Still having trouble with staying focused. I feel like I’m not productive enough, almost daily. Things are getting done; the podcasts are all running on time, I’m doing two or more Art Walks/Fairs/Detours a month & I’ve painted a dozen new paintings since the first of the year. I’m even blogging semi-regularly, which you already know, reading this. But I could be doing more.
Yesterday I only did three or four hours of audio work, and even though I know I worked on other things, it feels like I didn’t get anything done, since it’s harder to tally the hours and to quantify what’s work and what isn’t. Does Twitter count? Reading publishing & other blogs? Blogging? It’s all part of connecting with people, with building an audience and building myself as a “brand” and educating myself about what’s going on, what’s working, and driving ideas forward. So in a way, yes. Then there’s the oft-repeated idea that everything an author does and experiences is a sort of reasearch for future books; this is somewhat true, but feels like a sort of excuse.
In addition to feeling that perhaps I’m not being productive enough, I also think a lot about my not being profitable enough. Even with the reduced up-front costs of doing business the way I am, not a single one of my books has even reached break-even, yet. The art, comparably, has been doing great – not bringing in enough to live on, but if not for the cost of going to Tools of Change in New York (ie: if not for a big, extra publishing expense), I’d already be profitable this year on art sales alone, with only bluer skies on the horizon. The margins on the art, even with prices basically cut in half & then frozen since 2004, are great – not just in money, but in time. It takes me hundreds of hours to produce a book, and somehow it’s harder to sell a copy of the book for $14 (or less) than it is to sell a painting (that took me less than 10 hours to create) for $150. Lately I’ve been creating a lot of “Mini Paintings”: 8×10″ for $20, 5×7″ for $15, and 4×4″ for $10, right now. Most of them are done in under 1 hour of work (though admittedly, some have taken up to 3), and they earn me as much as or more than a book does, usually without having to try to sell them at all.
Obviously, the art sales can only scale to the limits of my creativity & time to produce original works – I’m not sure what the upper limit is, but perhaps dozens a month. Certainly not hundreds. Whereas the book sales can scale without proportional extra work on my part – Lightning Source prints however many copies people order, whether it’s dozens a month or thousands. If/when I “hit it big” the books will quickly win in this regard. Not to mention I can sell a book more than once, and without doing prints (something I am currently opposed to), I can only sell an original work of art once. So it takes orders of magnitude more work to produce a book, but I can keep selling it over and over again forever, instead of just once.
If only my sales numbers were orders of magnitude better. Did I mention not a single one of my books has yet earned back the costs associated with its production, yet? That’s with $0 value associated with my time, no less. Which is to say: if I were more productive (of books), I’d perhaps only be digging myself deeper and deeper into a hole. Being more productive of art is good, but when I really need to figure out is how to be more productive of profitability. I need to produce more book sales. That’s a hard one. The podcasting thing is meant to be helping with that – it certainly puts my writing in front of a lot more minds than everything else I’ve been doing, even if it is for free, right now. Something approaching five hundred times as many people have downloaded Dragons’ Truth from Podiobooks.com than have purchased a copy of the paperback (not counting sales to family) – that’s a huge multiplier. Unfortunately, for whatever reason, it hasn’t translated directly into interest in my other podiobooks or in sales of my paperbacks or eBooks. Gotta keep it up, though. Gotta keep working on it. Gotta get back to work, right now – I’m supposed to be editing together next week’s episodes of Forget What You Can’t Remember, right now. Gotta go.
Then I waited half a day for that to dry. And then, before I started working on the painting again, I set up a video camera to capture the rest of the process. I put a line of 1/2″ tape vertically on the canvas, and cut out a square of tape for the square – it’s like a sort of stencil; where I put the tape, the purple remains when I paint over the rest. Then I painted on the red circle, the blue background, the off-color right-side… You’ll watch the video and see it, right? I don’t need to describe it all in detail? Well, I painted on the colors, and as I’ve learned to do from countless past tape-involved projects before, I pulled up the tape while the paint was still wet. So, to explain the next part of the video: tape isn’t perfect. So some of the paint leaks under. What you can see me doing is cleaning up the worst of it, trying to maintain the purple background as intact as possible without hurting the (still wet) pink and blue foreground. The image you see at right is the painting when this process was complete; the main elements of color are present, but I hadn’t yet put on any borderlines, and certainly hadn’t painted the most-foreground element (the black, horizontal lines), so this image is sort-of an in-between-takes image. It was taken in between where the camera angle changes in the video. The camera angle changed, by the way, because I waited until the next day for it to dry, and I had to put away the camera before Mandy came home, or it would have blocked the walkway.
Then, while those colors were still drying, I moved forward again. I mixed up a pale blue-green for the skin, more blue in the skin and more green in the beard, but a very subtle gradation between hues was what I was going for. In contrast with the blue-purple coat surrounding it, the green in the beard almost disappears. I actually spent about as much time just on getting the beard to look the way I wanted as I had on the entire hat. I knew I’d been planning on adding a thick outline to the major features of the character before I was done, but I also didn’t want to have to outline the beard – I wanted it to look furry/hairy on its own. So I made sure that I not only was creating variations in color, but that I was creating a fully-overlapping color, beard-over-coat, with hairs and mess along the full edge of the beard, from lip to eyeball. The other colors all had a bit of space between them, and were fairly rough, but for the beard I made sure that the edge I was painting would be an edge I was happy with. More green added to the blue-green for the eyes, then black added to that for the centers, and then for the mouth. For the centers, I also didn’t want to have them outlined, so I made sure the black was touching the green. Then, finally, I decided to let it dry before doing the outlines.
The next morning, I went out to run some errands, among which was to pick up a gold paint pen. I actually ended up going to six different places to find three items. Only one of which was the gold paint pen that I used to outline the figure’s hat and coat. I’d already had a pearlescent blue pen on hand to use to outline the figure’s eyes and mouth, and that was the easy part. I fought with myself for a long while, trying to get happy with the shape of the hat, the thicknesses of the lines, how much purple was left, how much gold I wanted to use in total… And the pen I’d bought was terrible. Just terrible. It was a real pain just trying to use it without screwing anything up, but after the morning I’d had running all over I wasn’t about to go out and start looking for another one, so I struggled through.
As part of my efforts to not just write and paint full time, but to actually get my work out in front of people, visible to the world, and hopefully engage people’s interest, I am going to try to document my “process”… Whatever that means. In this case, it means that I have taken a series of photographs of the painting I created this week, 
Tuesday, it was time to begin the real work, so I booted up Photoshop and iPhoto, and got down to the digital part of the project. I took the photo from the previous day, and adjusted the image to “pop” the painting itself out of its background and into square, plus appropriately proportioned for the actual canvas size, as pictured at the right. This itself is a pretty straightforward thing to do, as long as you keep in mind that you don’t want PS to be creating any new information about your image – which is to say that all dimensions should stay the same or get smaller, never bigger. After this step, I cropped down so I was only working with the canvas, and then switched to iPhoto to find my “reference material”.