A lot like Isometric Perspective but distorted to deceive the eye. "Atmospheric Perspective" Smaller, Less Detailed, Cooler, Duller, Darker, Softer, Greyer, Fuzzier, Neutral recedes.   AND   Larger, More Detailed, Warmer, Lighter, Sharper, Stronger, Clearer, Brighter advances. ​ "Armature" - Based on the theory of unified harmonic resonance due to the “Eyes” or intersections of all the angles drawn to form shapes or travel lines, usually from a half, quarter, or three-quarter point from the edge of the canvas. ​ "Root Rectangle" - The height VS width correlation of the edges of the canvas when you draw a line from the centre of the bottom line to a corner and then drop it down: This forms from a root 1 rectangle a Root 2 rectangle of 1.41 and a Root 3 rectangle is 1.73 and a Root 4 is 2 and a Root 5 rectangle is 2.23 Etc. ​ "Visual Hierarchy" - Is where you create a primary, secondary, and tertiary focal point to guide the viewers eye through the picture, this can be done using colour, edges, shapes, composition whatever, so long as there is a main area with a few other subordinate areas in the picture.   "Table-Top" - The composition reads from front to back and has deeper recession looking down on top. ​ "Shelf-Top" - The composition reads from Left to Right and you are looking straight on, with a level eye line. "Colour Family" - The group of colours together on the colour wheel, e.g., more than one yellow, or more than one blue, or more than one red, with each hue all together under one colour family.   "Hue" - The Local Colour as in Primary, Secondary, Tertiary.   "Value" - The Relative Lightness or Darkness of a colour.   "Temperature" - The colours relative warmth or coolness.                            "Chroma" - Saturation: Brilliant or Muddy. "Chroma" - Luminosity: Pure or Dull.   "Tinting Strength" - The relative colouring power.   Tint is the colour plus white. Tone is the colour plus Grey. Shade is the colour plus black. ​ Warm colours advance while cool colours recede.     Polychromatic colour is using multiple colours.    Compliments are opposite each other on the colour wheel. ​ Split Compliments are opposite each other with one either side of the compliment. ​ A Diad is using two colours that are equidistant from each other on the colour wheel. ​ A Triad is three colours equally spaced from each other on the colour wheel. ​ A Tetrad is a contrast of four or more colours on the colour wheel. Analogous colour uses two colours that are side by side on the colour wheel. ​ Mono-Chromatic colour is using one colour in a variety of tones. Achromatic colour is black and white with a variety of grey’s in-between.   The Mother Colour in a painting is the same colour used in all the mixes and is linked to the Atmospheric Key in a painting. ​ Additive colour mixing is colour mixing using paint whereas Subtractive colour mixing uses light. ​ Transparency is when the colour from underneath shows through. Translucency is when the colour from underneath only partially shows through. ​ Opaque colour from underneath does not show through. ​ Colour Notes are the patches of colour that go to create form. ​ A Prismatic Colour is a pure and brilliant primary colour. ​ Breaking the colour refers to reducing the Chroma by way of mixing it with its compliment on the colour wheel to make it more neutral. ​ Earth Colour is grey and muddy colour.   Neutral Colours are reduced in Chroma. ​ Non-Colour is a colour that has lost its Chromatic Identity. ​ Body Colour is an opaque layer of paint. ​ Tonal Colour means organising colour and form according to a Gradation. ​ Colour Contrast is when two compliments are side by side on the canvas. ​ Successive Contrast is seeing one colour in the compliment of another. ​ Simultaneous Contrast is the merging of two complimentary colours. ​ Value Contrasts are lights against darks or vice versa. ​ Value Massing is grouping together areas of broadly similar light and dark values to create an abstract pattern of shapes. ​ Refraction is the diffusion of edges, and grades of darker to light and light to darker around the edges of objects in the real world. ​ Diffraction is the softening of light, form and colour caused by a heavy atmosphere, or lighter structure e.g. tree branches and holes. The size of the support depends on the scale of the objects to be placed within it, hence the scale and format of a canvas is the first determinant of the mood you want to create in a painting. ​ The "Abstract Pattern" is the collection of shapes on the canvas. ​ "Gridding" - Can be used on the reference material to compare the scale of the scene and objects therein to the scale of your canvas and objects therein. ​ A work of art must be the same size as the object to be called “Life-Sized”.   The Seven Design Ideas: Unity, Contrast, Dominance, Repetition, Harmony, Balance, Gradation.   The Seven Design Marks: Line, Shape, Tone, Colour, Texture, Size, Direction.     Extrusions and Expressions are diagrams based on volume, either by adding or subtracting volumes to create a new volume.   A Capriccio is a montage that has been assembled as a digestible fantasy. A Sketch Copy is very generally matching the colours, tones, and forms of the original, which is used as an exercise in skill and for reference. An Exact Copy is following the exact process and methods of the original.   The Gesture or flow of the form through the composition otherwise known as the inner curve, this can either be “active” which is bundled up and contracted, or “passive” which is stretched out, usually both exist at the same time on the one form.   A Packed Form is the hierarchical stacking of smaller forms upon larger forms.   A Grisaille Under-Painting is a black, white, and grey initial block in of the composition to establish volume, placement, and values. ​ Blending Lost and Found Edges: Running a brush along the edge perpendicular to the interchange, where as Hard and Soft edges are running a brush at right angles directly over the interchange, and Feathery edges are circular motions along the interchange.     The Treatment is how “Resolved” a painting is, depends on how much of a finish or otherwise you would like the artwork to have. ​ Staccato: Short and diagonal. Slashing: Long and diagonal. Stippled: wet-on-wet blobs. Sgraffito: Scratching into wet paint. Gestural: Bold mark-making done in broad strokes with a large brush.   Velatura: A Translucent wash used to tone the canvas first before painting. Imprimatura: A lean, transparent, and neutral under painting. Wash: A thin, lean, and transparent layer of colour. Glaze: A thick, fat, and transparent layer of colour. Scumble: A rough, vigorous, and more directly applied opaque colour.   Inside Drawing is the tonal progression on the inside of the form, which is dictated by the Local Tone, Distance from the light source, strength of the light source and whether the surface is glossy/satin/matt. In which there is frontal light, three quarter light, half-light, and rim light.   Sciagraphy: The study of shadows. ​ Chiaroscuro: Heavy use of shadows. ​ Penumbra: A lighter halo effect at the edges of shadows. ​ Atmospheric Light: An all-encompassing secondary light from the sky. ​ Direct Light: One single concentrated light source. ​ Halation: Light burning out details then shimmering or reflecting onto other objects. ​ Reflected Light: Light that strikes one object and then reflects onto another. ​ Highlight: Is the brightest portion of the object that usually is facing the light directly. ​ Light Plane: The side of the object facing the light. ​ Middle-Tone: The slightly oblique side neither in light nor shadow. ​ Shadow Plane: The side of the object facing away from the light. ​ Shadow: A dark shape caused by a lack of light entering that area. ©Daniel Fisher, of All Seasons Art Studio, 2023 #designstrategy

If you believe in being open minded then you know life can teach you many things, as you learn and grow to be more independent and confident within yourself. If, however, you find you are in turmoil it can often be a sign that you are not in true alignment with your life. You can become jaded and if the issue is left unacknowledged then another form of angst soon arises. Time in Motion. ​ If you find the facts of your experience are beyond mere technical tropes, then the old script you found attractive for so long finally decides to dissolve and now your life unfolds as you choose it. If you want to learn how to foster a sense of humanity then you are human with all that entails, flawed, idiosyncratic, sometimes petty, and often petulant you find the best form in life by being an honest person as we try to make life work the best way we can. ​ All the emotional clutter we accrue in our lives serves only to distract as possessions have only the meaning we endow them with. To instill an altruistic attitude the egocentric belief in self must be redressed into a clearer vision first. ​ Individuality then is our choice. The need for social inclusion is in our nature as is the desire for a secure and supportive environment. The belief in equality based on the communal value of respecting peoples diverse background, is due to the shared standards of living amongst other cultures. The principle of accountability then becomes the practice of lawful justice, giving everyone the choice to live and grow as they so wish. So personally, we learn to adapt to life's circumstances in our lives'. Intelligence and IQ can only be a compromise between nature and nurture in our lives; we only must look within to know that the mind will never truly define us as people. We are all interesting in our own unique way; priceless and immeasurable the human being is an expression of this truth. Yet to ask who or what you are at any given time requires honesty, and because of this you begin to see your way to personal resolution and further discovery. By opening your mind, you find the willingness to discover the truth.  Individuality then is our choice. ​ We define ourselves as manifestations of choice, will and intent and are a union of physical and psychological principles, maturing in the process of resolving our hang-ups. The propensity to rationalise all the time can be crippling, and this is the seed of realisation that is acquired. To have an open mind about the world is to be part of a greater whole, united in the willingness to accept each other despite any differences.  ​ So, try to practice reasonable free will and free choice as part of life's journey and enjoy it. The depth of peace in your life is linked to your level of clarity. By practicing this type of objectivity and honesty, hard facts then become relevant to your growth. You create an opportunity to release the mind from its prior identification to the situation in question and discover the joy in accepting the truth of your reality. ​ People are a part of the world in all ways. We live and build associations in our lives, helping to shape the future in a direct and sometimes profound way.  ​ ​May the connections grow and strengthen as we traverse the pathway of life. ​ ©Mr Daniel M. Fisher, 2023 #aestheticphilosophy

The way I choose to express my gratitude to 'the Masters' is to work not only from my own vision, but also as a copyist and render others art just like it is intended. For instance, a musician learns to read sheet music so they can perfect their technique, so my stance is to appreciate the skill in the work of the Old Master of History. My stance is to appreciate the skill in the work of the Old Master of History. Making visual art requires a certain amount of adaptability, which is the required nature of the vocation I have chosen. My previous immaturity on the way to where I am now was unsatisfactory, so I decided in 2012 to invest my energy into the classical idiom proving to self that I have potential. I now have fresh impetus to continue making fine art, after deciding my skills were of a worthy level to be noticed in the future. Marketing my products became the goal. My studies have led me to develop a keen sense of design, with a view to suggest ideas by drawing in the spirit of the subject. My remit to draw on a range of references from all over the world is so I can enjoy the diversity of our planet. The ethos of shared cultures is a good vehicle for practising design and learning composition. Any observations I make of life offer some natural behaviour to basic humanity and natures structures. The whole worldly habitat is alive with life, but I alone cannot hope to refer to all it in one lifetime. The fact is, I view mother nature as my friend and confidant in a world of many changes, she is a universally uplifting element to today’s troubles. Awareness of my life led to creating All Seasons Art Studio as a platform to share my observations on life. To my belief I have something to offer back to the world. My way of viewing everyday life means I have rediscovered my passion for life and that it had in fact never completely deserted me, and yet passion without gaining trust in self-first is a hopeless cause. Being receptive to the light of eternal wisdom is within the grasp of not only me, but everyone.  A diversity of learning experiences teaching us to open our minds and hearts, leading to acceptance of different beliefs, instead of merely interacting with the world surrounding us. Exploring new beliefs, our own and other peoples to identify the truth WE hold, how else do you learn, if not by exploration and comparison. You are a unique person, practice honesty, and open mindedness. Let life become an opportunity to show your love of learning and growing. By seeding a mature approach to the world within our being, we aspire to aid the growth of all and appreciate life more often. With too many of life's conundrums, we inevitably create in our minds eye what we think we know about the source of our being. You are a unique person, practice honesty, and open mindedness. If there is a lack of due care and respect in life a negative mindset arises within your being. Fear can start to manifest, and a lack of self-belief rises, you begin to seek alternative means of relieving the day-to-day anxieties we all feel. Prolonged stress over time can lead to feeding faulty coping mechanisms and failure to see and accept the offering of the true beauty of life. So, why Choose to opt for Classicism. Because you can Learn to explore and choose to grow as a person. ©Mr Daniel M. Fisher, 2023 #aestheticphilosophy

​ A Creator's Guide to Copyright and Licensing. is a type of intellectual property that protects original creative work (e.g., photos, poems, paintings, films, etc.). If you create something original, you automatically own the copyright, unless you are a work-for-hire employee, in which case your employer owns it. ​These rights are legally protected in most countries and are considered a basic human right. Your legal rights as a copyright owner include deciding: ​Who can use your work ​Where it can be published ​When it can be shared ​How it can be displayed or modified ​Licensing vs. Transferring Rights ​✅ Licensing (Temporary) ​You can license your work, meaning you allow others to use it under specific conditions. ​Licensing is temporary and limited—you still own the copyright. ​⚠️ Transferring Copyright (Permanent) ​You can transfer your copyright, but this is permanent and should only be done with legal advice. ​Once transferred, you no longer own the rights to your work. ​🏆 What to Watch Out For ​Red Flag: Some organizations may ask you to transfer your copyright permanently. ​Fair Contracts: Fair contracts will only ask for a license to use your work (e.g., for promotion or display). ​Always read the terms and conditions carefully. ​If someone demands a full copyright transfer, seriously consider walking away. ​🛡️ Protecting Your Work ​Register your copyright with your country’s official body. Registration isn’t required to own copyright, but it strengthens your legal protection significantly. ​The Four Types of Licenses ​1. Rights Managed (RM) ​Usage-specific: Licensed for a defined purpose, set period, and geographic area. ​Fee structure: Higher fees for broader usage rights. ​Expiry: Usage must cease once the license period ends. ​2. Royalty Free (RF) ​Single upfront fee: Allows use of the work without recurring payments (royalties). ​Flexible usage: Typically permits use for any purpose, often in perpetuity. ​Competition context: ​Often used in contests. ​Time-limited RF licenses are fair. ​Perpetual RF licenses can be unfair if they allow indefinite use without adequate compensation or limits. ​3. Exclusive License ​Sole usage rights: Only the licensee can use the work. ​Creator restrictions: The creator cannot license or use the work elsewhere. ​Higher fees: Due to limited monetization opportunities for the creator. ​In Competitions: An exclusive perpetual license is highly restrictive and unfair—it prevents creators from ever reusing their own work. ​4. Non-Exclusive License ​Shared usage rights: The creator can license the work to multiple parties simultaneously. ​Fairer for creators: Retains control and flexibility. ​Preferred in Competitions: Allows entrants to continue using and profiting from their work. ​Key Takeaways: Moral Rights and Fair Terms ​Always carefully read the terms & conditions to watch for a perpetual or exclusive clause, as they may severely limit your rights. Fair terms should specify: ​Non-exclusive usage ​Time-limited rights ​Clear scope of use ​Understanding Moral Rights ​Moral rights are personal rights granted to creators to protect the integrity and attribution of their work. They are distinct from economic copyright and include: ​Right of Attribution ​Right to Integrity ​Right to Privacy (applies to subjects, not the creator) ​✅ Right to Be Credited (Attribution) ​Creators should be credited whenever their work is published. ​A copyright notice affirming ownership should be included. ​Include disclaimers about third-party errors in crediting. ​🚫 Right to Object to Derogatory Treatment (Integrity) ​Creators can object to changes that harm their reputation. ​Minor edits like cropping or resizing for promotional use is acceptable. ​Avoid any treatment that could be seen as disrespectful. ​🔒 Right to Privacy (Applies to Individuals in the Work) ​This applies to all individuals, not just creators. ​If recognizable people appear in a work, their permission is needed. ​Model release forms are often required to ensure legal use. ​✍️ Waiving Moral Rights ​Moral rights cannot be transferred, only waived via a signed agreement. ​Waivers should be specific and not blanket permissions. ​Cropping or resizing can often be covered by simpler usage rights. ​Seeking waivers for commercial exploitation is considered unethical. ​It's always worth reviewing terms & conditions carefully to ensure moral rights are respected. -Created Using References and Quotes along with AI. #designstrategy

As I matured beyond mere words and images my mind began to open, and I discovered I knew nothing about reality. My view now as a continuum of expanding energies, a force for change. The label 'being conscious' became the mantra of my life. With the many choices I make within my reality - whatever the outcome, I began to accept the responsibility of growing up and take ownership of my behaviour. So, I learned as I went along. By my logic this meant enlightenment of the greater truth. Taking ownership of our true selves, as a soul in human form, is for me having an authentic purpose, something to be passionate about. The result of choice will and intent. To realise this also applies to the soul's aspiration to experience, learn and grow, can be the underlying reason for our human existence. Real progress is having an uncluttered understanding of life in its many aspects, because in our lives we forge our way from the moment we decide to truly live, and when we come to the realisation that we are a being of worth. 'I am a seeker' both spiritually and humanely living, learning, and growing. Why Choose to Seek Spirituality. I aim to compensate for my mother's physical frailty, I learn to cope with the demands of looking after our house, and I learn from other people in any which way I can. So, learning for me is a composite of seeking, of looking, listening, thinking, and acting with no pretence just awareness. Being aware of the power of the human spirit to transform problems into a rewarding life, is the realisation of my true nature and wishes, and the commitment to work towards them. This means that when I return home to spirit, to family and friends, ideally, I will have learned more about myself and the nature of humanity. I am now beginning to question my idea of reality, examining the belief that people are just a matter of dimensions. Something guru's and sage's have been saying for centuries. Based on personal experience, my reality is a continuum of causality, better known as systems thinking. By working on mastering my human side I mature as a person and learn to be with life. Our life circumstances are just a reflection of our choices and level of awareness at any given time. Our life circumstances are just a reflection of our choices and level of awareness at any given time. I say we have it within ourselves to live with the reality that life is as we view it, and/or make it. This to me is the key to enlightenment, understanding ourselves. Knowing where we have come from and ideally our pathway forward. To be our own master is learning to see the world as inter-connected and respecting its many shades and diversity. With this realisation towards life the world and its people it is rewarding, allowing all to mould a better version of their self. Firstly, by looking inwards and then outwards avoids the trap of one-upmanship and self-gratification. There does remain a time and a place for everything and everyone, and personally my experience of self-transformation led to a greater clarity of thought, which then reflected outwards to embrace life more. I now exercise my freedom to be an independent being, part of but not necessarily actively participating in today’s world, which is often fraught with complications. Sometimes my failure to take positive action in life or say no to people, has given me the opportunity to muse on the saying, that there are no problems only solutions. My mindset is to have a warm and open heart for humanity, after all I am but one voice in many and if I don't honour all life, then I prefer to be mindful and choose to respect life in its many, many forms and ways of connecting with the world. Reflecting on my experiences so far, I am conscious of my frail flesh, my naivety when it comes to knowing what to do, and at times, lack of clarity. I am often inspired to take the opportunity to practice compassion to extend the hand of love and include others in my life. Awareness as many people know it, is often called empathy, and there is also higher awareness when we feel connected to something or someone greater than ourselves. There does remain a time and a place for everything and everyone. Yet what does all this mean in the human world? Simply put, 'mindfulness' to do no harm by either thought, word or deed. Everything carries a consequence, either positive or negative. So, I am personally open to learning and changing, as reality through my eyes, is the connection from spirit - to me to aid my growth. I'm not in any way psychic but like to think I am developing awareness of the greater truth. We all have something of value to offer the world. The whole universe I am told, is to be seen in every form of life that we can experience. Either through the human senses or in the unseen world. I have come across many 'spiritual laws', many scientific 'models' and quite a few social 'trends' but find the only enduring facet of life is change. Either on a shallow or deep level depending on our choices at that time and find change to be a good thing. I try to remember I am in control of my life, and it does flow at my chosen pace. Life is more than a mere symbol of unity; it is the harmony within my soul from the source. It is said, there is your way and there is my way, and both are correct. I discount anyone who is willing to denigrate or manipulate others for any type of personal gain. In my understanding, when it comes to my true self it is merely accepting, I am a flawed human being and so accept and allow self and people to unfold as they wish. I now have enough maturity to realise it's a choice to take full ownership of self, whilst still being receptive to other people's ideas leading to a view of life as a spectrum of differing awareness. Meaning what is truth to me is not necessarily true to you, either way I respect your right to choose. My belief is.... what you give out is what you get back, we have all seen Karma's learning curve play out in our lives, as at some point life will inevitably strip us of our delusions, so that we find our best way. As I learn to live and grow to become more awake and aware, I realise I am more than the sum of my parts, fostering the belief in something greater than myself. I realise I am more than the sum of my parts. To put it another way, an ever-unfolding experience of reality, and continuing progress into wholeness. Speaking academically this is how I view the term "The Way", as an understanding of how to relate and respond to life. My life is my practice, because by being open minded, disciplined and believing in the necessity of having faith and trust in the unknown. The promise of progress is then knowing life will make me whole again if I let it. I try to be as constructive as I can be. At some point action naturally turns to inaction and I am at peace. This is usually when my thoughts begin to make clear and concise sense and cease being fragmented. A sense of wholeness prevails. To be positive about life all the time can be difficult but not impossible, just openly view the world in its many multi-faceted aspects as a stream of consciousness. See the truth, by living and working with life's set of circumstances, I often discovered this the hard way. Accepting that I can only be the best 'I' can be at any given time and learning to attend to the now in a practiced and practical manner, thus leading to an improved 'next moment'. Practicality for me means living without a constant state of fear. There are a lot of subtle examples of love and compatibility which are whole and complete in their expression. Showing willingness to take part in life uncovers many ways to be active and participate, to be fully involved with life. This is how I gain my sense of self, by being open without prejudgement. In this context 'goodness/possibility' is not a false promise, it leads to a mature outlook blossoming within the being. To know what is in our mind at any given time requires a degree of self-awareness, and to focus purely on problems without acknowledging and dealing with the source can be a fool's errand. So, I say why not try to make informed connections instead. After a long time of not knowing who or what I am that was the answer which dawned on me. I believe life can be good and accept the necessity for accepting humanity despite its often-unruly nature. I hold firm in the worth of a human life. The willingness to accept each other despite any differences. Life is a journey, live learn, grow, and most importantly hold fast to your belief in your truth.To learn to live by our own truth, means past and present situations become a gold mine of personal knowledge and experience. Life ceases to be pre-ordained, but to be explored. So, the question is, what is reality and why is it not uniform for everyone? I hold firm in the worth of a human life. The answer is simple. Yes, we are all similar, but different, each to their own, there is no 'one size fits all'. Growth happens in phases. One following on from another and are due to adoption of informed choices. Choosing to live life by your own reality, it seeks of you to cease judging other people for their personal view of reality. When we begin to see periods of progression in life, the willingness to seek ever greater freedom and enlightenment comes forth. This then leads to the realisation that there is a better way of living. To discover the seeming end is only the beginning for us. It carries with it the reality that we and the universe are infinite and eternal. The source of our own humanity being a seed of salvation. Know that being alive is to be born equal in life. The truth of us waits to be discovered as being a part of all things blessed. Through the practice of informed acceptance and self-control personal reality becomes of our own choosing. The universal is here to guide us on our soul journey, back to the source of creation, but the choices are all ours and are adhered to. The cyclic nature of our life can teach us many things, not the least of which is to be open-minded. When we acknowledge and learn from the people, experiences, and signs on our life's journey we can prove to ourselves we are of worth as a human being. However, firstly we must ask, who am I, what am I, and where am I heading, or aiming for, and lastly how do I get there? Simple answer is by beginning to ask, who, what, where, when, how and why? In truth...... We only ever need to be a decent, caring, and humane, human being! Why Choose to Seek Spirituality. In truth...... We only ever need to be a decent, caring, and humane, human being! Just my musings. May you walk hand in hand with the light. ©Mr Daniel M. Fisher, of ®All Seasons Art Studio, 2025 #aestheticphilosophy

I am Scottish born and bred, and both my parents were professionals, my mother was a registered psychiatric nurse and my father a social worker. A Man of Few Words. At around age three or four my mother regularly gave me pieces of scrap paper and handed me my first toy which was a pencil. This fired my curiosity and wonder at what the visual outcome could be. I found learning a deeply gratifying pastime to distract me from the many free hours I had as a child. By the time I had turned seven or eight I had accrued enough confidence to go from imaginative scribbles to copying quite simple designs from magazines. I am a self-taught fine artist and subscribe to an independent yet informal approach in my studio practice, I manage my work by drawing my inspiration from matters that are close to the moment I live in. By nature, I provide commercially styled painting's, drawing's and writing from the Scottish School, and test the nature of my artistic abilities by formulating my observations on the world at large. One of the oldest known activities in the world, art has a lot of visual inspiration that comes from a deeply formal way of working and presented as authentic fine art I often wonder about the lure of the old masters. Asking what prompted them to paint the way they did I'm furnished with an entire lifetime's worth of musings; thus, I nurture my creative side and feel inquisitive about life sometimes. Looking to the here and now for meaning, I find new avenues everywhere to expand into and express that rich variety of the world which adds depth and colour to life. When I start to open my mind to greater possibilities that live normally out of reach but within the realm of imagination. My voice begins to blossom into a creative urge and direct aim by developing my passion and creativity, and I hope you gain comfort from seeing it. When I decided to be more professional and produce a portfolio of products each unique within themselves, my art then became much more than just a social pastime, it evolved into a visual language. I had discovered many types of rewarding and inspiring art along with their associated practices and believe that to make anything you must first have the notion to create or express an idea or feeling. Then be motivated enough to bring the project into being, through the knowledge of your chosen vehicle. In the hard work and commitment required to be part of an artistic process I become uplifted within myself. So , what constitutes art? 1. Art: A depiction of a historical set of Norms. 2. Craft: Utilising Old & New Approaches. 3. Design: A Practical Approach to Planning. To me, these three socially relevant reasons for making art explain the joy I feel when thinking, making, and creating art. Intrinsically I feel a part of something greater, and put my faith, belief, and trust in my own ability to manifest ideas. I believe in creative skills enhancing anyone's life by the power of the mind to see possibilities. I’m humble enough to admit when improvement is needed and have found new thoughts and ideas looking at old work of mine, as I am cemented in my belief to take life seriously having a deep desire to study and learn first-hand from the world at large. Come hell or high water I have gone on to practice painting and drawing every day since, which helped me cope with life and later mature as a person. This willingness to evolve has given me the impetus to live sincerely, rising to the challenge to develop my voice by my mother. With extensive experience in making works of art I am incredibly happy practising what I love best - questioning everything and sometimes learning nothing. When making fine art I am creative with life's gold mine of beliefs and ideas and philosophically speaking, when I express my feelings on canvas I grow and learn about the world. I eventually discovered people have their own unique point of view with a few common beliefs in work and life which bind the very fabric of our society together. The need for respect and the desire to work are universally accepted as normal, and my approach to these and my own spiritual tenets are the fundamental basis to my view of life. I hope to achieve success in my vocation by creating more art by choosing to be open to natures/world reality, as art to me reflects life’s great mystery this is the origins of my passion for living. A work of art, however, will never be as tangible as the real world, yet in the right hands can give the impression of the person's true self. Here are some characteristic styles and approaches to help the viewer muse on the significance of art, and please do take the liberty to question the classifications stated, as my art is not the sole directive of a chosen few, as the myth would have you believe. 1. Fine Artist: Realism, Classicism, Naturalism. 2. Artisan: Romanticism, Graphic, Fantasy. 3. Creative: Impressionist, Modern, Contemporary. Sourcing many of my ideas from a plethora of artistic influences and my limited explorations of my country I fell in love with life and the light, a sense of the landscape is why I want to capture the sheer grandeur from time to time, and in the main I am satisfied with my efforts.Art in all seriousness should have warmth and attitude, and inspire you to observe and explore what it’s like to be at one with heart and soul, by my estimation this is the point of good visual presentation. A Rose of Thorns. Hence, why Have an Eye for Traditional Values? As I’m a philosophically inclined artist who wants to create fine and authentic artwork by making my work look as real as it can. Yet I can't help imagining what it might look like in the future, hopefully it will capture the look of bright tones with wild and majestic colour casts. May you gain joy and satisfaction with the world as I do, beauty is the truest nature as life always has a purpose. ©Mr Daniel M. Fisher, of ®All Seasons Art Studio, 2025 #aestheticphilosophy

I'm an all-round fine artist providing commercially styled drawings and paintings from the Scottish School and subscribe to an independent approach to manage an informal art studio practice. Being able to share my observations with the world at large in either oils or chalk pastels and often apply watercolours to my smaller studies in monochrome pen's and pencil's. To test the nature of my abilities in these mediums I draw on inspiration from matters that are closest to the nature of the moment. Either way I love taking visual inspiration and turning it into presentation. As I look to the here and now for meaning, I find new avenues everywhere to expand into aiding the visual expression of that rich variety of the world that adds depth and colour to life. I can honestly say that my work has blossomed because of my curiosity and creativity. This is my 'Unique' Manifesto. Feeling Curious, then come on down, and look at the life YOU want to lead. When making fine art I am creative with life's gold mine of beliefs and ideas. Philosophically speaking, when I express my feelings, I gain peace in the portrayal of life. Whilst growing and learning about the world I discovered people have their own unique point of view, but there are a few common beliefs in work and life which bind the very fabric of our society together. So don't worry about the ever-increasing social differences in life, because as an artist you are put here to correct that divide by being sanguine with life's slings and arrows. The need for respect and the desire to work are universally accepted as normal, and my approach to these and my own spiritual tenets are the fundamental basis to my view of life. There is nothing to hide and nothing to fear in places which have a solemnity and dignity all their own. When I find sanguinity within solitude, it can help me have a better view of life, because in understanding how people behave, I learn why openness and honesty does matter. That is why I try to embody equality here in my community because support comes from most quarters, your gender, age, or ethnic origins don't matter, we all participate not only to improve ourselves but the world as well. Having some of the best organised facilities here in Scotland and the most dedicated of people at their heart, Ellon has many seasoned volunteers who in choosing to honour people, step into in their life as teachers and guides. So, let me introduce myself as an artist with 20+ years of experience in artistic roles, I am very capable in the art field and run an art studio to not only improve myself but the world around me, having worked with some of the most organised and dedicated of people in life who have all been seasoned professionals. Here, the local public has the same fire and ice as Britain is made of, because these elements don't just exist up and down my community, gender, age, or ethnicity don't matter, as good achievements lye in most quarters of my country. Living in a broad and diverse region of Scotland where there are a wide range of people's views, has as such influenced my current way of life. I wouldn’t have as level a playing field without the passion that takes place. You can't beat traditional skills.   This I have learned through trial and error and will continue to personally grow, assist, and encourage a more authentic approach to Arts & Crafts. As such, ®All Seasons Art Studio is a kind of showpiece for arts enthusiasts with many forms of work garnered over twenty or more years. Hopefully accompanying you by helping pique your interest in, or accomplish work in art, because by learning some of the many approaches that go into the making of an artist you become more aware of life's tapestry of ideas. Some favourites of mine are: Traditionalism, Spirituality, Classicism, Humanity, Psychology, Culture, Community, Industrialism, Materialism, Professionalism, Society, Socialism, Democracy, Capitalism, Authority, Utilitarianism, Establishment, Science, Career, Academia, Individuality, Between any of these you would learn to create one-of-a-kind pieces, each meticulously crafted with great attention to detail ensuring the highest quality standards, as you come to explore the talented artist within you using a unique methodology. Therein learning to create a portfolio that is testament to your dedication and craft by making work that focuses on sophistication and refinement in life, you create breath taking pieces that embody the real you. But in being an artist, you learn you are a part of the world in most ways, when you go through life you build associations and connections that shape your own and other peoples’ futures in a direct and sometimes profound way, which is one of the powers of art. Because in taking visual inspiration and turning it into presentation, you look to the here and now for meaning. Finding new avenues everywhere to expand into and express that rich variety of emotion that adds depth and colour to life. When I reflect on matters that are nearer the moment, I see by my choice since the age of Seventeen, a continuing commitment to fully nurture my creativity, and as such also choosing to be very inquisitive about life. Because when I project my ideas onto canvas, I inevitably gain peace in the portrayal of nature, and so we all create authentic art. Being one of the oldest known and more deeply felt aspects of self-expression I often look with wonder at what the old masters of antiquity have achieved. With lesser tools and support than we now have, I begin to ponder on what prompted them to paint the way they did, and this is what continues to furnish me with musings. As I begin to open my mind to grander possibilities that live normally out of reach, but within the realm of imagination, I hope you too gain joy and satisfaction in life, by expressing yourself using art as a tool for meditation by reflecting back to you your desire for balance and harmony and so............ to be grounded. Objet D'art is more the idea here, where the object has: value, worth, meaning, style, and an inherent attraction. Historically the old-masters transcend my definition of art, because I'm not an old-master - just a copyist, and in this strand of thinking your view of art is just as valid as my own, because art is an expression of YOUR world, where you learn to recognize your own place in it when you create an image. ​ This is because we all write our own dictionary in life, and we all have our very own type of diction, logic and facts can only point to a conclusion, but words and emotions will open doors, as in the end language only has the meaning you give it. So, what is art to someone who was raised to believe, being human is a given? The answer? I hope you gain joy and satisfaction with the world as art is the joy of free expression and life is the way we express that joy, this is an artist's gift to the world. ​ ©Mr Daniel M. Fisher, of ®All Seasons Art Studio, 2025 #aestheticphilosophy

Thank you for visiting these pages, and blessed be as I have been, for they are an expansion of the work I do here for all regardless of race, creed, colour, religion, and anything else I have forgotten to mention. My 'religion' could be construed as the cult of normality, and it is a way of life that holds the basic precept of 'do no harm'.​ Having undergone many phases in my life and experienced quite a bit of what life can throw at you, I am still thankful, for it has made me the strong person I am today, but more importantly, it has facilitated a deeper understanding of human nature. You can never quite tell what's truly on someone's mind, just like you should never truly underestimate a person's character. Titles? What's in a title...I have worked as many things and still spend my time answering any calls for assistance, as people are, and will remain, my abiding passion. I follow in my parents' footsteps. I do not regard myself as a master however, I so enjoy the process, and would like to share my work with you, if you are wondering why my album is entitled @allseasonsartstudio this is my pen name, a name affectionally given, that is... just me. My life has been dedicated to helping others, in any which way I could, from a simple act of kindness, or a prayer for healing, I am very blessed and express gratitude for the people who have turned to me for assistance.​ In these pages, I hope that you find some information that will help you in your own pathway. Remember, this life is just another journey, back to the truth of who, and what you are, and that we are all connected, there is no separation. Should you wish to contact me, then you will find all the details you need on my Connections page, and my wish that you walk in peace, knowing that you are a part of the greater whole. ​ My beliefs are based firmly in the reality of the universe being of itself, a small part of the 'Universal One'. Learning, growing, helping others.​ People are, and always have been my passion in life, and I am a very firm believer in the human’s capacity for change, even in what is termed the 'worst of the world'. So, I share a small part of my life journey to aid belief in yourself and your capacity for change. ​ On graduating from formal education, I wished to go into physics, which was frowned on by my mother, and was pushed into the art world instead, and I do well, climbed all the ladders and ended up with my own business - All Seasons Art Studio Limited. Be like the old-fashioned Tea-Rose and never judge yourself as 'common' in life. ​ I awoke from my insular life one day and thought 'this phase has ended, I'm off to do what I want to do, that is.... Work with other people', so I entered training in my late thirties, passed all the exams, and elected to specialise in Handicrafts. Again, I do well, working and assisting with the morale in my local community, but please no more paperwork and politics, remember people are my passion in life. ​ This came after I changed home location at an exceedingly early age due to family commitments, and travel to Aberdeen was impossible. So, I left formal academia and opened my own practice to do drawing and painting mainly- again successful, so much so that, even after years of vacillating, I still receive requests from people who have been motivated to offer links, and so never needed to advertise, as word of mouth does just fine.​ However, the recurring thread throughout all of this is my own personal growth and I still maintain, I will not give up when I return home either. ​ I'm definitely middle-aged now (born 1983), I will let you do the math, with a wealth of experience of what the world can and does throw at people, including myself, it seems drastic at the time, but faith, belief, trust, and most of all authenticity, goes a long way, to smooth things out. Never allow the thought of 'I'm not good enough' or 'I am too old now' - that is foolish nonsense my loves, I assure you, you can. ​ Of late I have been less of a listener and more of a talker, for what use is stored knowledge if it is not shared widely. Given that currently, more people are calling out for assistance, for a sense of belonging, for someone to care. I offer opinions because the process of realising who and what we are is often painful, and mystifying, involving much inner work, of looking at our shadow side and resolving the past to name just two prime facets of the work. ​ There are many ways to wholeness, what suits one might not suit another, so I believe that any intervention should be therapeutic, tailored specifically for them, but these are just my thoughts and beliefs. I acknowledge and accept that we may have differences but at the end of the day, despite this, we are all one humanity.​ So, what do we see and hear when we sit with a person, either one to one, or through a distant connection. Is our mind already judging and classifying, formulating, preparing ourselves to answer back? To me, that is not effective listening, which is merely getting ready to reply, to put OUR view forwards, and not theirs, and I remind myself sometimes to... 'listen'. We all need human connection. ​ Become quiet and still, effectively listening, bringing our six 'senses' into the safe and secure place that is hopefully provided. Focusing on the needs of the person that oftentimes wants, so badly, to be seen and heard, to be valued and loved for who and what they are. Not for what we or anyone else thinks they should be, but for what they are... a beautiful being.​ My prayer is that I never cross the boundary from 'soul to soul' and enter the 'client and therapist' mode. Never lose faith in yourself, remember you are a valuable part of 'The All That Is', become your true self, aim for that oneness, allow your soul to shine, for the good of all. ​ Be at peace for a time as you browse my work, who knows, you may find an inner stillness remains with you when you leave. Blessed be... as I have been.​ -Created Using References and Quotes along with AI. #aestheticphilosophy

Exploring art as our cultural heritage and social custom. With concepts related to community engagement, and covers topics such as anchor organisations, community art, co-creation, collaboration, cultural democracy, and economic wellbeing. The document emphasises the importance of grassroots movements, holistic approaches, and sustainable practices in fostering community empowerment and social change. Never ever underestimate the voice of an organised community.   Anchor Organisation An anchor organisation acts as a hub or resource for people and plays an active role for the wider benefit of their communities. Hence, they can be talked of as community focused; holistic and multi-purpose; responsive and committed to a particular function. While it is suggested that community-led organisations such as development trusts and community-controlled Housing Associations often fulfil this role, they believe any organisation that is committed to serving a community over the long term can be considered an anchor organisation, often having an important role in facilitating partnerships and providing local leadership, as there are no stereotypical  examples of sustained community empowerment without some such locally embedded organisation. Artist According to the dictionary, artists are described as people who create things with imagination and with skill, because in this context - a community focused practice, there is a core belief that we can all practice art, and that art can be a gateway for people to better understand their lives, their sense of place and their rights. We consider an artist to be anyone with a flexible creative discipline used in a variety of situations, processes and actions, in this sense, we do not define the term ‘artist’ solely as a manufacturer of ‘artistic products’, as we broadly view an ‘arts audience’ as a consumer of art and culture.​ Assets Assets are valuable, and can be tangible or intangible, having economic, social, or environmental value, hence people and communities are rich in assets. Working in an asset-based way means trusting that the unique mix of strengths within each community can be used to develop solutions best suited to the challenges they face.   Co-Creation Co-creation encourages people to actively participate in their creative potential and realise their own ability to make change. It is a co-operative process in which people with diverse backgrounds come together and work in a non-hierarchical way to address a common issue, which enables communities to be actively involved in shaping their lives. As such, co-creation shifts the power, resources, and ownership towards the people who it is intended to benefit – the populus, instead of a traditional ‘top down’ approach. Collaboration This involves dialogue between two or more parties who work together towards a shared goal. This process can be defined as one that allows those involved to work together in an open, and transparent way, where all engaged are able to shape the direction of the work with equal measure. Which requires an ordinary understanding to work towards a shared vision with each other, where those involved have an equal sense of ownership over the work and activity: They are learning from a creative process together. ​ Commons Refers to the assets and property of the people that are held as a collective, that being our shared social and cultural wealth. This can relate to physical spaces, parks, and common grazing land, but can also refer to technology and other open-source concepts for sharing innovation, ideas, and resources. As such this can be what we have ownership of through the state, the national services, and utilities which we are all equally entitled to. This means the ‘common good’ is a reference to the benefits we all feel as members of a given community. Community Describing a group of people connected by a shared interest; it could be where they live, an aspect of their identity, or around a shared hobby, because we are all part of the diverse array of community enclaves, as they can offer the promise of belonging and call for us to acknowledge our interdependence. Community Art The creation of art for the purposes and standards set together as a community, and whose processes, products and outcomes cannot be known in advance. This is different from ‘participatory’ or ‘socially engaged art’ in that everyone involved has the same rights within the process, because it is people learning to create art together without hierarchy. Community Cultural Development A term used in the world over to describe what is often called ‘community art’ in the UK. It is the work of artist-organisers and community collaborators who use creative work to express the identity, concerns, and aspirations of a culture, and is a process that builds individual mastery as well as collective cultural capacity by contributing to positive social change. Community Planning Making the best use of the land for housing, business, industrial, agricultural, and recreational services. It is about making places where people want to live, work and play, places which are safe and inviting, which are sustainable by design. Requiring a collaboration between public services and the community involved to build on shared targets and local priorities and ideally is about how public bodies collaborate with local communities to design and deliver a real benefit to people's lives. Using creative methods of engagement can help de-mystify and encourage participation in these processes, which requires a bridge between policy and practice. Community Wealth Building An alternative economic model of working that aims to share the power and ownership over our local economies with local people, and redistribute the work and assets widely across communities, it is about creating a fairer and more socially just economy. This could be achieved through local procurement, skills development, shared resources, and innovation, and as part of local development work. This means putting labour before capitol; ensuring assets are broadly held; and that investing happens for the people as well as the place; with remuneration the result and not the primary aim. Conversational Practice An ongoing discussion between diverse groups in which ideas are informally exchanged, and in arts work this is an ongoing conversation with local people about the purpose of the shared spaces we live and work in. This is the foundation of a community-led, grassroots, approach to creative working in a community, as by learning to keep the conversation going is the single most important thing of all – for conversation can be an open space of possibility, it is owned by no-one, rather it is stewarded, nurtured and protected by everyone who takes part. ​ Creative Placemaking A new term that has not yet developed into a fixed or accepted meaning, rather a creative and grassroots approach to the development of spaces, and community-led planning that allows communities to take a leading role in co-developing better strategies for the place they live. It engages communities at a grassroots level by building on the existing culture, activity, and relationships in each place. It brings people, communities, groups, and organisations, whether they be public bodies or third sector agencies together to support better strategies in our environs. Creativity The use of imagination and original thinking to make something new or different and is part of any area of life which can be classed as work or leisure. When we think and act creatively, we are taking a risk by expressing something original – creativity is what allows change to happen. Culture Meaning the ideas and practices that are particular to a place or group of people however small or large. These can be the fabric of signs and symbols, language and image, customs and ceremonies, habituations, or hierarchies, which characterise and enable a specific community to form and sustain itself. The Scottish Government defines culture as reflecting the past, challenging the present, and shaping the future. Cultural Democracy The concept has a long history emerging from the 1970's although its story goes further back than that, the idea has been coming back into recent use. It is the capacity to participate fully, freely, and equally in the cultural life of the community, to enjoy the arts by creating, publishing, and distributing artistic work. Aiming to challenge hierarchical structures that support and celebrate culture and open the debate over what is and is not of worth. From a communal perspective this goes further than issues of access and challenges the very structures of decision-making and power in what is presented as the ‘Norm.’ Arguing that people should have more than just cultural outputs, but access to the means of cultural input, and posits the idea that many cultural traditions co-exist in modern society, and that none of these should be allowed to dominate and become an official culture.   Degrowth Emerging in the 1970’s, it challenges the model of a constantly growing mode of economics and global society and has recently gained momentum as a response to a need for greater sustainability in our practices by responding to the need for climate action. The degrowth movement of activists and researchers advocates that we prioritize social and ecological well-being instead of corporate profits based on over-production and excess consumption. ​It aims for a more sustainable form of economics, one that works to promote our ecological needs as well as our economic ones, by changing our ways of living so radically that any kind of demand means the complete re-imagination of our Society. Development Referring to the support offered to social sectors to encourage the best use of existing assets and can be led by the community itself through a process of internal reflection, organisation, and action, as well as external agencies with interventions. Asset-based development is however built on the belief that communities already have the assets they need to thrive, they might not consciously recognise them, yet developments are forms of collaboration that insist on the participation of local people by defining their own aims and methods, rather than be something that is done to them or without their direction. Economic Wellbeing The agenda aims to measure the success of an economy by how well it serves its people and the environment; not just how much money is made from the products that are produced/sold, or jobs created. From this viewpoint, economics is about understanding who gets what, under what conditions and why? It fosters the idea that social and economic measures should be considered together when judging the relative success of a project. Wellbeing economics looks at the deeper impact of policies; the quality of jobs created, the distribution of money and resources, the effect of poverty or inequality in an area, and the effect on the environment through carbon emissions. Being measured by way of the long-term effects on health and community empowerment and considers the possible displacement of these social issues as developments that lead to gentrification and regeneration. Pushing poorer communities to the outskirts does not have a wider benefit for local people and is always unsuccessful in economic terms. ​ Grassroots Working at this level involves community action on local priorities, often relating to work that amplifies a community’s voice, increasing community power, and championing the right of communities to act on issues that affect them. These movements are associated with bottom-up, rather than top-down decision making, and are sometimes considered more natural or spontaneous than more traditional power structures, often being talked about as work and activity coming from and for our communities. Holistic This approach involves recognising and respecting the complex relationships that are at play within a system. It celebrates and seeks to support the entire system rather than individual people or groups. Innovation The production of current ideas and new activities which can progress thinking across any field – by disrupting the status quo, innovation leads to new ways of working in any world leading entrepreneurial and innovative nation through investing in economic enterprise. As Such, there is a growing understanding of the significant role that creative industries play in local and regional innovation systems. Inclusion Means that all people can share in positive outcomes, regardless of their socio-economic status, race, gender, abilities, sexuality, or other characteristics, and in practice means removing the barriers that stop people being able to make the most of opportunities. Inclusive Growth A new term that combines prosperity with equality, with the emphasis on equity and fair distribution of economic growth this is a widely supported argument, but in practice the traditional measurements of economic success may not lend themselves well to community-led development. In practice it is the local methodology for achieving the vision of a society and an economy that does not simply value numbers, but rather supports the economic activity of communities, places, and all the people who live there.   Instrumentalizing Art This is treating ideas as instruments that function as a guide to action and in relation to politics, it does weaponize ideation to achieve a political goal when an artist, or artists work, is used as a vehicle of propaganda, or to further the political agenda of an organisation, and mask negative effects of activity on a wider community. Art as instrumentalization, or ‘art-washing’ in relation to placemaking or development work can refer to when artists are brought in to improve the image of a place or space. Because the consequences of not engaging with local communities who have no real power or decision-making can make those communities difficult to live and work in. Leadership A process of influencing people to act together towards a shared purpose and is not about someone’s position in a hierarchy. Leadership can often be found in unexpected places and emerge as a project progresses, and confidence grows. Participation In its most simple sense, is taking part in something, and can be seen as our most basic individual choice and power to interact with the world and as such is seen as a core principle in the human rights-based approach to making decisions. An example would be community planning and development, where participation requests give local people more power in the decision-making process to make improvements to public services. Participatory Art In its broadest sense this is an approach which includes the public participation of creative work, letting them become the editors in some way of their experiences through activity. The term is used expansively and includes the process of making art to eschew varying degrees of ownership to those involved. It can also be used to describe a form of art called performance art, and that involves the audience in creating the experience as well as the co-creation of the work, which can be broadly defined as the shared creative act. In its deeper sense it is an art form that has two defining characteristics: (1) It involves the creation of art, in any form. (2) That everyone involved in the act is an artist because, an artist is defined by the act of making, hence it demands that we think, feel, talk, and share our ideas with other people. Permission In the dictionary this means receiving approval to act but can also be a process rather than just a one-off decision, because it involves people in a framework of ongoing decision-making, in which community-led approaches to regeneration tend to prioritise the permission of local people. These bring the benefits of social cohesion, connection, a greater sense of support, community-esteem, and self-esteem. Hence creative development, and regeneration projects, require the active engagement of local communities for their ongoing consent to make changes. Place-Based Ideally referring to the focus of the work and activity that is informed by the place it relates to, meaning these are the outcomes which are specific to that area. An approach which brings together a range of partners and programmes to improve that area, by considering the work to be about locally specific solutions to social challenges. Describing place-based working as: A community of people bound together to change the place in which they live, believing it will improve the physical, social, economic, and environmental issues of poverty and inequality. ​Place-Based Economics Creating these economies enables regional cohesion by supporting people to design solutions best suited to them rather than a one-size-fits-all model and so requires that all those responsible for providing the services and looking after the assets, work and plan together with local communities to improve the lives of people and support inclusive and sustainable economic growth to create more successful places. These are local people building on the characteristics of a geographical area by drawing on its unique strengths and assets, and in practice should support the specific needs of the local people over the profit margins of centralised bodies and global corporations. Place-Making The concept of developing spaces that work for communities by encouraging connection and creativity, which can be good urban design, in an architectural and planning sense, and can be done with a greater or lesser degree of influence given to local communities of people involved. Having the benefit of a community as the focus of its intentions is questionable though, as it does not offer the necessary safety net to protect them from the negative effects of economic growth and market competition, particularly in large cities.   Regeneration Developing a local environment including the activities that happen there, to improve the outcomes of the communities that use it. Successful regeneration comes from the unique identity of a place and its people; meaningfully involving those people in planning it; being based on a long-term partnership over many years; and links local assets with wider national agendas. Regenerative Processes These are the social and economic practices that restore and replenish natural and human systems, in contrast to extractive processes which use up resources. Socially Engaged An arts practice, this term relates to participating in any collective activity which helps bolster the identity and mitigate the challenges of a community but also referred to as social practice or socially engaged art, it is an artform which involves people in communities to debate, collaborate, or interact on a social level. Contemporary art characterises this as artist-led, non-objective encounters, performances, and collaboration with others, and the participation on a social level is a crucial element of this practice. It is central, with artists actively collaborating with participants in the experience, and with anything physical often holding equal or less importance to the collaborative act. What defines social practice from a wider participatory practice is the later simply requires the collaborative act, whereas the former requires a focus on social issues through that act. Social Enterprise Businesses with a social mission, who use their profits for the common good, by having a clear social or environmental mission that is set out in its governing documents. Being independent and earning more than half of their income through trading, which means they are not solely reliant on grants, and are controlled, or owned, in the interests of a social mission. By reinvesting or giving away at least half of their profits and surpluses towards a social purpose, which requires them to be transparent about how they operate and the incumbent social impact they have. Social Wellbeing Wellbeing means living well and living well together and encapsulates all the things we need to have a good society now and, in the future, it brings together environmental, social, and democratic outcomes. Meaning the economy and public services should be focused on the goal of helping people, not themselves.                                    Sustainability Meeting the needs we have today without compromising our ability to meet the needs we will have tomorrow. In sustainable regeneration however, it means creating communities that are inclusive, diverse, well-serviced and future proofed. ​ -Created Using References and Quotes along with AI. #aestheticphilosophy

So, do you feel like you’re interested in Art? Do you have many questions? Are there any specific points about life you want to explore, then contact me, and make a connection. As to achieve now, is to know when to ask for help and not give up when things get difficult. People who can ask for feedback and advice are the best of all.   You never truly know what art means until you have gone public. I love being enterprising by nature and use my initiative to identify different and better ways of doing things, often by understanding the bigger picture I am willing to take some risks to achieve better results. I think about how I can develop and learn new ways of getting ideas off the ground, as everything has a place and an order.   By helping others with their work, to exceed their expectations, I put a lot of effort and energy into the extra hours and can be capable of working longer than most other artists.  In my willingness and drive to take part and contribute, I have a positive 'can do' approach and like to make things happen. Often in group activities I contribute to achieving goals and develop this strength by using it in my everyday life to help others feel good about themselves.   Inspiration enables me to share my observations with the world at large either in oils or often applying watercolours to my smaller studies in pens and pencils. By taking visual inspiration and turning it into presentation, Painting and Drawing becomes a testimony to my love of art, with Writing as a staple of my years in training and not forgetting my penchant for Creative Design as a tool for retail and commerce. Creativity has become my life, and life is what you make it hence I have chosen to practice good customer service.   But nothing quite compares with my first love of highlighting my painting and drawing skills, and by utilizing the online arena I also have a duty to act fairly and in accordance with my Code of Ethics, where I promise to:   Honour the interests of my customers. Use clear and concise language as standard. Treat my customers' complaints with respect. Maintain required insurances where appropriate. Honour my own, my business partners, and my clients, good standing.   In a work situation where honesty is likely to mean success for the customer, I naturally put myself in other people’s shoes to understand and identify the who, what, where, how, and why of life to help build my knowledge of business and commerce.   But to aid the development of innovative ideas and solve problems, I neither pigeonhole, stereotype, nor typecast, and instead challenge assumptions with confidence and understanding because, in aiming high and exploring new ways of doing things I cannot help but produce new and original ideas. Hence, I am an all-round artist providing commercially styled drawings and paintings from the Scottish School and subscribe to an independent approach in art by managing my studio practice.   This is because I take pride in everything I do and focus on delivering quality work that is of the highest standard in life, which is very much a case of enjoying the process of taking part in life. I like to listen, persuade, and negotiate, in respect for the role of each person. People come into different shapes and sizes, and to improve social skills I watch the people who do best in a team to explore what I can learn from them.   I assert confidence in problem solving and lateral thinking as the reason I endorse the practice of creative collaboration. Aiming high in life I assume that the presence or interests of my partners and colleagues can have a positive influence. Where mutual recognition and respect can be shared, I encourage the discussion of a commission and can negotiate between like minds with the aim of achieving an unclouded vision and decisive pathway forward.   A very moral by nature with strong ethics and I know the difference between right and wrong when it comes to looking at the facts of a situation because I look for the cause. As such I tend to explore viable solutions before acting in the way I believe is right, with my decisions and actions always guided by my ethics and values.   My principles are important to me, and I love to write about them. Whether I’m updating my status online or creating articles I enjoy the experience, by finding ways to communicate with others that naturally personify life's arena. Believing in open and honest communication and having a positive attitude, I naturally embody everything I do. You can and often do learn an aesthetic philosophy by practicing looking and listening to other people. By engaging with the public in a project, I can produce and deliver work, exhibitions, or products for the client, and hold the ability to liaise on the progress and direction of a commission. Thus, by keeping the organization - and - community informed I can contribute content from my portfolio and help build trust.   My code of practice unpacks my commissioning and delivery process for my engagement in the arts, as we all need clear and effective information to guide and help us foster connections, not just creatively but responsibly.   ®All Seasons Art Studio contains a variety of art aimed at providing answers to life's conundrums, this is the art of being humble. -Created Using References and Quotes along with AI. #aestheticphilosophy

When a contract goes wrong,   We look at how to stop or re-negotiate a contract, which may be ended by a termination notice where one party brings the contract to an end by giving notice to the other party. Or performance where each party has completed his or her side of the bargain and nothing more remains to be done. An agreement where the parties may decide to end the contract (with or without changes) and mutually abandon their obligations. Or by breach which in this case the injured party is entitled to claim damages or compensation for the loss caused by the breach. The aim is to put the person not at fault in the same financial position had the contract been performed in its entirety. The contract may expressly provide what should be paid if a breach or, if litigation is necessary, the court will decide. If there is a breach of a condition of the contract or an important term the innocent person may treat the contract as at an end and sue. For example, if a promoter engages an artist for two separate performances and agrees to pay a fee after each but fails to pay after the first night (this in breach of the agreement) the artist is entitled to terminate the contract, refuse to perform again, and sue for damages. A force majeure clause in a contract may say that a person will not be in breach of the contract if the reason they have failed to comply is outside their reasonable control. This might arise if, due to illness, traffic delays, or extreme weather conditions, the artist is unable to reach the venue in time. So, frustration occurs where, through no fault of either party, it becomes impossible to conduct the contract which automatically ends. For example, the contract could be frustrated if the venue were burnt down, or the artist dies or is too ill to carry it out. If no written contract has been signed, the likelihood of handling contractual disputes can increase, and these are often the hardest disputes to resolve. Where there is a written contract, disputes tend to fall into three categories, “Not in the Contract.” Where disputes arise over matters not dealt with at all in the contract, e.g. as the parties did not think to deal with a particular issue, it will usually be necessary to reach agreement on the issue in question and then embody this in a signed contract or letter, to avoid future argument. “Different Interpretation:” in disputes over interpretation or meaning of words it may be necessary to take expert advice from a solicitor on the proper meaning of the contract provisions. Disputes of this kind most commonly occur when no solicitor was involved in drawing up the original contract, and if the solicitor doubts your interpretation, you would usually be best advised to compromise, since there is rarely much sense in taking the risk of court action over the meaning of words. “Breach of contract” where one party supports that the other has ignored the terms of the contract, for instance by not paying a fee on time which leads to the other party not following his/her obligations, under a ‘tit-for-tat’ arrangement, and the dispute escalates. If handling a contractual dispute set a deadline for action, in cases where the other party has simply failed, without any proper excuse, to do what the contract clearly called for, and telephone calls have failed to work, you should write a letter as soon as possible clearly pointing out the failure and requesting that it be remedied by a certain stated time. The letter might also say that if the breach of contract is not made good by the deadline you will have no alternative but to refer the matter to a solicitor and in cases you might directly threaten to issue legal proceedings. However, it is never wise to threaten something if you are not prepared to carry it through. Otherwise, your bluff may be called and your failure to follow through the threat will be seen as a sign that your case is weak, or that you do not have the money to pursue it. If the deadline expires then consider sending a solicitor’s letter asking them to write a letter on your behalf. This is often effective, since it shows that you have the will to pursue your claim and need not be expensive. However, always make sure the solicitor knows what you want and make it clear that they do not take any further steps, or run up further costs, without your instruction. If all else fails, you may need to take the dispute to court. However, this is often the last resort, since court proceedings can be expensive and lengthy, and the outcome is often uncertain. Also, the other contract party may have more money than you to risk losing in court. However, there are many cases where you should not be put off taking matters to court. This might be where there is no real argument under the contract, the other party is simply refusing to do what he or she has agreed, particularly where the other party is refusing to pay you money that is clearly owed, or that your copyright is being blatantly ignored or infringed because, issuing a writ sometimes is the only way to ensure you are taken seriously. In renegotiating a contract with some contractual disputes, you may need to consider a compromise. • Think before you state a threat in case your bluff is called. • Know when to enlist outside help, e.g. from a solicitor or other expert. • Never admit in correspondence that you were or may be in breach of contract unless you do this in a letter clearly headed ‘WITHOUT PREJUDICE.’ If you do not do this, the other contract party may be able to use your admission against you in Court proceedings which may weaken your case. • Keep clear notes of telephone discussions and copies of letters. • Always respond to letters and telephone calls promptly, and if you have set a deadline, always make sure you follow it up without delay. • When you reach agreement, make sure this is written down and signed by both parties as an amendment to the Agreement, or in other cases as an exchange of letters. Such a letter should begin “I refer to our earlier discussions about the contract set out below and the amended terms we have agreed. If you are happy that these reflect what we have agreed, please sign, and return the enclosed spare copy of this letter.” • In a case where there have been money claims or claims of breach of contract or threats of legal proceedings; you should make it clear in the settling agreement/letter that the new arrangements have been accepted by both parties, in full and final settlement, of any claims by either party to date. This will ensure that neither party can try to resurrect an old claim later. • In cases where both parties have agreed that the contract will be brought to an end, appropriate wording might be: “As discussed, we have agreed that the contract be ended by mutual consent with neither party having a claim against the other,” because an attempt at compromise or renegotiation might fail, you may find yourself going to court. -Created Using References and Quotes along with AI. #artbusiness Contractual issues require both parties to be open to listening and mentally mature enough for a compromise.

The following checklist revues the relationship between artists and gallery/dealers, as the artist’s profile and their sales increase, the number of exhibitions/art fairs at which they are represented and all other areas of the gallery’s work for the artist also increases (publicity, promotion, documentation etc). If an artist’s work changes direction or their output reduces, the gallery/dealer may choose to reduce the emphasis given to that artist for a period. The key to a successful relationship is to give and take on both sides to work out the issues as they arise, with a focus on the long-term mutual benefits between artists and their gallery/dealers. Deals are never an easy thing to learn when you make art purely for the enjoyment of it. • A gallery might mount one-off shows and represent the artist for the duration of a show and in relation to the work on show. • Commercial galleries who develop long-term relationships with their artists, may put on regular shows and in between shows function as general agents for the artists they show, often holding stock of their work and arranging commissions for new work. • Private dealers and agents usually try to sell the artist’s work or get commissions but have no premises for exhibiting, as the developmental nature of the relationship between a gallery and its dealers is unlikely to issue a formal written contract when they begin to stand for a new artist. Many arrangements are agreed verbally, but whenever possible try to write a letter to the owner confirming these verbal arrangements so that there is a written reminder of each party’s commitments. • Will the gallery/dealer have an exclusive relationship with the maker as the gallery/dealer will sometimes ask that no one else stand for the artist. Exclusivity can be limited geographically or by medium for example. Artists are reluctant to give exclusivity unless they are convinced it is justified, which is usually when the gallery/dealer is well established and has a good reputation, or is clear about what they are expected to do in return. • Will the artist be allowed to show work at public galleries? • Does the relationship relate only to new work? • Does the relationship include public or private commissions? • Will the gallery/dealer take the work on a consignment basis, or the gallery/dealer will buy the work outright from the artist because work on consignment is held by the gallery/dealer and looked after on the artist’s behalf. The artist stays owner of the work and when it is sold the artist receives the sale price less agreed sales commission. However, works bought by a gallery/dealer outright can be sold on without consulting the artist on price. Selling outright to a gallery/dealer might provide money in hand, but this may be less than if a consigned work had been sold on a retail basis. • How much work will the gallery/dealer take on consignment? • Where will these works be stored? • Will work on consignment be available for exhibition elsewhere? • Who will be responsible for arranging transport of the work to and from the gallery/dealer, as any works consigned to the gallery/dealer should be clearly itemised in a consignment receipt listing the title, size, medium, date and selling price (excluding VAT) of each work. This document will function as proof of delivery and ownership of the work and should be signed by the gallery representative confirming receipt of the works in good condition. • Who will manage packing the work prior to transport? • Who will oversee insuring of the work whilst it is in transport and on consignment? As work should be insured for no less than the agreed sale price less the gallery/dealer’s commission. • What will be the agreed sales price for each of the works held on consignment? • How much commission will the artist be charged, as this is usually expressed as a percentage of the sales price net of VAT. Commission rates can be as much as 60% of the sale price. • The amount of sales commission charged by the gallery/dealer can vary for studio sales of work that have been arranged privately between buyer and artist. Gallery and dealers will usually expect to be paid a commission on these sales, but at a lower rate than charged for gallery sales. It is sometimes possible to negotiate a commission payable only when the agent introduces the buyer to the artist, when they go on to sell at a stated value or private number of works each year without paying commission to the gallery/dealer. • Will the amount of sales commission charged by the gallery/dealer vary for work in different media? • The amount of sales commission charged by the gallery/dealer can vary for works and is usually based on the sales price after deducting expenses and materials costs. • Is there a discount the gallery/dealer can offer to museums or collectors? • Will the artist receive a share of any sales from catalogues and postcards and if so in what way much because the proceeds that the artist receives may vary depending on whether sales of catalogues are made during or after an exhibition. • Will the artist be offered an advance on future sales which is only usually offered by some of the more established galleries and takes the form of an advance against future sales or as a guarantee of minimum sales over an agreed period. • When will the artist be paid for any sales made: Usually within a brief period (often 30 days) after the sale is made and the sale price received by the gallery/dealer. • Will the artist receive a regular statement showing what sales have been made and how the commission has been calculated? • Is the artist VAT registered and if so, VAT will have to be added to the selling price of the work. • Is the gallery VAT registered and if so, VAT might have to be added to the selling price of the work. • The artist does keep copyright of the work held on consignment. • The artist will usually keep reproduction rights in any work but grant the gallery/dealer and any later buyer the right to reproduce the work for publicity and promotional purposes only. • Will the artist be represented at art fairs? • How many exhibitions will the artist be offered because a gallery/dealer will usually offer an artist an exhibition soon after they have begun to stand for them. After this first exhibition, future exhibitions will depend upon the level of sales and the type of work the artist is producing. It is common if the relationship is going well to be offered a solo exhibition at least every 2 years. • Will the exhibition be a solo or group exhibition? • Where will the exhibition be held? • Which of the following exhibition related expenses will the gallery/dealer pay for: transport, packing, insurance, advertising, catalogue and other promotional print, framing, installation, opening events and hospitality, photography, and press images? • Will the artist be involved in the hanging of the exhibition? • Confirm the dates and opening times of the exhibition? • What is the date and time of the preview? •Will the artist be expected to attend a press preview/interview with press? • How many guests can the artist invite to the preview? • Will a catalogue be produced to go with the exhibition? • Will the artist be consulted on the choice and crop of images? • How can the relationship be ended as it is best practice to agree under what circumstances the relationship can be stopped and the result for each party. Ideally, either party should be allowed to give a minimum period of notice (say one or two months) to end the relationship at any time. In practice once a relationship has gone sour representation is often ended without notice. • Does the gallery/dealer still remunerate any sales it initiated once the relationship has ended as it is common for the agent to continue to receive commission on any sales the buyers are introduced to by the gallery/dealer for a period after the relationship has ended. But on occasion they share this commission with another gallery/dealer who has taken up representing the artist. • What will happen if the artist dies? • What will happen if the gallery/dealer must go into administration? Because if the gallery/dealer has bought the work outright, then any unsold work held on consignment should still belong to the creator and should be able recoverable from the gallery/dealer or their receiver/administrator. In this situation the artist should act swiftly and request the work back from the gallery/dealer including copies of the consignment note as proof of delivery. But if the gallery is already closed, the artist should find out who the receiver is and write to them demanding return of the work held by the gallery/dealer enclosing the consignment note proving ownership, which should be sent by recorded delivery and a copy kept. -Created Using References and Quotes along with AI. #artbusiness

Researching the organisations you intend to approach is the most crucial step to creating a successful proposal, so before putting a proposal together… research, research, research! In context try to engage with an organisation’s remit to find the best fit for your project as distinct types of organisations have different approaches to programming and exhibition payment guides. Are they large, mid-scale or small? A festival, publicly funded or local authority venue? A commercial gallery or an artist-led space? In making a speculative proposal or responding to an open call you should find out as much as possible about an organisation’s artistic direction and programme themes. Visit and attend events to learn how an organisation works and who its audience is. Use its website. Look at past exhibitions and events, social media, artistic policy, and the organisation’s vision to give you a sense of whether your proposed project will fit in. Organisational Awareness does not just mean you're good at multitasking, there is also the possibility that you really know and care about what you are doing. Consider the focus of the organisation you are making a proposal to, does it work with emerging, mid-career, or established artists with an international exhibiting record? Is it committed to commissioning new work, promoting regionally based artists or does it show a preference for group or solo projects? Artist-led spaces may collaborate with a close peer group that reflects its own ethos or may be incredibly open to proposals from a broad range of artists. For a speculative proposal you need to research the best ways to contact the organisation, and understand how receptive it is to receiving proposals, because by understanding these differences you will save time in an exhibition payment guide. There is little point pitching to an organisation whose remit is not aligned with your career stage, work, or type of project, so consider the timescale when researching and giving a proposal. Some arts organisations outline a procedure for receiving proposals on their website – they may be open to receiving submissions all year round or may have specific deadlines. A few galleries run annual open submission programmes. Larger organisations may review applications infrequently or only once a year, which can effect on the scheduling of your proposed project. In the proposal the six key things to include are: A description of the proposed work. An estimate of the space needed to show. A biography or CV of the artist/s involved. Links to a portfolio, or images of relevant or recent work. An itemised budget. The proposed work. Within the opening four sentences of your proposal, you should clearly and concisely state: The kind of activity you are proposing (e.g. a solo or group show, or an evening of performances). Who will be involved. The duration of the project. Why your project is important. Adult Social Skills require us to think laterally on in life, here we all are naturally talented at our chosen approach. Be as concise with your opening description as possible with the exhibition payment guide and go into more detail with the rest of your application. Don’t expect the reader to work through pages of information before discovering what you want to propose, because the length of your application should reflect the scale of your project; proposing a talk between an artist and critic can be a short and snappy proposal, whilst a large international group exhibition will require more justification in the rationale for staging and selecting artists. Consider the benefits of your proposed activity. Does it draw on the local context or build upon existing themes within its programme? Will it bring a new audience to the venue? It is not essential to achieve all these things but showing an understanding of the organisation’s remit and how, and why, your project might benefit it could increase your chance of success. Your proposal should reflect the size and scale of exhibition space so consider the physical space available, and how much space you realistically need. If it is a proposal for an event, consider how it will work within the context of what else is programmed for the space, making sure you edit CVs to reflect the activity that you are proposing. Include work experience only if it is relevant to your project. Ensure that your images are of the best quality possible. High definition is good, but having a well-lit, suitably cropped photo is much more important. Your images should be a suitable size to fit in an email or be small enough to download quickly, and if you are sending several attachments remember to label them all clearly. Getting down to business as an artist can be immensely rewarding when all you do all day is create beauty for other people to enjoy. • Commission agreements As no two commissions are the same and because of the growing financial value and complexity of many commissions, a specially designed contract will be needed in most cases. • Who are the parties to the agreement? The parties to the agreement will usually be the artist and the commissioner but may also include other parties such as a public art agency or funder. The agreement should include the name, address, and contact telephone numbers of all parties. All parties should notify the other parties at once on a change of address or contact number. • Which of the following individuals/groups will be involved in the production and installation of the commission? Funders, site-owner/developer, site contractors, architect and/or design team, project manager, subcontractors and specialist suppliers, artist’s assistants. The role and function of each party and others involved in the commission must be clarified and understood by all parties. The site-owner or developer is often the commissioner of the artwork and will tend to own the site for which the work is to be commissioned. Site contractors, usually a building or construction firm, will often oversee landscaping, foundations, or other preparatory works for the commission and/or installing the work with the aid of the artist. An architect will be appointed by the site owner/developer to produce designs for the overall project and will supervise the completion of the works by the contractors and others working on the project including artists working on commissions. Increasingly, artists are being invited to collaborate with the design team at an early stage in the design process of the site or building. In such cases it is advisable to outline in detail the roles and relationships of the artist and all working in the design team, so together with a schedule of services explain the scope of activity and advise on what is expected from each team member at each stage of the commissioning process. • Will a public art agency, public art consultant, dealer, or gallery be involved in the commission? Public art agencies and consultants are usually employed and paid by the commissioner to advise on the choice of artists and to oversee completion and installation of the work on the commissioner’s behalf. However the extent of their responsibilities needs to be clarified at the earliest stage to name what, if any, matters must be approved by the commissioner, for example to accept the designs or the commission itself. • Will the artist’s contract be direct with the commissioner or will the artist work as a nominated subcontractor? Working as a contractor, being nominated by the developer as responsible for conducting the commission is not advisable since it requires complex contractual documentation, often involving performance bonds, indemnities, and insurance cover. As a nominated subcontractor, the artist would have a contract with the main site contractor who would then supervise and paying the artist. • Who will subcontract aspects of the production of the work? More contracts/letters will be needed between the artist and any of his/her subcontractors appointed by the artist and used to manufacture various components or stages of the artwork. Any guarantees that the artist gives the commissioner, such as defects periods, should be duplicated in the agreement between the artist and his/her subcontractors/fabricators. The artist should also make clear arrangements with his/her subcontractors on how stages of the manufacture of the work will be signed off. • How can the work be best described? The agreement must clearly show the work to be commissioned by providing as much detail about the proposed work as possible including the theme/subject matter, material or medium, approximate size, location, method of fabrication, lighting, structural/environmental requirements, and any other specific requirements. These details are usually detailed in a schedule attached to the agreement. It is helpful to show which elements of the work may change as fabrication continues for example colour and/or dimensions and to specify any elements that the artist considers to be integral, for example plinth, access, etc. • In what format will the preliminary designs be sent to the commissioner? Depending upon the nature of the proposed work, the preliminary designs may take several forms (model, maquette, drawings, computer-generated image). • What is the deadline for delivery of the preliminary designs or is this flexible? • How many times can the commissioner request changes to the designs within the agreed fee? The agreement may say the maximum number of changes to the design or further designs that the commissioner can request for the agreed fee before more payment is needed. • How many stages will there be to the design process? In the case of large-scale public and more complex commissions there can be more than one stage in the design process. Acceptance of the first designs can then be followed by a detailed design process during which the feasibility and costs of the first designs are explored more fully. For large-scale commissions, this design process is equivalent to concept design, design development, and implementation. For each stage in the design process, details of payment, number of changes to the design and issues of acceptance/rejection should be clearly outlined. • Will the artist be expected to take part in any public consultation on the proposed designs? Particularly in the case of large-scale commissions, artists can be expected to take part in public events to discuss the proposals or in exhibitions of the proposed designs. Any such activities and associated fees should be outlined in the schedule. • Can the commissioner view the work at any time during its fabrication? •What is the completion deadline of the work? • Who will decide when the work is complete? It is usually the artist who will decide when the work is complete, and the agreement should ensure that the commissioner cannot reject the final work if it is agreed in the designs. If the commissioner does not like the final work, they are at liberty to end the agreement but would then have to pay the artist for work done. • How will formal acceptance of the work be proven? • If the Work is not made on site, what is the date for delivery of the work? • For works created off site, who will manage arranging the delivery of the work? • For works created off site, who will pay for the costs of delivery and insurance during transit? • What, if any, penalties will the artist incur for late delivery of the work? • For works created off site, who will oversee inspecting the work on arrival to check for damage during transit? • For temporary works, who will oversee arranging and paying for de-installation, insurance and return transport? • Who will manage conducting any preparatory site works? The commissioner is usually responsible for preparatory site works. The necessary site works should be documented in the schedule, together with the intended timing to ensure that the site is ready for the installation of the work and for example, that any foundations have had time to harden. • Will a structural engineer be needed to check that the proposed site works are adequate for the proposed work? • Will the site works be signed off? • If the work is not made on site, what is the date for the installation of the work? • Between what times will the artist have access to the site to make or install the work? • Who will manage arranging all necessary planning consents and approvals? The commissioner is usually responsible for ensuring that all necessary planning consents and approvals of any statutory authority and the site owner are obtained in suitable time for the siting and installation of the work. The commissioner will also usually oversee associated costs. The planning application process can take a long time, and applications should be sent well in advance of proposed installation dates. • Who will ensure that all necessary health & safety procedures are being followed? • Who will install the work? It is usual to allow the artist or commissioner to supervise the installation. The schedule should include detailed information on how the work should be installed and any preparatory site works that may be needed. • Who will pay for the costs of installing the work? • Who will pay for the costs of making good the area around the installed work? • Who will pay for storage of the work if, once complete, it cannot be installed as timetabled? • What is the total value of the commission fee? Commission fees are subject to income tax and should be included on the annual tax return as self-employed income. Artists should give an invoice for each instalment of the fee and any queries on tax deductions should be raised with the commissioner, agency, or project manager. If preliminary designs are needed, a non-refundable Design Fee should be paid even if the work does not go ahead to a full commission. • Is the commission fee inclusive or exclusive of VAT? • Does the commission fee include cost of materials? • Does the commission fee cover cost of delivery of the work to the site? • Does the commission fee cover cost of installation of the work? • Does the commission fee cover cost of any related ancillary work, for example lighting or landscaping? • When will the commission fee be paid to the artist? Commission fees are often broken down into several staged payments. The agreement should clearly outline the timetable and amounts of each payment. It is common for instalments to fall due on the signing of the agreement, on approval of designs, on approval of installed work, with a final amount held back by the commissioner for a limited period against hidden defects. The amount of each payment will not necessarily be equal. • Will the artist be paid any added fees if the commissioning schedule must be extended due to unforeseen delays? • Will the artist be paid any added fees if the commissioner changes the brief? If the commissioner changes the brief or specification for the work unilaterally after the commission starts, the artist should reserve the right to increase fees commensurately. • Will the artist be reimbursed for any other expenses relating to the commission? It is usual for artists to be reimbursed for travel costs to attend meetings and other incidental expenses. Artists will normally be asked to send expenses claims together with original receipts. • Who will own any maquettes or preliminary designs? Public art agencies are sometimes keen to have ownership of the preliminary designs for exhibition and promotional purposes. • When will ownership of the work transfer to the commissioner? In most cases, ownership of the installed work will be transferred to the commissioner on payment of the final instalment of the fee. Transfer of ownership must be said within the agreement otherwise ownership of the work will remain with the artist. Once an artist ceases to own the work the law says that: Unless the parties have agreed otherwise the creator will have no control or say over the siting, maintenance, or condition of the work, so these matters must be covered, specifically in the contract. • Who will obtain adequate insurance cover for each stage in the commissioning process and to what level of indemnity. Artists working off-site during the production of the work will need an all-risks insurance policy to cover physical loss or damage to the work until it is finished and delivered on site. For example, if there is a fire in the artist’s studio and the work is destroyed. If the work is made on site or once it is delivered on site, the commissioner will be expected to take out permanent all-risks cover. Liability cover is needed against damage or injury to property or persons when the work is being produced either in the artist’s studio or on site, and when the work is being installed. The level of indemnity may vary during the commissioning process. For example, a higher level will be needed when the artist is working on site than when they are working in the studio. The artist should arrange personal accident or injury insurance to cover themselves and anyone helping them because employer’s liability insurance will only cover the artist if anyone that they are employing to aid with the project is injured whilst working for the artist. So the commissioner may wish to include an indemnity clause protecting them from any loss or damage from the artist’s negligence or wilful acts of omission. • Is there a guarantee that the work will be original? For commissioned work, the agreement often says that the artist guarantees that the work will be original and will not infringe copyright or other rights belonging to any third party. • Will the artist be liable to repair or reinstate the completed work, if a fault or defect appears within the defect period? Most agreements include a defects period, often 6-12 months at once following installation, during which the artist agrees to do any necessary repairs at the artist’s cost. Unless the agreement defines the artist’s liability in this way, artists can be liable for an indefinite period if the workmanship or materials prove defective. • Will the artist have the first possibility of repairing the work if it becomes damaged after the defects period? • Will the artist be notified if the work is moved or sold?             • Will the artist be notified in advance of any proposed alteration to the site? Ideally the artist should be notified of any proposed alteration to the site that would affect the intended character and appearance of the work. • If the work is ephemeral in nature or created by the artist to deteriorate over time who will have the authority to declare that the work should be removed from the site and who will manage the associated costs? • Who will own the copyright in the commissioned work, maquettes, and preliminary drawings? Copyright in all work produced should remain with the artist. • Is the commissioned work or a part of it capable of industrial application, for example a design for seating or lighting? For functional and aesthetic designs capable of industrial application, design right comes into existence automatically when the design is made. Unlike copyright, the commissioner, not the artist is the first owner of the design right, unless this is otherwise agreed and written into the agreement. • How will the work be credited? The commissioner is usually responsible for arranging signage of the work using wording agreed with the artist. • Will the artist assert their right of paternity? This requires the artist to be identified as the creator of the work whenever a reproduction of it is shown or issued to the public. This right must be asserted in writing unless the artist is named on the work itself, or on the frame mount or plinth, in which case assertion is automatic. • The artist’s right of integrity is automatic The right of integrity enables artists to have some control over their work and the way it is displayed after it is sold or out of the artist’s possession, regardless of whether the artist owns the copyright. The law cannot prevent destruction of a work nor re-siting of a site-specific work, but it will allow the artist to have their name removed from distorted or mutilated works if the honour or reputation of the artist is put at risk. • How can the agreement be changed once signed? All changes or modifications are made in writing and signed by both parties. • Which country’s governing law will apply to the commission’s agreement? If either of the parties is not a UK resident or an organisation based in the UK, the agreement will need to specify which country’s law will govern the agreement. • What will happen if there is a dispute over the contract that none of the parties can agree on? If there is a dispute about aesthetic or design-related matters, it is usual to allow these to be resolved by an independent expert. • Under what conditions can the commission agreement be ended? The agreement should define as far as possible the circumstances under which either party can end the contract. The contract can be ended by either party if the other party breaches any of the agreed terms of the contract. Often the commissioner can end the agreement if they do not accept the design or later decides not to go ahead with the work. • If the commissioner ends the contract other than for breach of contract by the artist, how much will the artist be paid? To ensure that the artist at least gets a fair reward for the work done up to the time of cancellation, the agreement should specify what fees are payable to the artist if the commissioner decides not to accept the designs or not to continue with the work. As other circumstances can arise beyond the control of the commissioner that prevent the continuation of the commission. • If the artist voluntarily ends the contract how much will the artist be paid? If the artist voluntarily stops the contract they will be in breach of contract and will usually not be paid any further fees and may have to return any fees that were paid in advance for work not yet completed. • If the agreement is ended who will own the copyright and have the legal ownership in the unfinished work? If for any the commission ends the artist should continue (unless the artist dies or cannot finish the work due to illness) to own the copyright and have the legal ownership in the unfinished work and have the sole right to complete, show, or sell the work. • What will happen to the work of the artist dies or is incapacitated through illness? The agreement will automatically end on the death or incapacity of the artist. The artist or his/her estate will then receive all payments due up to the date of death or incapacity and the commissioner may keep the work in progress and any preliminary designs only for the purpose of completing the work using an artist that is acceptable to his or her artist estate. • Can the contract be stopped due to circumstances that are beyond the party’s control? Neither artist nor commissioner are usually treated as being in default of the agreement if any delay in completing the work is due to any cause beyond their reasonable control. For example, extreme weather conditions, or outbreak of war. • Who should sign the commission agreement? The agreement should be dated and signed in duplicate by each party. The commissioner may grant its agent the authority to sign the agreement on the commissioner’s behalf. -Created Using References and Quotes along with AI. #artbusiness

Realising exhibitions and projects is an important strategy in the arts, with many galleries running an open submission programme, often on an annual basis, or will have a procedure for receiving proposals on their website. It is common however for larger public galleries to review applications infrequently, once a year or once every two years in some cases, which may have an impact on the scheduling of your proposed exhibition. Before you apply… Research, research, research! By far the most crucial step in successfully pitching an exhibition or project to a gallery is to research the galleries that you intend to approach. As there are many distinct types of galleries from small shops to large scale institutions that will focus on collaborating with established artists with a record of showing internationally. Other galleries will be more interested in showing emerging artists, and mid-scale institutions often combined programmes of established and emerging artists. Galleries and curators may also prefer either group or solo exhibitions – even these quite subtle distinctions matter. Galleries, whether formal or not, are a societies exhibition of norms and practices. Spaces for hire will tend to have a very straight forward transactional arrangement but may also have a fluctuating or irregular audience depending on which shows are brought in so it’s worth thinking about the visibility of the work and access to an audience especially if you are taking over a space not usually used for cultural or artistic activity. Abandoned or empty spaces are often incredibly atmospheric, and some landlords are happy to waive fees for activity that brings life to an empty shop or venue. They can however present problems for insurance of work as they are rarely very secure and will not be staffed. If you are required to invigilate your own show in the case of a hire or artist-led space, then you will also want to consider the length of the show and whether the focus really is on the opening night or if it matters how long the project runs for, so context is everything. It helps to have an idea of the artistic direction of the gallery that you are approaching and understand the common themes of the exhibition programme, often this is reinforced by the gallery’s programme of events and talks. Whether making a speculative application or applying to an open call you should therefore find out as much as possible about the gallery. Make yourself familiar with the programme of any gallery that you are pitching to and engage with their remit. Visiting the gallery is ideal, as is attending as many events as possible, as this will give you a sense of how the gallery is used and who the gallery is interested in working with. If visiting and attending events simply is not possible e.g. you live too far away; you cannot spare the time from work or afford the travel – then use the organisation’s website instead. Look at past exhibitions, their events programme, their social media, their artistic policy, or vision all of which will give you a sense of how your own work or proposed curated project might fit. Networking and seeking advice as well as finding out about the gallery and its on-going programme can be helpful in letting the gallery and its programmes or curators know who you are in advance of pitching an idea for an exhibition. Gallery events and exhibition openings are an opportunity to meet curators and start conversations about your work informally if you can attend, and sending a regular (monthly, or less frequent) e-mail with links to your current exhibitions and projects is a clever way to keep curators up to date with your work. Asking for advice, particularly from mid to large scale institutions can be a very productive way to start a dialogue with curators and help to shape your proposal into something that a gallery will consider. Requesting a studio visit is another way in which you might approach a gallery through their curatorial team; remember that studio visits are never an obligation on either side to show or be shown – they are open-ended dialogues about work and ideas, so take time to build networks and relationships. Once curators become familiar with your practice, they will suggest galleries they think might be a good fit for your work and will often recommend artists to other curators and galleries. Once you have researched the space and understand the parameters in which a proposal can be made then you will go onto compile your proposal. Within your opening three sentences you should clearly and concisely tell the reader what kind of activity you are proposing, who will be involved, the duration of the project, and why your project is important. Be as concise with your opening description as possible and go into more detail with the rest of your application. Opening with the background to your research, your biography or a theoretical proposition will frustrate the reader. Do not expect the reader to work through pages of information before finding out what you want to propose. The length of your application should reflect the scale of your project; proposing an evening of performance might be a more short and snappy proposal, whilst a large international group exhibition will require much more justification for why you want to stage such a big exhibition and why you want to work with your chosen artists. If you are proposing your own work, consider if the gallery is expecting a fully realised project that you deliver from start to finish or if this is going to be a collaborative or curatorial relationship. If it is the latter, more elements can be left open to allow for the organisation’s creative input. You should also consider what the gallery will get from your proposed activity; does the exhibition draw upon the local context of the gallery? Does it build upon existing themes within the gallery’s programme? Will your project bring a new audience to the gallery? It is not essential that your project does all these things but making a case for why your project would help the gallery will increase your chances of success. Consider how and why this exhibition and relationship could be mutually beneficial. Remember that your proposal must include a clearly itemised budget to realise the exhibition or project. Your proposal should be supported by the resumes of all the artists and curators involved, images of existing work and links to any relevant projects that you have worked on previously. Make sure that you edit CVs to reflect the activity that you are proposing and do not include work experience unless it relates to your project. Ensure that your images are the best quality possible. High definition is good, but having a well-lit, suitably cropped photograph is much more important and your images should be a suitable size to fit in an email or be small enough to download quickly. Open calls for submissions will give you guidelines to follow on how to apply, what the gallery is looking for, what kind of support they will provide and a timescale for successful applications. Always follow the guidelines and do not send in more than the maximum written or visual material asked of you. Always consider that the person on the other end will be dealing with a volume of entries. Museums full of treasures, are an excellent cultural resource for discovering your historical roots. In cases where there is no set method for sending proposals, your application will be speculative, and you will need to research the best ways to contact the gallery. This includes considering what kind of support the gallery is likely to provide, the duration of the gallery’s exhibitions, how far in advance the gallery programme is and how receptive the gallery is to proposals. If you are working on a peer-led project and you and your peers are happy to work together and pool resources, then many of these areas are a cost to your time rather than an actual spend e.g. you may end up sharing the responsibility of invigilating between yourselves. If you are showing at a publicly funded gallery or another arts organisation, then you are entitled to be paid an artist fee. Fee scales will vary, according to the size of the organisation and scale of funding they are in receipt of, and whether you are taking part in a group or solo exhibition. You should make sure you are never pressured to surrender your fee to production or installation costs or other areas of spend. -Created Using References and Quotes along with AI. #artbusiness

In the world in general, when someone offers something – a house for sale, a job, work from a tradesperson, a proposal of marriage even – this is generally the opening gambit in a negotiation process by which what has been offered will be discussed and, in the process, either adjusted to create something of mutual benefit, or declined. But in the visual arts there is a tendency for the offer of an exhibition by a gallery to an artist to be taken at face value and either accepted or rejected. There is a tendency nowadays for arts organisations to offer an artist a show, with the immediate comment that there’s “no budget” to cover any costs connected to getting it up and running. Straight cash, however, is only one aspect of what an artist needs from a show, and a gallery could offer much in the way of in-kind support, professional introductions, and critical appraisal. This is where negotiation comes in as this approach leads to creating a working relationship that can be built on in the future. A collaborative negotiation is preferable to a competitive one where the parties are out to get the best for themselves regardless of the wider implications. An unhappy relationship between artist and gallery tends to ricochet around the art world and does neither any good in the longer term. Anyone unfamiliar with negotiation techniques would find it useful first to seek out guidance. Artists might get this from peers, or by looking out for negotiation workshops run by professional development organisations. An arts organiser or curator might ask advice from others in their professional network. The opening of the first phase of a collaborative negotiation on an exhibition involves gathering as much information as possible, preferably well in advance of any meeting. Artists need to research the gallery, how it programmes, what its current interests are, which other galleries look to that one because they are good at picking interesting artists, and galleries need to research the artist, the context for their work, their peer network, their other projects, asking what do you want to achieve? Before you start a negotiation, set out for yourself on paper what you want to achieve from the exhibition opportunity in terms of, things you must achieve, things you intend to achieve, things you would like to achieve, and remember it is your personal list and is not for sharing between the parties! The first meeting gives an opportunity for artists and the exhibition organiser to discuss and explore each other’s needs, start to create a relationship and as part of this, for each to make tentative offers. Avoid your own preferences and ideas and instead use open questions that create a space in which ideas can be explored, for example: What do you think about, is there something you’d like to suggest, from experience ask what do you find works well, and what other options could we look at. Once you have had a chance to assess each other’s position, you are ready for proposals and suggestions to be made. Be mindful of how you have prioritised your list of achievements that you can start to trade for, all the time looking for opportunities to offer things that one party needs but are of real value to the other. For example, a local authority or academic gallery that has a photographer could offer the artist visual documentation of their exhibition that would otherwise cost the artist. After this period of exploration and testing, the trading and bargaining begins in earnest, try not to assume this all must happen at once, as the testing and proposal-making happens some weeks or days before you sit down to bargain and finalise the arrangement. In general terms, ask for more than you expect to get and do not concede too much at the beginning because then you have reduced your bargaining assets later. In face-to-face discussions, be aware that body language speaks volumes – leaning back and folding your arms sends a signal that you are closed to discussion, whilst keeping eye contact and supporting a normal sitting position says the reverse. It is important to listen actively, to concentrate on what the other party is saying rather than waiting for them to finish so you can jump in and make your own points. Do not always feel obliged to bring in new material when you speak, you can instead summarise what has been discussed as a way of delaying to decide your next move. Silence is OK too, providing time to gather thoughts for another intervention. Nowadays, negotiation is often done via email or telephone. It is better to avoid making curt or aggressive comments in emails which can tend to turn a collaborative negotiation into a confrontational one. Do not reply to emails or unexpected telephone calls ‘off the cuff’ always refer to the paperwork or notes from earlier communications. An agreement cannot be reached until the parties get to a position, they can both live with as a matter of course, this is somewhere between their respective starting points. Neither party should feel afterwards they were backed into a corner or browbeaten into finalising the negotiation. If someone is pressing you to agree now, it is usually because they will get more out of the arrangement than you will. When you’ve reached an agreement, write up your notes as a letter noting all the areas of agreement and send it to the other party, asking them to confirm the facts by signing, dating, and returning the letter to you on a second copy that you have provided. Either artist or exhibition organiser can write up the agreement. A checklist of what should be included in a formal exhibition agreement appears later. Contractual obligations are a definite asset when dealing with unpredictable or even unknown factors in the marketplace. Examples of the kinds of things of value to artists that they might want to include somewhere within the agreement are, access to the gallery visitors’ book to add selected names to their own mailing list, access to training opportunities/professional development usually only available to the gallery staff, being represented by the gallery, a catalogue or brochure which profiles the work, critique of the work by a respected curator or critic, a fee for the exhibition’s public presentation, the exhibition to be offered for tour, the exhibition organiser or curator involved in selecting works to show, feedback on the work from an exhibition organiser, fees for associated peripheral activities, good quality photographs or documentation of the show provided by the gallery. 1. Who are the parties to the exhibition agreement? These may include the artists who have made the work, the gallery or venue and an independent curator. Note however that if an exhibition is being organised by an independent curator for a gallery, a separate agreement is needed to set out the arrangements between curator and venue. 2. What is the purpose of the agreement? That is, to hold an exhibition showing of works, so list them in an Appendix. 3. What is the nature, scope, and intention of the exhibition? Give a concise description of the intention, theme, and title, including whether solo, two-person, group, and names of the other exhibitors. 4. Where will the exhibition be shown? 5. When will the exhibition be open to the public? So include dates, opening times, fixed closed days. 6. When will the preview take place? Give a date and a time for the preview and note who manages the refreshments. 7. Will the exhibition tour? The details of other venues, including dates should be listed in an Appendix. 8. Who will deliver the works to the venue and return them afterwards to the artist? This includes packing, repacking, and transport arrangements, and who is paying for these, as well as collection and return delivery dates to the artist. If the exhibition is touring, include these details for each venue. 9. Who is installing and deinstalling the exhibition? This names who is responsible for what and when they will be doing it, including details of any preparation by the gallery and what the artist is supplying in way of display material or plinths. 10. Who is taking care of a loss or damage, and insurance? It is best practice for artist and gallery to note the condition of each work prior to packing and on delivery. If the work is transported by others, this condition report records any changes from the original condition and thus shows who is responsible for damage or loss. Although many small galleries say they require artists to provide their own insurance, it is a sign of professionalism for the gallery to take out an annual policy and, only if essential, to pass a pro-rata cost onto the artist, rather than for an artist to buy a one-off policy. 11. How will works for exhibition be selected? Ideally, selecting and deciding the arrangement should be by mutual agreement although for practical reasons in the case of a group or thematic exhibition, it is usually the case that the gallery has the final say. 12. Who oversees the publicity and promotion? Include here details of all printed and electronically produced publicity material including catalogue, preview card, leaflet, and press release noting who produces and distributes them and how many copies will be given to the artist or distributed to a list provided by the artist. It is good practice for the artist to be allowed to approve any images, captions, and written texts prior to distribution. List where advertisements will be placed. If there will be a press preview for which the artist must be present then include the date and time. 13. What fees and expenses are due to be paid? An exhibition fee is a professional acknowledgement by the gallery to the artist for providing public access to their work. A suitable fee for a solo show may be anything from £400 upwards. This is in addition to reimbursing the artists expenses for travel, accommodation and subsistence whilst installing the show. Other fees could be due for designing the publicity, writing a statement for the catalogue, providing a presentation or educational workshop. 14. Will the work be for sale? Define what commission the gallery will charge and whether VAT is charged on sales as well as issues around payments to the artist and collection of sold work. 15. Who owns the copyright and reproduction rights? It is still best practice for artists to hold copyright and reproduction rights in their work. However, it is usual for artists to grant a gallery the right to reproduce any work in the exhibition for publicity and promotional purposes. 16. What are the moral rights? Which include the right of ‘paternity’ that gives artists the right to be identified as the author of a work whenever a work is publicly shown. However, this right must be asserted and is automatic where the artist is shown on the original work, its frame, or mount, and will affect anyone whose possession the work comes into. Where the artist is not named on the original work, the assertion must be in writing, for example included within the agreement. In this case assertion only affects someone to whose notice the assertion is brought and so is of more limited use. It is best practice for artists to assert their right of paternity. 17. Who owns the work? Is the artist the owner or is it someone else, in which case ensure the artist confirms permission of the owner to lend the work. 18. Who is sponsoring the exhibition? Galleries often use sponsorship as part of their income stream or for a specific show. As private sector sponsors have various affiliations, it is reasonable for the artist to be consulted on any sponsors associated with their exhibition. 19. Which nations governing law? It is advisable to specify which country’s governing law applies to the exhibition agreement. 20. Include a ‘Force Majeure’? This peculiar term means putting into an agreement a clause that provides that neither artist nor gallery will compensate the other if the reason for its failure to go ahead with the exhibition is genuinely outside their control e.g. industrial action, illness, flooded venue, etc. 21. Can you change the agreement? Sometimes you need to do this, so it is a clever idea to include provision for this as something that can be done when both parties agree. 22. Is this a whole agreement? It is best practice to include a ‘whole agreement’ clause since this ensures that neither party can later claim the signed agreement did not hold everything that had been discussed or agreed earlier. 23. Where are the Appendices? List the works and Tour schedule that form an integral part of the agreement. 24. How can the agreement be ended? Say under what circumstances either party can withdraw work from the exhibition or terminate the agreement e.g. the artist may terminate if the gallery is in default or in breach of the agreement or becomes insolvent, and the gallery may withdraw work that is considered to contravene the law or if the artist is in breach of the agreement. 25. When should it be signed? Once the agreement has been finalised, it should be written up and signed and dated by both parties, in duplicate. The name and position of the person signing on behalf of the gallery should be said. Only Directors of limited companies have automatic authority to sign agreements on behalf of a company; other employees need special authority if they are to sign. -Created Using References and Quotes along with AI. #artbusiness

As a gallerist and curator, have a go-to document for regular enquirers who approach you about exhibiting or to get some advice, because by doing your research you hone down a handful of curators/commissioners/galleries whose work you respect and think about whether it chimes with your ambitions and values. Find out who to speak to – sending an email starting ‘Dear Sir’ to a feminist curating partnership will not get you the result you hope for. Visit a range of art fairs – they are a suitable place to quickly see different galleries and different perspectives internationally and from across the country. You may not get a chance to talk to them, but it can give you some insight into the commercial art world, here is an introduction… Ask them, do you accept unsolicited proposals? What is the best way to enter a proposal? I have read about your work, and my work fits your approach, here are links to my work…. And I have updated my website with recent work I would love you to take a look. Here are my contact details I am looking for galleries to work with for a new piece I am developing, and I think your approach would make a great match if you would like to follow up… I am new to the area/you are new to the area; I would love to meet for a coffee to introduce myself and find out more about… Make sure you have an up-to-date website with clear images and artist statement. Get involved, turn up to events, and look for opportunities. Because galleries are unlikely to work with any artist that has not bothered reading about them e.g. thinks they are commercial, or anyone contacting them looking for jobs who has not bothered checking the jobs section of the website, and those who harass the gallery, as they will back off if you appear to be a nightmare to work with. I think smaller galleries whether commercial, artist-led, public spaces, or a hybrid like workplace, are happy to be approached by artists but are often busy so do not usually have the time to follow up. Any information sent needs to be clear i.e. is it an invite to something like a show or studio visit or a proposal. You are you're own master and commander, so try to be open to new possibilities in life by exploring each and every avenue you can find. It is amazing how many approaches from artists who clearly have not looked at the programme, let alone visited the gallery, to get a sense of whether they could be a good fit. Prior research is essential including going to openings and events etc. Never approach commercial galleries at art fairs, they are there to promote and sell. There is a particular guy who I have seen work from before and some of the work is quite good I think I’d like to say to him – invest the time and energy and go meet people, curators are always looking for new work, even if they don’t indicate that through social media via likes and so forth. I would also say they need to be much more selective in editing their own artworks and taking much more care with the photographs of the work. But this moaning on social media about the lack of exhibitions suggests that collaborating with them might be difficult, it also devalues their nearest network, as it suggests that people who curate exhibitions are somehow only ever after kudos. The best gallery approach to getting exhibitions is difficult for everyone, but this is especially hard if you do not take care of basic marketing and photo editing. Skimping this element of art practice suggests you might also be sloppy when it comes to making an exhibition too. These types of posts also advertise that he has not had any exhibitions, which I might not have even thought about without seeing that post. See spaces that do not moan on social media, it undermines confidence in your work and makes it all about you, what you feel that you are entitled to and denigrates the exhibition. Send your information to the right person, do not assume a ‘Dear Curator / Director’ build a relationship instead, as you cannot rely on getting a show from a random email, and do not expect an instant response (although I find this polite to do so). These things take time. On the other side it is sometimes good to be direct by keeping it concise and relevant, so do not waffle. Your images must be of a decent quality and representative of the current practice and remember to provide links to other work. It helps if you do not bad mouth the gallery or their exhibitions on social media and then expect a show, be friendly and approachable, work with nice people and be nice to others and make clever work. Be the best you can and strive to be better. Ambition is critical. Collaboration is the same everywhere, by being open to suggestion but not too predatory, you can manage to convince anyone of you're success. I have heard of invites by a couple of artists recently to conduct studio visits with them, which is an approach I quite like. They had researched the programme and confidently felt their work was interesting enough to merit an exhibition and so would fit well with a galleries approach to programming. This arrangement does feel more generous on the side of the artist, and it allows a human interaction and opportunity to show a social connection, often not possible through digital communication. It helped that I had already chatted briefly with them and knew a little about them; so therefore trying to set up a dialogue with someone you want to work with is often the first step. Most of us are bombarded with images of artworks every day, to the point where it just becomes ‘stuff’ and visual clutter. Curators are also becoming increasingly lazy about how they conduct their research. For me, what is ‘absent’ has become more noticeable. Therefore, artists should not feel pressurised into putting everything online or constantly sharing work in progress. Care more about your work, and although it might take longer to show your work in exhibitions, the relationships you make will be more meaningful and longer term. I would really love to be able to pass on something useful and informative, which does not destroy dreams but at the same time does not give unrealistic expectations about what to expect from the art world. Your own instinct as an artist is your strongest – and relationships with galleries and gallerists, as I hope to point out here, are no different to any other kind of human interaction. Do not be rude. Do not try and be too cool for school. Do not try and force things if it does not feel right. There are no fixed rules or situations which will make it easy for an artist to become represented by a gallery or to be invited to show. The idea of ‘approaching a gallery’, something we are often encouraged to do at art school by peers and tutors, can be a little misleading and not actually representative of how an artist might build a sincere and valuable relationship with a person or organisation who has an interest in selling or showing their work. The best gallery approach can be irksome and awkward for both parties involved to be in the situation whereby artwork (or the artist themselves in some cases) is being hawked ‘door to door’ as it were, to get an exhibition. If you are the artist, you might feel you risk rejection, humiliation, and ridicule. As the gallerist, it can feel like you are being approached by a well-meaning, but unsuitable date, because sending a portfolio or showing up on someone’s doorstep with a bunch of work is often a ‘blind’ and unsolicited meeting. So why go and do it? Well, it is a time-trodden method. Since the time when recent graduates lovingly compiled plastic portfolios of carefully selected slides, to the more modern phenomena of tagging the world on social media. The truth is that if you come on too strong, you are going to have your advances rejected. It is a huge waste of energy and can feel emotionally draining when efforts come to nought, so how do artists get exhibitions if they do not contact galleries? Find out more about what galleries there are out there – and their staff, and what to do when your paths collide. Ask about their research interests? What exhibitions have they curated before? Do your research and create your own tailor-made route. Find out more about your peers and ask their advice. Stay in touch with the people you went to art school or university with, as chances are some of your contemporaries may have gone down the exhibition making route too. Some things to think about before making a pass at a gallery are, could you find your own venue, or start a collective or gallery yourself, because there is a lot to be said for initiative. Try and find a space yourself if you have an idea about making an installation or exhibition. Many an artist, curator, or gallerist started something amazing in someone’s spare room. This is a good place to invite the people you are interested in gaining attention from, as this approach could be as frugal or fundraiser dependent as you like. Art Studio Politics are not the withcraft people think they are, as running any organisation requires a solid foundation in analytical awareness. Talk to peers working in interesting contexts you think are showing or you have studio space you could pool to make a temporary space. Sometimes there is strength in numbers too – through having a group exhibition, one naturally creates more potential points of interest. As a group you can share the work load and pool your contacts and experience. Some of the best galleries in the UK are, or have been, artist led. If you are thinking about this approach, visit a few together locally, and elsewhere, to work out the type of space you want. Invite curators and VIPs personally by drafting tailored emails directly to the people you wish to engage with. Invite them for a one-to-one tour and a brew. Say why it is you think they might be interested, given what you know about them and their research interests. Substantiate why you think the person would find what you do interesting and have a solid reason to invite them other than “You are a curator. You must help me…” They can only say no and probably would if you put it like that, and yet they might say yes, if they cannot make it then do not take it as a snub – they are genuinely busy. Send them a link to the documentation after the show has been photographed as this might change their mind or come next time. Research galleries you enjoy visiting and engage with them as meeting and talking to others can aid your chances of being invited, introduced, or recommended by others exponentially. Being seen at events, talks, and performances can directly bring engagement with a galleries programme of exhibitions, this really counts for something because it shows you want to be involved. Try and do this with a few different galleries to make more useful comparisons. Be invited. Be introduced. Be recommended. Be patient. This is the realistic way that you will find yourself in a gallery, and it is where many artists are plying their trade. The indirect route is the organic process of relationships with other people, and development of your work over some time. Make a great website and make your social media presence engaging because there really is no excuse for not having a reliable website these days. It is the first port of call for galleries and curators. Even if you do not lead them there, they will certainly Google you if they want to find out who you are. If you are not the most tech savvy person in the world, there are many off the peg options that will give you a good template to work from. Keep things plain and simple and do not use hundreds of fonts. You are trying to draw attention to your artwork so ensure decent quality photographs and clear explanations are present. Avoid too many lengthy, flowery explanations of your work and wherever possible avoid artworld clichés, if you know writing is not your thing, ask someone else to write about you. Preferably someone with a background in the visual arts with a good reputation. Your website is your online CV, and more important in some ways, as its often the first visual point of contact. Keep it up to date and label all your artworks with your name, title, and date. List the materials used and add footnotes to explain the context or background. Ensure you give other photographers credit for photographing your work and leave clear contact details. Over the last decade, an artists’ social media presence has increasingly become another essential calling card. Whilst this is a quicker more efficient mode of getting your message across, think of these platforms as a reflection of your professional self, yet with a human side. The odd cat pic and baby snap is okay here and there but if you saturate your online presence with the smallest minutiae of your life, chances are your artwork will get lost. People are you're friend not you're target, try and foster a therapeutic level of connection with the audience in you're life. These platforms are a good bite-sized way of keeping up to speed with artists you like in your back yard and halfway across the globe. Through following a varied range of other practitioners, arts press, curators, and galleries, and sharing your interests, you will learn more about how you want to present yourself and more than likely gain some unexpected likes and thumbs up from places you never expected. It is a good gauge to find out who is looking at what you are up to. The best gallery approach is to do your research to find the right gallery situation for you, because to feel an affinity with the work of the artists they already represent or take part in their programme, you must look at the other artists they have shown, their CVs, websites, and social media accounts. Does the gallery show other artists like you? Do you want to be categorised in a certain light? It is not always good to show alongside others whose work looks visually similar or could be mistaken for yours, but at the same time if other artists surround you and you do not like or understand it this can be equally tricky. A gallery artist should be on board with the general programme and be happy to be an advocate for it. So it is important for you to research the people you are writing to and their curatorial or organisational routes, as if you approach a female gallerist for example, an email which begins ‘Dear Sir,’ will certainly end up in the nonsense folder. What can the gallery do for you? Think about your aims – do you want to show with other artists in group exhibitions? Do you need help in finding a museum context? Do you need someone to help you fund or commission your work? Is it right to commit? Think about where you want to be in 5-10 years’ time. Does it make sense to commit to something for that long? Will it allow your practice to grow and develop? It is usually best to evaluate the relationship before committing to something more long-term. It is also rare for a gallery to offer representation before they have worked together on something in a preliminary sense – like a group exhibition or talk. Sometimes a gallery might ask you to sign a contract, and this is often a risky business, so be wary of anyone asking you for money or to sign something legally binding, which will to tether you to them. It is often not in a gallery’s interest to have such a liberated approach to working with artists because lots of work can be put into an artist’s career development only for a bigger, seemingly more successful offer from another gallery to be put on the table in front of an artist, but it’s a risk that galleries often take, and it's not always a bad thing when an artist decides to move on. To be part of a successful artist’s biography is also a valuable thing, as from the gallerist’s point of view one can be seen as an early advocate and a spotter of talent. This is why it takes time for a gallery to approach someone with a view towards representation. The trust works both ways. Good galleries stick by their artists and expect their artists to do the same for them. -Created Using References and Quotes along with AI. #artbusiness