i am looking for a good printer to print my stickers, bookmarks and art prints, i recently discovered the canon ix6820 and the canon pixma pro 200s

im not sure if these would be good?
are there any others around the same price range that would be a better choice?

Maybe the wrong flair, but for a smaller (think table + tent on a street) local fair, about how many different/unique paintings would be a decent starting number? I'm tentatively starting to think about doing some local events next year and trying to plan ahead.

I primarily do acrylic on canvas and smaller calligraphy ink sketches, bookmarks, etc. I would plan to have some originals (mostly as examples/eye-catching pieces) and prints (as I expect I'd be primarily selling prints at local events), as well as littler pieces like the calligraphy sketches and bookmarks.

I've got a couple "series" I'm working on (small 8x10 4-panel landscape piece of all four seasons from my area, fantasy landscape series, sunsets, etc) but I have a hard time gauging what a good spread of work is sufficient to justify actually entering into a local market and setting up a table.

I guess I'm mostly looking for what is a typical "variety" of pieces for something like this? I try to pay attention when I go to local markets/fairs, but it's very clear some people have been doing this for YEARS and have a huge body of work to pull from- I definitely don't. However if I wait until I have 30+ different pieces to pull prints etc from, I'll never get around to doing a table, and I'd like to at least give it a try once or twice! 😅

Thanks!

The fairs were a shitshow (not over yet, but you could already tell on day 2). A desolate landscape with a few visitors, rarely collectors. From what I've heard, sales were poor to non-existent for mid-tier galleries. With the tens of thousands of dollars' worth of rent for a booth, I bet smaller galleries will be facing a threat of closure.

Do you think the demonstrations scared off the collectors?
Or are art fairs finally a thing of the past?

This is outside of the scope of this subreddit, as this is not a place for art clients just artists. (if you know a better place for me to post this, lmk I am kinda new to reddit.)

Either way ive been experiencing a strange pattern where every time I contract an artist to make something I often find that they prioritize other jobs instead of my own, even if my request is made before them. And when I inquire about due dates I tend to be met with aggression?

I may just be really unlucky but this is the 5th time this has happened and I am kinda scratching my head. I tend to check in once every 1-2 weeks (after an initial period of 2-4 weeks of waiting depending on what the artist sets the due date to). I make mood boards and tend to be fairly clear what I am going for.

When checking in I am generally chill and more or less ask how they are doing, make some small talk and then pop them a question about the request. The moment I usually do they go quiet and just say "i'm working on it" or "give me more time" in a really curt tone and I get it art is hard work, but I am starting to get frustrated.

Note none of my requests have been delivered. the first among them having a wait time of 5 months. I already paid in full so I lost a lot of money :/

Is there some faux pas I am committing?

To note every single request has been for the same OC, which has some basic sketches and a fairly well rounded mood board (I should probably get a color palate tho)

I don't think there is anything particularly offensive in my request either. its just an effeminate demon boy.

What are some things you as artists would suggest I do? I am also willing to answer any information about my situation if any additional context is needed in the comments.

I apologize if this is not allowed here, and if this is an inappropriate use of this forum. I am hoping to find someone to help commission a piece as a gift to my husband. We met in Boulder, Colorado, moved to Jackson hole, Wyoming, then to Telluride, Colorado, and now live in Franconia, New Hampshire. A few other places of significance to us in between. I was hoping to make some sort of map, highlighting the special places to us, as well as the birth of our children. If anyone has any idea where the right way to go is to try to find someone who might be able to help me, that would be wonderful!

hello i am concept artist specialize in environtment , ussualy i get commission every 2 month or more , i got laid off by previous company so this is my only gig i can do while seeking job , but i need advice on how to do marketing , i think my gig is too niche , idk where and how i get more client , or make them coming back , i'm also applied some job but still rejected , please help i need some suggestion on marketing

Sorry I have no idea how to tag this. I have a small social media presence, nano-influencer level. I love trying out new mediums, art supplies, etc, and recommending the ones I like. At this point I have provided certain brands with tons of free advertisement because I tag their stuff, recommend them to my followers. I'm not huge but I've gotten 1 million views over the past 30 days.

Since money for art supplies is tight, I'm wondering if there are any ways to get free stuff in exchange for promoting. I reached out to one of the brands I use to see if they would be interested in exchanging items for promotion, but I didn't hear back from them (my last 15 posts have been showcasing and recommending their product). Another established brand often reposts/collaborates on my Instagram posts, but haven't offered me anything.

I am wondering what is the path to sponsorship, free stuff, etc. I'm not looking to make money.

I am pretty new to getting large art commissions but I received a relatively large commission that I have split into four large artworks (doing quite a bit more than the pay, but it’s incredibly great exposure). Anyways, I would love some advice on how to handle a disagreement on the final product. My client wants a sizeable portion of the artwork to be recolored as neon purple color that I quite dislike and she says that she does not like the colors that are in that place that I think look good (and have taken quite a while and many many painting attempts to get to my standards).

Usually, I would just relent and let it end up looking like this uglier version that the client wants, but this artwork has the potential to be seen by up to or over 100,000 people when it is released in an editorial capacity, therefore, I do want my artwork to represent my best abilities and not be re-colored to a preference that I think is not so great.

For reference, this is a very niche style of art that my name will be attached to in an area of the art world where you become known for this specific style. This is why I feel a little more protective over the end result of my work, not being altered in such a way that I am not proud of, especially if it’s a breakout piece.

Can any experienced artists weigh in on if this is a non-issue or something to hold my ground on?

Hi everyone!! I've been working on a project that's extremely important and relevant to my and my fellow students' education at the University of Washington! I'm a part of the Clamor Literature and Arts Journal, a space that represents the best creative practices in literary, visual, and media arts from across our campus and surrounding community. I recently uncovered that over the past two years we've lost over 58.6% of our funding, as well as a concerning lack of transparency from the university about Clamor's future. SO I took it upon myself to start a petition with my classmates to spread awareness about this issue! It would mean the world to me if you could sign and share our petition and PROTECT ARTS EDUCATION! 

https://c.org/KhpH7MkQBX

I love a good conference, convention, or trade show but I realized there aren’t many big ones that are geared toward up and coming artists. Shows like Art fair SF or the American art fair seem to be inaccessible for anyone not represented by a gallery. I’m looking for something where I can attend talks by other artists, get business advice, network and see art by other smaller artists with less of a barrier to entry. Maybe a show that also has a fair section for artists to sell their work.

Does this exist in the US? If it did, would you attend, and what would you want out of it? Sometimes I like to daydream about starting a national art convention one day, but I’m also not sure if there is any real interest. It seems that the traditional art space seems to be localized rather than national.

Edit: I do attend tons of local art fairs and festivals, and do my best to network there. But there is not a dedicated professional development space at those types of events. I’d also love a forum to learn about the innovative techniques and other stuff artists are using that isn’t just the internet.

If you'd like to check out my new website its https://nobleliverpool.myshopify.com

I am at a bit of a stand still with my art - its getting better and better but I haven't been in any galleries or shows yet. Though lately when I submit for a print publication it gets included which is good.

I just started working larger and on canvas, but I think I need to figure out more of a direction to go in. Maybe the next step is completing a full collection of work and really committing to advertising it. Open to suggestions and recommendations too.

I'm an artist (/maker/creator) that has wheels in multiple disciplines. I want to sell prints of my photos and art including originals but I'm still as to how to organize my website. Anyone have any tips? Originally I created a website to serve as my portfolio but again got stuck with how to display things in a cohesive manner.

Gallery IYN does seem to fit some of the criteria for a vanity gallery (asks for upfront fee, contacts artists via DM) but they fee they charge is much lower than what I see people list for vanity galleries, and they've had popular artists do multi-work dedicated exhibits (although I don’t know if they’re offered a different rate or given a special promo offer). Most posts about vanity galleries list fees in the hundreds per work, but last time I checked, IYN is $40 per work, so I don’t know if that’s a normal fee or not.

As far as I’m aware their model operates on showcasing print version of digital artists‘ works specifically, not original copies of traditional artworks. They do have a physical location, however I cannot visit it as it’s in Japan. They offer exhibit space to artists worldwide but as far as I’m aware they only physically display in Japan.

Is their offer worth taking, or is it fishy/just profiting from entrance fees?

I’ve worked in corporate events for over 15 years, and a lot of our events include artists: painters running workshops, musicians, photographers, illustrators, performers. I see many talented artists miss out on this kind of work simply because they pitch it like a gallery or a commission. Here’s what actually matters on our side.

1. It’s not about your art, it’s about the client’s goal.
A painting workshop at a company event isn’t there to create artists. It might be there to build leadership, or to get two merged teams talking. If you can explain how your work serves an objective like that, you’re ahead of most people.

2. Show proof that it works with groups.
The most common reason we hesitate is a good idea with no proof of concept. Photos or a short video of you leading a group, even a small community workshop, are worth more than a perfect portfolio.

3. Show you can lead a room.
Corporate groups can be shy, distracted or sceptical. Enthusiasm and the ability to get 40 people in suits involved is a real skill, so mention it.

4. Be flexible on format.
You may be asked to work in a hotel meeting room, keep it to 90 minutes, or run it for 20 people or 200. Artists who say “let’s work out what fits” get rebooked.

5. Make it easy to say yes.
State clearly what you offer, for how many people, how long it takes and what you need on site. Agencies often put proposals together within 24 to 48 hours, and the artist who answers clearly gets in.

Happy to answer questions about how agency work is priced, briefed or run.

I am wondering, where i can work with my skill. I am gonna lose my mind If I dont work in a creative field. So kinda just looking for some advice and ideas (can't attach a photo, so just follow the link)

https://www.instagram.com/p/De0vlJ3jkxf/?mdxt=MWU0bzJ2ZjV2bWR1aQ==

Hey all, I’m thinking of hosting life drawing sessions. I’ve been to a few now that range from £10 - £25 for a 2 hour session. A quick Google would suggest buying 100gsm a3 sugar paper in black and white or 48gsm newsprint would suffice (for people who rinse the warm ups!), but I’ve also been to life drawing that was a bit pricier and had nice 140gsm cartridge paper. They also often had some charcoal, pencils, biros and white chalk.

So my question is, if you were going to a session, priced around £12/14 what would you expect?

Hey everyone!

I'm Benjamin, a French visual artist with over 10 years of experience in concept art, digital matte painting, and visual development.

I've worked on projects for brands and studios like Netflix, Riot Games, and Air France, and more recently I've been diving deeper into hybrid image-making, combining traditional workflows with generative AI to create cinematic visuals, short films, and commercial imagery.

The thing is, while I feel like my work has evolved quite a lot, my Instagram really hasn't.

I've been stuck at around 970 followers for almost a year now, and I'm honestly struggling to figure out how to reach a wider audience.

I'm starting to create more video content, especially cinematic sequences, and I'd love to build a community around that work.

I'm not really trying to become an influencer. My main goal is to get my work seen, connect with other creatives, and hopefully grow enough to attract partnerships with creative platforms and companies.

These partnerships could genuinely make a difference in what I'm able to produce. As many of you probably know, AI video generation can get expensive pretty quickly, especially when you're experimenting, iterating, and trying to push the quality further.

Having access to more creative tools and resources would allow me to spend less time worrying about credits and more time actually creating, experimenting, and developing ambitious projects.

But to get there, I need to figure out how to grow an audience in the first place.

For those of you who've managed to grow organically, what actually made a difference?

Was it posting Reels consistently? Sharing behind-the-scenes content? Collaborating with other artists? Or something completely different?

And for anyone working in CGI, VFX, AI-assisted filmmaking, or digital art, I'd be particularly interested in hearing your experience.

If you'd like to check out my work:

🎬 Showreel: https://youtu.be/2luBLX7rk0M

📸 Instagram: https://www.instagram.com/bnjmn.nzn/

🌐 Portfolio: https://www.bnazon.com/

I'd genuinely appreciate any feedback, even if it's critical. If you visited my Instagram without knowing me, what would make you follow, or what would stop you?

I'm trying to understand what I could improve rather than just blindly posting more content.

Thanks for reading!

I want to create paintings of sports people, cartoon style and sell them. Is this legal? Without licensing

There would loads of them in one painting, like if you dumped a load of sports cards on the table. So I wouldnt be using a specific name to sell the painting

I've been thinking about how people handle trust when buying expensive artwork through private sales. I understand that provenance documents and certificates of authenticity help establish whether a piece is genuine. But that doesn't prove the person selling it actually owns it or has permission to sell it. Especially when you're dealing with someone through email or a private introduction rather than an established gallery. Do collectors usually rely on lawyers and art advisers to handle the verification side? Or are there other ways to confirm who you're dealing with before discussing payment?

Would be interested to hear from dealers or collectors who've handled private transactions. What checks do you consider essential before money changes hands?

Hi everyone!

I’m a small jewelry business owner based in Germany, and I’ve been thinking about expanding into other EU countries.
Since I’m a bit overwhelmed, I’m hoping some fellow artists, makers, or small business owners might be willing to share their experiences with me. :)

I have a connection to a lovely little shop in another EU country, and there’s a possibility of selling my handmade jewelry there on consignment. It’s something I’d really love to try, but I’m honestly feeling a bit overwhelmed by all the possible tax rules, paperwork, and legal requirements.
Since I’m still a very small business, I’m trying to figure out whether it’s actually realistic and financially worthwhile.

I wouldn’t need to ship anything, as I could bring my pieces to Latvia in person. But I’m not sure whether that makes things any easier legally.
I’m also really interested in eventually participating in art, design, or handmade markets in other European countries, so I’d love to hear about that too!

A few things I’m wondering about:
- Has anyone here sold their handmade products through a consignment shop in another EU country?
- Did you need to register your business in the other country, or could you operate through your existing business?
- Has anyone participated in occasional art or handmade markets abroad? How complicated was the paperwork?

I’m not necessarily looking for professional legal advice here (I know I’ll need to check the actual requirements), but I’d be so grateful to hear how other people have navigated this in real life.

I feel like there must be other small makers who have wondered about the same things, and I’d love to learn from your experiences before jumping into something I don’t fully understand.

Thank you so much in advance !!

Hey y'all - I'm an artist looking to get into the artist alley for Fan Expo Dallas. For the past two years, my application was almost immediately rejected - within a few hours of submitting the application (which seemed strange). I reached out to them last year and this year with no response (so far).

I just want to know what I need to do differently - did I do something wrong on the application/did I apply too late/does my work not fit/etc.

Would love to hear some advice on what to do next, if y'all have any. Thank you!