Lines and Colors art blog
  • Finding a web hosting provider

    How to Display Your Art on the Web: Part 1 - Find a web hosting provider

    How to Display Your Art on the Web: Part 1

    [This is part of a series of articles for which the introduction and list of articles is here. If you haven’t read the introduction yet, it would be helpful to read it first.]

    In a way the subject of the next article (registering a domain name) is more immediate, in that you want to do that as soon as possible, even if you’re not ready to put up a site. Domain names tend to get snapped up when you’re not looking.

    However, even though web site hosting and domain name registration are two different things, they are often handled through the same companies, and it can be slightly easier to take adgvantage of that (not necessary, just a little easier).

    Finding a web site hosting company takes a little work. I will not go out on a limb and directly recommend web hosting companies to you, because they all have their plusses and minuses, and some of you will inevitably come back crying to me that I recommended so-and-so to you and now you’re unhappy and it’s all my fault.

    Look on sites like c/net for reviews of hosting providers. Be a little wary of sites devoted entirely to reviewing and listing the “best” web hosts. Many of them are legit, but some are shills for particular companies. At the very least, compare the opinions of several review sites. Ask friends, business associates and well-dressed strangers in the street about their experiences with their web hosting provider (assuming they even know who it is). You may at least find some to avoid.

    There are hosting services who bill themselves as particularly Mac-friendly (though most UNIX-based hosting is OS agnostic) and there are even some hosts who aim their services specifically at illustrators and other creatives, like GiMUR.net (run by the founder of LCSV4), DogBark.com, Laughing Squid and Huevia, though I don’t have direct experience with any of them.

    There are also portal sites for gallery artists that offer site hosting as a benefit of membership; and illustration directories that offer a gallery space as part of your listing with the directory, though these are likely to be more limited than regular web site hosting, and can cost as much or more, in exchange for the service of inclusion in their directory.

    “Free hosting” – Avoid any so-called “free” hosting that forces your site to display ads, banners, pop-ups or other forms of onerous limitations in exchange for the “free” service. It’s unseemly, unprofessional and will do your reputation as an artist more harm than good.

    Blogs as free web sites – If you are absolutely so poor that you can’t afford $8 a month, consider that many national level blogging sites offer blog accounts for free, without forcing advertising (at least for now). If the blogging account allows the use of “pages” instead of “posts” (as WordPress.com does, for example), you can create a functional web site for free. It’s more restrictive than regular web hosting, and the URL is likely to be something like yourname.blogger.com instead of yourname.com, but it may do. Also, the blogging services offer default or third-party custom templates that make for a variety of free designs, even if you share them with other sites.

    Cost – National level web site hosting providers offer basic “shared” web hosting (which simply means you share a web server with other sites, the normal arrangement) for $10-$15 a month or less, if paid for by the year, sometimes with a modest ($15 or so) “setup fee”. You can also arrange to pay for most plans by the month or quarterly, at a slightly higher cost; which may be worthwhile if you are unsure about the host. You can always opt for yearly payments later.

    Basic “shared hosting” if fine. You don’t need anything fancy, and you probably don’t need a business account to start. Given a choice between “Windows Hosting” and “Linux or Unix Hosting” (meaning the type of operating system on the server where your site site hosted) I choose Linux or Unix, as it is often cheaper, I believe it to be more reliable and flexible (a personal bias) and the only advantage I see to Windows Hosting is that it enables the use of Microsoft Front Page, which I will strongly advise you against.

    Extras – See if the options from the basic plan from one company appeal to you more than another. Do you want a blog as well as a web site? Do you want a discussion board? Do they offer the ability to host additional domains without charge (in case you want to have yourname.com and yournameillustration.com point to the same site)? Take a look at the sample stats page, that shows your site’s statistics for number of visitors, etc., when comparing different hosting companies. What is the storage and bandwidth allotment? Most national level hosting plans offer more than enough, but if you plan to feature tons of huge image files, more may be better.

    Control Panels – Most hosting plans include some kind of “Control Panel” that allows you to add and administer e-mail accounts, set up FTP access, password-protect directories, add features like blogs and discussion boards and so on. This is one area where hosting providers vary widely, so take a look at their Control Panel samples when comparing hosting providers.

    Add-onsYou only need basic hosting. Many hosting providers (most, in fact) will confuse the issue by trying to get you to sign up for all kinds of bells and whistles at extra cost throughout the sign-up process. You don’t need them! Check for the services included in the basic package when comparing different providers, but don’t order fancy add-ons. You can always add them later if you really want to. Even eCommerce and shopping carts aren’t necessary at this stage. It’s actually easier to sell through PayPal initially. You can add a shopping cart later if you really need one. (However, you may want to compare eCommerce offerings when comparing providers.)

    Templates and “site builders” – These have the appeal of promising to allow you to build a site with no web design or HTML knowledge. I don’t want to turn your off to them out of hand; perhaps there are good ones out there, but my experience with these things is that they are limited and inflexible, and enough of a pain to learn to deal with that the same learning curve would give you a basic working knowledge of HTML, something you can apply anywhere, not just to one proprietary template system.

    Dynamic template systems offered by hosting providers are different than static HTML templates, which are just pre-made page designs. I’ll talk about those in a future section on design.

    Your hosting info – When you arrange for your web hosting, they will normally send you an email with the detais of how you set up FTP access to your site, use the “Control Panel” and set up email accounts. Immediately print out a copy of this email and file it. Send a copy of it to yourself and keep both coipes in your email records. Send a copy of it to your fastidious Aunt Mille and ask her to keep it on file fo you.

    I can’t tell you how many times I’ve asked new clients about FTP access to their site pages and had them say “Oh, I know I got that, but I don’t know what I did with it. Do I need it?” You can always call up the provider and ask them to send you the info again. I just want to impress on you that the info in it, notably logins and passwords, is stuff you (or your web site designer, if you go that route) will need.

    Registering your domain at the same time – As I mentioned at the beginning of this article, it can be slightly easier to register your domain name through your hosting provider, than to register it separately, and the sign-up process will ask you if you want to register a domain at that point, or if you already have a domain registered elsewhere which you want to assign to the new hosting account. I’ll go into domain names in more detail in the next post in this series.

    Next: Registering a Domain Name



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  • Robert Venosa

    Robert Venosa
    When I first saw Robert Venosa’s work reproduced on the web, I wondered if it was done digitally. Though he has recently begun to work in digital media, most of his paintings are in tempera and oil on board, utilizing the “Misch Technique” of Hubert and Jan Van Eyck that he was introduced to when studying with Mati Klarwein and Ernst Fuchs.

    This technique begins with a bright tempera underpainting over which is laid a series of thin oil glazes that allow light to pass through several layers of translucent color and bounce off the underpainting and returning through the layers before returning to the eye. This is something that you find in many old master paintings that does not reveal itself in photographs.

    The technique seems perfectly suited to Venosa’s subject matter.

    His images are striking arrangements of rounded, translucent, vaguely organic forms that morph and blend into one another like melting liquid crystal. These are sometimes arranged as “landscapes”, sometimes as fields of dimensional forms and other times as objects, occasionally suggestive of faces, as in his painting titled “Hallucinatory Self Portrait”.

    Sometimes his objects can have deliberately plant-like forms, at other times they are blocklike, filled with striations and crinolations that give suggestions of rounded rock formations, the intersection of microscopic cells or flows of solidified air currents.

    Venosa’s paintings have ancestors in the Surrealist “landscapes” and polymorphous objects of Yves Tanguy and the wonderful decalcomania inspired visions of Max Ernst. You can also see the influence of Salvador Dali, with whom Venosa became acquainted when he moved to Spain. It was reportedly Venosa who introduced H.R. Giger to Dali.

    I also see a similarity in Venosa’s work to certain work by Jean “Mobius” Giraud, though there it’s difficult to tell which way the influence flows. Venosa has also done some collaborative work with digital artist Stephen Miller of Mkzdk.

    Venosa has applied his visionary images to concept art for movies like Dune and Fire in the Sky, and the upcoming IMAX film, Race for Atlantis.

    Unfortunately, as is often the case, the images on Venosa’s web site are too small to get a good feeling for the work. You can find somewhat larger ones on The Society for Art of the Imagination, this unofficial gallery and the beinArt Surreal Art Collective.

    There is a listing in the beinArt Surreal Art Blog about a solo exhibition of Venosa’s work at the Feneiro Gallery in Eugene Oregon from July 6 to August 2nd, 2007.

    Addendum: I received a notice that Robert Venosa, and his wife Martina Hoffmann are conducting a series of workshops on Visionary Painting, the latest of which will be held this November 24th to 30th in Boulder, Colorado.

    Addendum II: A new new collcetion of Venosa’s work, Robert Venosa: Illuminatus (Amazon link) has just been published. You can read more details on his site.



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  • William B. Hoyt (update)

    William B. Hoyt
    I was looking through the website of the Maine Art Gallery (in Kennebunkport), when I was struck by this image. On looking up the artist’s website, I realized I had written a brief post about him a couple of years ago.

    William B. Hoyt’s clear, precise, realistic approach is most often applied to landscapes and seascapes. In the latter you can see the influence of realist giants like Thomas Eakins, a point he makes clear by including a pinned-up print of Eakins’ Max Schmitt in a single scull over the sink in one of his combination interior/landscape paintings, Flat Water.

    Likewise, he has painted a small print of Vermeer’s The Milkmaid into a painting of his kitchen he has titled King Arthur and the Milkmaid (the King Arthur reference is to the brand of the bag of flour), Andrew Wyeth’s Christina’s World in his Lobsters and Champagne; and has Caravaggio’s Baccus tucked in the window in Kitchen in Tuscany.

    There are other references to influences tucked into the interiors in his new work at the Maine Art Gallery. Unfortunately, the images posted there are too lo-res to see in detail.

    In fact, it is Hoyt’s interiors that I find most interesting. Though his landscapes have an obvious appeal and are the major focus of his work, the interiors have a stillness and “moment in time” quality that are wonderfully evocative, and I was glad to see that his new works include a number of interiors. The large windows in his kitchen, in particular, invite his repeated theme of interior/landscape combinations, and the porcelain and unpainted wood make for a rich setting to tie the objects together.

    Hoyt doesn’t shy away from complex compositions and seems to challenge himself in his interior paintings with numerous objects that vary in color, texture, degree of sheen and sensitivity to reflected light and color. His landscapes are often panoramic in proportion and complex in subject matter.

    Hoyt has revised his website since I last visited, but I’m a little disappointed that the new one still doesn’t show his work to best advantage. Instead of elegantly introducing you to the artist and his work, and quietly letting you know that there are prints available, the site starts right in trying hard to sell the Giclées, giving it an air of commercialism. You almost feel that the primary focus of the paintings is to sell the prints. I’m sure this isn’t the case, but it’s an unfortunate effect of the emphasis on the prints rather than on the paintings.

    It’s also still way too easy to miss the link at the bottom right of the image pages that brings up the “high-res version”, without which you wouldn’t be able get a much feeling for subtlety and strength of his work.



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  • Drew Struzan

    Drew Struzan
    Drew Struzan is another of those artists, like Michael Deas, whose work you have undoubtedly seen, whether you realize it or not. Struzan is responsible for some of the most famous and recognizable movie posters in recent memory. He has also done art for advertising, book and comic covers, music CD covers and other product illustration.

    Struzan is best known for his movie posters. He has obviously absorbed influences from illustration greats like J.C. Leyendecker, Coles Phillips, Norman Rockwell and others, and brings his knowledge of illustration techniques to bear in clear, powerful and striking representation of the likenesses of actors and the succinct representation of the promised excitement in a movie.

    In his online portfolio you can see some of the famous poster and advertising art he has created for Star Wars, Indiana Jones, Harry Potter, Blade Runner, Back to the Future, Pan’s Labyrinth, Hellboy and others.

    Struzan works in airbrushed acrylics on board with details and textures added in colored pencil. There is a drawings section in his portfolio in which you can see some freely realized, but remarkably precise, drawing in colored pencil on toned paper.

    The portfolio is arranged so that the initial click gives you a brief description and a detail image, which is linked to the full size images. the detail images occasionally give a hint at the wonderful surface and texture characteristics of his work and make you wish they were reproduced larger.

    Fortunately, there are three (as far as I know) collections of his work: The Movie Posters Of Drew Struzan, The Art of Drew Struzan – Star Wars Portfolio and Drew Struzan: Oeuvre.

    [Link courtesy of Michael Hirsh of Articles and Texticles]



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  • Peter Sylvada

    Peter Sylvada
    California painter and illustrator Peter Sylvada paints in a way that makes “painterly” too weak a descriptor.

    Ranging from muted earth tones to brilliant, impressionist strength colors, his oil paintings are composed of wonderfully bold chunks of color and a wealth of tactile brush texture.

    From portraits that show the obvious influence of Sargent, to Homer-inspired sea images, to city images that carry echoes of Robert Henri, Sylvada draws on a wealth of affection for great artists and imbues his paintings with rich contrasts of color and tone. His compositions experiment with unorthodox variations in proportion and balance in which backgrounds and occasionally parts of objects are turned into color fields shimmering with the textures of brush strokes.

    Unfortunately, his portfolio site, though nicely designed graphically, is hampered by agonizingly slow image transitions that make it an exercise in patience to go through more than a few images. It’s worth the trouble, though; perseverance will be rewarded by an array of wonderful paintings.

    Similarly frustrating is his “Bio” page, which also keeps you waiting for over-long “page” turns, and then brushes off his professional accomplishments as though they were inconsequential.

    His illustration clients include Toyota, Nissan, United Airlines, The Atlantic Monthly, The Philadelphia Inquirer, and others.

    Sylvada is working on a children’s book he has written and he is currently preparing for his initial gallery exhibition.



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  • Jacques-Louis David on
    The Power of Art

    Jacques-Louis David
    The subject of Simon Schama’s The Power of Art, the BBC/PBS program being broadcast on most PBS stations tonight in the US, is French neo-classical painter Jacques-Louis David.

    It’s difficult to separate David’s life and work from the political turmoil of his times, in which he was intricately involved; as I pointed out in my previous post about David, and as I’m sure Schama will go into in detail in the program.

    It might be nice, however, to simply stop and look at David as a painter, seeing him directly as in this Portrait of Anne-Marie-Louise Thélusson, Comtesse de Sorcy, a larger version of which can be seen on the Art Renewal site.

    As I pointed out in the post I wrote just before my post on David, a painting that I though for years was my favorite painting by David (and one of my favorite paintings in the Metropolitan Museum of Art, which is saying something) turned out not to be by David, but by Marie-Denise Villers, a student of one of his students.

    Perhaps Schama will have some surprises up his sleeve in his look as David as well.


    Jacques-Louis David on The Power of Art
    My previous post on Jacques-Louis David with links and resources

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Vasari Handcraftes artist's oil colors

Charley’s Picks
Bookshop.org

(Bookshop.org affilliate links; sales benefit independent bookshop owners; I get a small percentage to help support my work on Lines and Colors)

John Singer Sargent: Watercolors
John Singer Sargent: Watercolors

Sorolla the masterworks
Sorolla: the masterworks

The Art Spirit
The Art Spirit

Rendering in Pen and Ink
Rendering in Pen and Ink

Urban Sketching: Understanding Perspective
Urban Sketching: Understanding Perspective

World of Urban Sketching
World of Urban Sketching

Daily Painting
Daily Painting

Drawing on the right side of the brain
Drawing on the right side of the brain

Understanding Comics
Understanding Comics

Charley’s Picks
Amazon

(Amazon.com affiliate links; sales go to a larger yacht for Jeff Bezos; but I get a small percentage to help support my work on Lines and Colors)

John Singer Sargent: Watercolors
John Singer Sargent: Watercolors

Sorolla the masterworks
Sorolla: the masterworks

The Art Spirit
The Art Spirit

Rendering in Pen and Ink
Rendering in Pen and Ink

Urban Sketching: Understanding Perspective
Urban Sketching: Understanding Perspective

World of Urban Sketching
World of Urban Sketching

Daily Painting
Daily Painting

Drawing on the right side of the brain
Drawing on the right side of the brain

Understanding Comics
Understanding Comics