Solo Show 2009

I'm terrible at blogging. Hopefully 2010 will change that. I need to get all the rest of my images together from my solo show... months ago. Been kinda a vagabond as of the past few months and I don't have a permanent residence, so as you can imagine it's hard trying to get things together.

Crazy 4 Cult 2009

Months old as well. Don't have a scan of it, just this photo.

An Interesting Thing Happened to me Today

So I was at work today at the Native Hospital selling fruit, typical day, frustration, bees and sticky fingers. When the maintenance man came up to buy some fruit and veggies. He was a round gray haired fellow with a nice smile and attitude. A typical grandfather figure. His name was Ron Robbins (not sure on the spelling of the las name). When he bent down to put his spackle knife and tools of that sort down I noticed his red jacket with his name embroidered in it had a big Ohio State emblem on the back. I responded to the sight "Do you like Ohio State?" and was answered with a happy "Well of course, I'm an alum" Excited knowing the Pat is a big fan and my ohio pride "Oh well I'm from Ohio... Dayton to be exact" "Oh yeah I was born in Springfield, only 27 (don't remember exactly) miles from there." "Oh yeah I know Springfield" conversation continues on about Ohio a bit and then "I played for Ohio State and got onto a rookie league in '56, way before you were born. (I now forget the minor league team somewhere in Ohio) and then I was drafted to the Detroit Tigers along with Buck Rodgers..." I'm amazed at this point and tell him "I've been living in Detroit!" "Well I played in Briggs Stadium which was renamed Tigers Stadium, but now that's gone it's now Comerica Park, and then I played for the Reds I played in Crosley Field and then they built Riverfront but now that's gone too. But I was making more money in construction then in baseball, so I got my priorities straight and quit. I guess I was born too early, baseball players then didn't make any money compared to today, and now they are all on steroids."He shook his head with that. "It was fun."

He bought some great food and gave me an amazing story, it brightened my day so much. I came home and of course the first thing I did was look him up. I'm not sure on the dates he gave me, he said something about 1956 but I wasn't sure if he was a rookie at Ohio State or Minor League. But sadly I can't find anything on him, maybe it was just a big fish. I don't think it was or care if it was, I got to meet someone with extraordinary life story and a had a great conversation. It gives me hope in knowing that I'll have interesting stories when I am his age buying fruit at a street side stand. And hopefully I can make someone's day like he made mine.

And with that I thought it best to share my days story. It made me grin for the rest of the day.

nuntnghel'ił

nuntnghel'ił is a common saying in the Native Alaskan language Dena'ina. It means "I will see you again" which is what I chose for the title of my solo show just about a month away.

The phrase means a lot to me currently being away from my family and friends. But all I need to remember is that I will see them again. And if I leave for another place after the show, I always have to remember that...

I will see you again.

nuntnghel'ił

Update

Part of a larger painting... Been looking a lot at John Currin... I think it's been helping. I re-did her face so many times, and I'm trying to be a little loose and mix some tones on the canvas.

1,000 True Fans is what you need to be able to Live

Great Article from The Technium

This is the text taken from the article on the KK.org website in the Technium blog, please visit the original here the article .

I DID NOT WRITE THIS!

I feel that I should pass the knowledge and information on because it is very informative.

"1,000 True Fans

The long tail is famously good news for two classes of people; a few lucky aggregators, such as Amazon and Netflix, and 6 billion consumers. Of those two, I think consumers earn the greater reward from the wealth hidden in infinite niches.

But the long tail is a decidedly mixed blessing for creators. Individual artists, producers, inventors and makers are overlooked in the equation. The long tail does not raise the sales of creators much, but it does add massive competition and endless downward pressure on prices. Unless artists become a large aggregator of other artist's works, the long tail offers no path out of the quiet doldrums of minuscule sales.

Other than aim for a blockbuster hit, what can an artist do to escape the long tail?

One solution is to find 1,000 True Fans. While some artists have discovered this path without calling it that, I think it is worth trying to formalize. The gist of 1,000 True Fans can be stated simply:

A creator, such as an artist, musician, photographer, craftsperson, performer, animator, designer, videomaker, or author - in other words, anyone producing works of art - needs to acquire only 1,000 True Fans to make a living.

A True Fan is defined as someone who will purchase anything and everything you produce. They will drive 200 miles to see you sing. They will buy the super deluxe re-issued hi-res box set of your stuff even though they have the low-res version. They have a Google Alert set for your name. They bookmark the eBay page where your out-of-print editions show up. They come to your openings. They have you sign their copies. They buy the t-shirt, and the mug, and the hat. They can't wait till you issue your next work. They are true fans.

To raise your sales out of the flatline of the long tail you need to connect with your True Fans directly. Another way to state this is, you need to convert a thousand Lesser Fans into a thousand True Fans.

Assume conservatively that your True Fans will each spend one day's wages per year in support of what you do. That "one-day-wage" is an average, because of course your truest fans will spend a lot more than that. Let's peg that per diem each True Fan spends at $100 per year. If you have 1,000 fans that sums up to $100,000 per year, which minus some modest expenses, is a living for most folks.

One thousand is a feasible number. You could count to 1,000. If you added one fan a day, it would take only three years. True Fanship is doable. Pleasing a True Fan is pleasurable, and invigorating. It rewards the artist to remain true, to focus on the unique aspects of their work, the qualities that True Fans appreciate.

The key challenge is that you have to maintain direct contact with your 1,000 True Fans. They are giving you their support directly. Maybe they come to your house concerts, or they are buying your DVDs from your website, or they order your prints from Pictopia. As much as possible you retain the full amount of their support. You also benefit from the direct feedback and love.

The technologies of connection and small-time manufacturing make this circle possible. Blogs and RSS feeds trickle out news, and upcoming appearances or new works. Web sites host galleries of your past work, archives of biographical information, and catalogs of paraphernalia. Diskmakers, Blurb, rapid prototyping shops, Myspace, Facebook, and the entire digital domain all conspire to make duplication and dissemination in small quantities fast, cheap and easy. You don't need a million fans to justify producing something new. A mere one thousand is sufficient.

This small circle of diehard fans, which can provide you with a living, is surrounded by concentric circles of Lesser Fans. These folks will not purchase everything you do, and may not seek out direct contact, but they will buy much of what you produce. The processes you develop to feed your True Fans will also nurture Lesser Fans. As you acquire new True Fans, you can also add many more Lesser Fans. If you keep going, you may indeed end up with millions of fans and reach a hit. I don't know of any creator who is not interested in having a million fans.

But the point of this strategy is to say that you don't need a hit to survive. You don't need to aim for the short head of best-sellerdom to escape the long tail. There is a place in the middle, that is not very far away from the tail, where you can at least make a living. That mid-way haven is called 1,000 True Fans. It is an alternate destination for an artist to aim for.

Young artists starting out in this digitally mediated world have another path other than stardom, a path made possible by the very technology that creates the long tail. Instead of trying to reach the narrow and unlikely peaks of platinum hits, bestseller blockbusters, and celebrity status, they can aim for direct connection with 1,000 True Fans. It's a much saner destination to hope for. You make a living instead of a fortune. You are surrounded not by fad and fashionable infatuation, but by True Fans. And you are much more likely to actually arrive there.

A few caveats. This formula - one thousand direct True Fans -- is crafted for one person, the solo artist. What happens in a duet, or quartet, or movie crew? Obviously, you'll need more fans. But the additional fans you'll need are in direct geometric proportion to the increase of your creative group. In other words, if you increase your group size by 33%, you need add only 33% more fans. This linear growth is in contrast to the exponential growth by which many things in the digital domain inflate. I would not be surprise to find that the value of your True Fans network follows the standard network effects rule, and increases as the square of the number of Fans. As your True Fans connect with each other, they will more readily increase their average spending on your works. So while increasing the numbers of artists involved in creation increases the number of True Fans needed, the increase does not explode, but rises gently and in proportion.

A more important caution: Not every artist is cut out, or willing, to be a nurturer of fans. Many musicians just want to play music, or photographers just want to shoot, or painters paint, and they temperamentally don't want to deal with fans, especially True Fans. For these creatives, they need a mediator, a manager, a handler, an agent, a galleryist -- someone to manage their fans. Nonetheless, they can still aim for the same middle destination of 1,000 True Fans. They are just working in a duet.

Third distinction. Direct fans are best. The number of True Fans needed to make a living indirectly inflates fast, but not infinitely. Take blogging as an example. Because fan support for a blogger routes through advertising clicks (except in the occasional tip-jar), more fans are needed for a blogger to make a living. But while this moves the destination towards the left on the long tail curve, it is still far short of blockbuster territory. Same is true in book publishing. When you have corporations involved in taking the majority of the revenue for your work, then it takes many times more True Fans to support you. To the degree an author cultivates direct contact with his/her fans, the smaller the number needed.

Lastly, the actual number may vary depending on the media. Maybe it is 500 True Fans for a painter and 5,000 True Fans for a videomaker. The numbers must surely vary around the world. But in fact the actual number is not critical, because it cannot be determined except by attempting it. Once you are in that mode, the actual number will become evident. That will be the True Fan number that works for you. My formula may be off by an order of magnitude, but even so, its far less than a million.

I've been scouring the literature for any references to the True Fan number. Suck.com co-founder Carl Steadman had theory about microcelebrities. By his count, a microcelebrity was someone famous to 1,500 people. So those fifteen hundred would rave about you. As quoted by Danny O'Brien, "One person in every town in Britain likes your dumb online comic. That's enough to keep you in beers (or T-shirt sales) all year."

Others call this microcelebrity support micro-patronage, or distributed patronage.

In 1999 John Kelsey and Bruce Schneier published a model for this in First Monday, an online journal. They called it the Street Performer Protocol.

Using the logic of a street performer, the author goes directly to the readers before the book is published; perhaps even before the book is written. The author bypasses the publisher and makes a public statement on the order of: "When I get $100,000 in donations, I will release the next novel in this series."

Readers can go to the author's Web site, see how much money has already been donated, and donate money to the cause of getting his novel out. Note that the author doesn't care who pays to get the next chapter out; nor does he care how many people read the book that didn't pay for it. He just cares that his $100,000 pot gets filled. When it does, he publishes the next book. In this case "publish" simply means "make available," not "bind and distribute through bookstores." The book is made available, free of charge, to everyone: those who paid for it and those who did not.

In 2004 author Lawrence Watt-Evans used this model to publish his newest novel. He asked his True Fans to collectively pay $100 per month. When he got $100 he posted the next chapter of the novel. The entire book was published online for his True Fans, and then later in paper for all his fans. He is now writing a second novel this way. He gets by on an estimated 200 True Fans because he also publishes in the traditional manner -- with advances from a publisher supported by thousands of Lesser Fans. Other authors who use fans to directly support their work are Diane Duane, Sharon Lee and Steve Miller, and Don Sakers. Game designer Greg Stolze employed a similar True Fan model to launch two pre-financed games. Fifty of his True Fans contributed seed money for his development costs.

The genius of the True Fan model is that the fans are able to move an artist away from the edges of the long tail to a degree larger than their numbers indicate. They can do this in three ways: by purchasing more per person, by spending directly so the creator keeps more per sale, and by enabling new models of support.

New models of support include micro-patronage. Another model is pre-financing the startup costs. Digital technology enables this fan support to take many shapes. Fundable is a web-based enterprise which allows anyone to raise a fixed amount of money for a project, while reassuring the backers the project will happen. Fundable withholds the money until the full amount is collected. They return the money if the minimum is not reached.

Amelia, a twenty-year-old classical soprano singer, pre-sold her first CD before entering a recording studio. "If I get $400 in pre-orders, I will be able to afford the rest [of the studio costs]," she told potential contributors. Fundable's all-or-nothing model ensured that none of her customers would lose money if she fell short of her goal. Amelia sold over $940 in albums.

A thousand dollars won't keep even a starving artist alive long, but with serious attention, a dedicated artist can do better with their True Fans. Jill Sobule, a musician who has nurtured a sizable following over many years of touring and recording, is doing well relying on her True Fans. Recently she decided to go to her fans to finance the $75,000 professional recording fees she needed for her next album. She has raised close to $50,000 so far. By directly supporting her via their patronage, the fans gain intimacy with their artist. According to the Associated Press:

Contributors can choose a level of pledges ranging from the $10 "unpolished rock," which earns them a free digital download of her disc when it's made, to the $10,000 "weapons-grade plutonium level" where she promises "you get to come and sing on my CD. Don't worry if you can't sing - we can fix that on our end." For a $5,000 contribution, Sobule said she'll perform a concert in the donor's house. The lower levels are more popular, where donors can earn things like an advanced copy of the CD, a mention in the liner notes and a T-shirt identifying them as a "junior executive producer" of the CD.

The usual alternative to making a living based on True Fans is poverty. A study as recently as 1995 showed that the accepted price of being an artist was large. Sociologist Ruth Towse surveyed artists in Britian and determined that on average they earned below poverty subsistence levels.

I am suggesting there is a home for creatives in between poverty and stardom. Somewhere lower than stratospheric bestsellerdom, but higher than the obscurity of the long tail. I don't know the actual true number, but I think a dedicated artist could cultivate 1,000 True Fans, and by their direct support using new technology, make an honest living. I'd love to hear from anyone who might have settled on such a path.
"

Epic Fail

So I've been here a month, what have I done?

Seen a bear eat some salmon? - CHECK
Seen too many Moose, and don't like them now? - CHECK
Climbed a mountain? - CHECK
Thinks the Bald Eagle is a little over rated? - CHECK
Realized riding bikes in Alaska is hard? - CHECK
Rolled around on the ground? - CHECK
Hugged a tree? - CHECK
Painted? - CHECK
Miss the moon? - CHECK
Seen a glacier? - CHECK Dug for Clams? - CHECK Miss having a car? - CHECK
Drooled over men in kilts? - CHECK
Grown a beard? - Still working on it

There's still so much more to do....

Here's my messy desk... fail.


And am I serious?

On the Easel

picture of me taking a picture, been playing with a 120 format camera my cuz is letting me use.


On the easel today. Middle pic I just did. Started from scratch no drawing just started painting.

Bad photo, middle girl I just painted from my head, her skin tones look awful in the pic maybe when it's brighter out I'll take another picture. First painting I can think of that I didn't start with a drawing, just painted. neat.


Tryin lighter skin tones. Experimenting. Stretched some canvases today. Awesome.

Mountains

Updates

So less than a week, and off to Alaska. YAY!!

SO I caved and a got a twitter account... http://twitter.com/moyerdestroyer. Thanks Heather :p

I was part of a Gallery 1988 SF feature on NOTCOT blog!!! That's pretty rad, read it here.
Working on my piece for Gallery 1988 LA's big show Crazy 4 Cult which should be extremely sweet. Most likely going with my sketches on 2001: A space odyssey, cause if you really know me, you'd know I've been obsessed with that movie since elementary and i have a crush on Dave.

Um... It's fun to check on your host to see how people got to your site, and in google search how people found your site. So far people got to my site from a Steroids site (don't really know how), an italian club website, and for google searching my favorites are "how to graduate with honors ccs detroit" (I think that is kinda obvious... get good grades?) and "brazil design heather ccs" (that one I have no clue). So yeah...

Anyway, come to my house tomorrow night to say toodles and drink a beer with yours truly.

The Man Cub Final

So I almost feel like I interpreted the piece too literally, but of course who likes their final paintings. I feel like Bagheera needed much more love in the painting. But it was very fun to experiment on stuff. I've been in conversations with many of my other artist friends, seeing what they used and tried some new stuff. As always the painting was mainly all oil.

the final painting

The idea for the piece is of course from my favorite books by one of my favorite authors, Rudyard Kipling's the Jungle Books. I wanted to show how throughout the books Mowgli fights with the want to become a wolf like his family, but he never will be no matter how many time he puts on the "clothes" of the wolf. And coming from him are his experiences, his stories. All of the characters that make him. Rikki-tikki tavi, Kaa, Raksha, Baloo, Hathi, Bagheera, and his enemy Shere-Khan.

Mowgli and Raksha, you can see I didn't do a good job stitching this together in PS, but I plan on doing it better eventually

I did the drawing all in pencil first at the final size, used really soft pencils and ebony pencils. Then I scanned it. I printed it out on watercolor paper on Kev's epson. The mounted it on Masonite. I first started in watered down acrylics getting the colors and base down. Then worked in pastel, colored pencil, oil paint, and finally markers. I did that about 3 times. Got my hands dirty too. It was fun.

Total time was about 8 hours painting over 2 days. Drawing was done in one evening. The final concept and positioning of everyone took me weeks to decide on. I finished this quite a few weeks ago, but wanted to wait for the opening before posting, the opening was last night (Friday May 1st) and will be up until May 23rd.

Shere Khan in his angry goodness

I really like Raksha (the mom wolf) and the texture in Hathi (elephant), but the colors of Hathi are too cartoony I think. I had a lot of fun drawing Shere-Khan and all of their paws. I love hands and feet.

painting ready to be hung at Gallery 1988 SF

I'm very excited to continue doing work with both Gallery 1988s here is a link to all the wonderful paintings done for this show.
http://1988btp.blogspot.com/

The Man Cub

The drawing for my latest. The finished piece I sent out on monday to San Francisco to Gallery 1988. I used a lot of different media for it which was really fun. I don't know if it entirely worked out how I wanted but it was good to experiment and learn some new stuff.I think that I like the drawing the most.

Kevin has looong arms

Drawing from a painting of kevin and his van. and walleyes. He really has that long of arms, down to his knees. Weirdo. :)

Here I Come

Manimals

Kevin's a Fishie
Heathers Puff Bun

Drawings for some portraits.

Drink and Draw

Drink and Draw was a go, it was really fun. We all dressed up in funny and interesting costumes and sat for 15-20 minutes while everyone drew us. It was great. Will have to post pictures. These are a few of my sketches. Thinking we are going to do this again soon, keep our drawing chops going.

kidnapped by monkeys

Mowgli the man cub... half done.

...

Etsy

Just posted more prints in my etsy account! So go and shop, everything is only $20 +shipping!

Etsy Buy Handmade laurenmoyer

Restriction

The restrictions show is this weekend and here is part of my piece. I did it digitally, and there is a reason for it, and it gave me an excuse to break out the ole' wacom. I haven't colored on the computer for more than a year. Tried to be kinda loose, and use many colors. I liked the midway of course better then the final. Maybe will work on it a bit more, hopefully it will print well.

Sketch

Decided to try to scan some stuff in



train ride

i have a crush

oh Maxfield Parrish... so handsome.

Books Books!

As I procrastinate I will give you a book update.


Just finished an autobiography on Charles R. Knight (1874-1953), amazing naturalist and painter... and he was legally blind. No one knows his name but everyone knows his work, he was the first artist to accurately depict dinosaurs and other extinct animals because of his study with taxidermy and his friendship with paleontologists, which they collaborated to figure out how these ancient animals moved and looked. I saw his murals in Chicago this weekend at the Field Museum of Natural History. So beautiful and huge for a man who couldn't look at his work from afar. Read the book on the train ride home. The Foreword was by Ray Bradbury and Ray Harryhausen, both amazing.
My Favorite, the Irish Deer
"Tyrannosaurus and Triceratops. This is unequivocally Knight's most influential work, the classic confrontation between the horned dinosaur Triceratops and its deadly adversary Tyrannosaurus. Mesozoic era." This one was massive, wonderfully set up behind some posed dino bones.
An example on how large he worked, this not the largest of his work by far.
The artist himself
Here's more of his work
His Field Museum Murals, there were 27 massive murals which I think he did them all in under 4 years... These things spanned the walls.

I'll post some pictures from my adventure in Chicago when I load them.

Also I just ordered my copy of Illustrators 50 which has my "Snake Scarf" painting in it that was in the Society of Illustrators 2008 Student Competition. I'm excited to get it.So excited!

I'm in the CCS Video HAHA!

I was watching this and a girls voice came on... and i'm like that sounds kinda like me. And lo and behold tis I. And I think I hear a little Lee in the beginning as well. I'm towards the end, look like crap they caught us all when we putting up our seniors walls how dare they! hehehe, so neat. I miss school so much, oh post-grad depression

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ADWORK trying to create a look. all photos taken by me, all published ads... all jewelry tried on. :)

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click here and be a fan!
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