Saturday, July 26, 2014

Temple of Art

Over the past two years, Alan Amato has been traveling the world, photographing fine artists from all sorts of disciplines. He then has the artist re-interpret their portrait in their own personal way. So far, the results have been pretty amazing.

"Temple of Art" is a film documenting that process, capturing the lives of more than 50 artists from around the world. But it needs support if it's to get made. Check out their Kickstarter page, and help if you can.

Friday, July 25, 2014

Hot Lights On a Budget

Good reference can make a huge difference in your painting, but photography can be an expensive and jealous hobby.  It is always there when I get a little extra money, nagging away and telling me I need a new lens/body/bag/strap/flash/gadget...  I try my best to resist but photography has a Borg like ability to assimilate my will.

Because my wallet is generally smaller than my wants, I am always looking for a cheap way to do something well and I came across some intriguing options on Amazon and thought I would give them a try.  I have always wanted a set of hot lights for my photography.  I have a nice set of strobes (flashes) that I use but hot (or continuous) lights are nice because they are always on so you can move them around and see in real time exactly what your light is going to be like.  They used to be really expensive for good color corrected lights but that has changed.  Not only that but with CFL or LED bulbs they aren't all that 'hot' anymore (halogen and tungsten bulbs are powered by liquid hot magma I think).

Plus, the tungsten and halogen kits are much warmer.  I wanted a kit that was closer to daylight.  See this chart to see where the temperature of the light falls.  If you aren't familiar with what this means, it will be useful if you do much photography and are going to buy a set of lights:

Back to the hot lights.  I bought this set: LimoStudio - Photography Photo Portrait Studio

It comes with two tall light stands and one small one, three light heads, three 6500k CFL bulbs and a case.  All for $38.  Wow.  They aren't very rugged, but for indoor use, they feel like they will last.

The umbrellas are delicate, but with reasonable care, they should hold out.  They are designed to reflect the majority of light back, but you can also turn them around and shoot light through them like a softbox.

I do have some gripes and fixes though.

Gripes - The bulbs that they came with stink.  They are quite bright (200W equivalent which means they put out as much light as a typical 200W incandescent bulb), but at 6500k, I had a really hard time getting good skin tones, even with a grey card (for getting accurate white balance) and messing around in Photoshop.  The highlights were too cool and the shadows a yucky orange/green.  I also found that even with as much light as they put out, I could use more.  More light means more options with your camera, i.e. lower ISO for less grain, more options with your f-stop to get a sharp image and faster shutter speed.  All useful.

Fixes - I went to Home Depot in search of some 5000-5500k bulbs.  I found a 4-pack of 5000k spiral CFL bulbs for $8, but they weren't as bright as the ones that came in my kit, only 100W equivalent.  I remembered seeing a 4-socket head on Amazon, so I bought 2 4-packs of bulbs and a 200W flood, all 5000k, went home and ordered two 4-socket light adapters.

Here is a link to bulbs I purchased at Home Depot: EcoSmart Daylight 4 pack

I bought two of these for $10 each: Flashpoint 4 Socket Adapter

After impatiently waiting for them to arrive, I was ready to go, now with 1000W of total light!

With two main fixtures, I can use one as the primary light, and another as a fill, or double them up for an 800w equivalent single light source and good simulation of daylight.  Here is a shot of my setup from a photoshoot just earlier today.  You can tell that I have a supportive wife by the big hooks in the ceiling that I can attach my grey photo backdrop to, transforming the family room into a temporary photo studio.  The backdrop is nice for isolating the subject, but not mandatory.  You can use a sheet or a solid color wall with similar effect.  The background fill light also helps with that too, eliminating shadows.

I dialed my camera's white balance to 5000k to match the lights and shot away.  Here is a shot of the model from the shoot today:

I was very happy with the range of skin tones and information in both the highlights and shadows.  I shot the image with Nikon D7000 and a 50mm lens, ISO 400, f 3.5, 1/60th of a sec, handheld.

Not only are the lights useful for photography, but they work well when painting from a live model too.   To summarize, for about $80 I have three tripods, a couple umbrellas and about 1000 watts of effective light and at a versatile temperature.  I have used them a few times now and am very happy with the results.

Thanks for giving this a read and I hope you found it useful.

Howard Lyon

Thursday, July 24, 2014

Craft is Universal (also, Craft Cocktails)

-By Lauren Panepinto

All of you readers of Muddy Colors know me as an Art Director and a Designer-of-Book-Covers, but if any of you also follow me on social media, you have quickly noticed that I have another sphere of geekdom:

How I ended up as big a geek about cocktails as I am about, say, Dune, is kind of a long story that started with a wine allergy, passed through a bunch of classes and gorgeous vintage books, thru helping my husband launch a cocktail garnish company, and ends up with me skipping San Diego Comic Con every year for a different convention, the Tales of the Cocktail in New Orleans. Which, again, if you follow me on facebook or instagram, you've seen the literal flood of cocktails this past week.

(clockwise) Cthulhu's Kiss by Zac Overman at Fort Defiance (extra credit for tentacle garnish), proto-tiki drinks at Cane & Table, a Ramos Gin Fizz (and lovely 1930s murals) at the Sazerac Bar, a Brandy Milk Punch and a La Louisiane at Kingfish, a Bramble at Kingfish, and two St. Germain-based drinks I suspiciously don't recall from Bellocq

Trust me, I can go on about cocktails at length, but the point is, being involved in other passionate, creative, uber-geeky worlds outside of visual art is important. People who have passion about their craft share the same universal truths about creativity, dedication, burnout, and inspiration—and it doesn't matter what the medium is, the messages are applicable to art and art careers.
I was reminded of this by a writeup of one of the Tales of the Cocktail seminars, Letters to a Young Bartender, in which established pros give advice to newbies that they wished they had gotten, given in the form of letters to themselves. Jackson Cannon participated this year. If you live in Boston you might know Eastern Standard, The Hawthorne, and Island Creek Oyster Bar, where he is Bar Director. He's won a ton of awards in the industry, but there's no better sign of geekdom than designing your own tools.
Here is the letter he wrote to his former self, and I think it's easy enough to see how this relates to any artistic career (just maybe substitute "Fan Art" for "Cosmos"):
Dear Jackson,
Pick your destination. Think carefully about what you really want. Look at your shoes.
Your first step: Get new shoes.
You will not have to map your route to your destination. You will be guided. All of the people you work with from now on will be your guide to the destination you have chosen. If you are clear about what you want, are truthful when people ask you what you want, and make yourself humble and available to guidance, you will reach that destination. If you chose Local Sports Bar Owner, you will be guided there. If you chose Celebrity Bartender On A Reality Show, you will be guided there. 
Some of your guides will explicitly help you and say, “Your next step is to put this glass in this spot.” Some will be less obvious and say, “I’m not sure this is a great fit.”  Some will shrug and their disinterest will help you. Some guides will be outright warning signs. All of them are guides, and none of them know how to get to where you want to go. Your destination is yours alone. They may have some idea of how they themselves can get where you’d like to go, but their path and yours are not the same thing. 
Your first job is to observe. Watch the way the other kid in the black shirt puts away the glassware. Watch the way she puts away the beer. Watch the way your boss looks at the beer when she’s done. Turn on all of your sensors. Observe with all of your senses. Watch the way the bartender holds his hands when nothing is going on. Watch the way he dries his hands. Watch the way his boss looks at him when he’s working. Notice how you feel when you observe that.
Your second job is to do. Jump in. Ask questions. Get your feet wet. Get your hands dirty. No matter what you are told, do it. When you have to do it a second time, do it faster. When you have to do it a third time, do it faster and cleaner. Get on your belly and clean something. Find a ladder, get up there, and clean that. Faster. Catch your boss watching you. Notice how you feel.
Your third job is to get watched. All the time. Feel the eyes of your peers upon you. Sometimes you will feel their envy. Sometimes they will cringe. Sometimes they will look awed. Sometimes they will laugh. Ask for feedback. Ask how they would do it if they were you. Feel the eyes of guests on you. Begin to notice that you are on a stage. Try moving more artfully, knowing that you are being watched.
Fourth: Expose yourself. Go places. Taste things. See the outside. Look inside. Notice. Notice. Notice. Remark. Take risks. Enter contests. Develop a menu of drinks you love (and make those Cosmos). Make a menu that sells itself and notice how you feel. Pour your soul into a project and feel the boots trample on it. Get up. Pour your soul into a project and feel rewarded.
Develop a character that speaks for your projects. Develop a voice. Speak. Recite. Write. Repeat. In a mirror/on a tablet/in a text/on your grocery list/in your pillow/to your friends/to your mother/to a stranger. Say, write, repeat: Every single drink recipe you ever see. Every single drink recipe you ever hear. Every single drink recipe period.
Spend a paycheck. Get the booze. Have a party. Make, say, make again, over and over. When you catch yourself reaching for the bottles before you remember what’s in the drink, then you are starting to get it.
Speak up. Ask. Ask if you can help. Ask if you can run the drinks for a busy server. Ask if you can show the new kid how to juice. Ask if you can pull the tickets off of a colleague’s printer. Ask if you can make a few tickets. Ask if you can taste their contest entry. Ask them to taste yours. Ask if you can do the money. Ask if they will check your work. Ask if you can do inventory. Ask to look at the invoices when the fruit comes in. Ask to look at the liquor invoices. Ask if you can close for a sick colleague. Ask if you can close for a burnt out manager.
Look over the bar top. Look at the women ordering. What do their faces do when they drink what you made? Do their eyebrows go up and away or down and together? Look at the men. They are better trained not to react. Look back at the women.  Look at the entire bar from six paces. Go straighten your bottles. Wipe the sticky ones. Watch the fingers of the man on a first date. Offer food if his hands are too frantic.
Listen. Listen to the bartender ask an older man how he likes his martini. Listen to the hungover barback polish with a cloth that is too dry and isn’t working. Listen to the dishwasher, and learn what a broken glass sounds like. 
Our senses are sight, sound, smell, touch, taste, intuition.
Get a nice apartment. (Nice for sleeping.) Get a place where you can sit outside within a ten minute walk. Just a bench where you can sit and wonder what’s next.
Fall in love. Sleep with a few people. Don’t give it away. Live with someone. Your time will be ever more precious. Don’t f*!& everyone.
Your mate is likely to be near you. You might know her as the new server. He might be your boss. She might be a valet. He might be in the kitchen. Anyone can do intimacy when they’re drunk, and everyone will connect over the shared hardships of this business. Your mate is the one you can talk to about your sister when you’re picking mint for the off-site. Your mate knows how you take your coffee the second time and never forgets. Your mate has impressive flaws that you see the day you meet them and are not cute now. Your mate is a human that you respect. They can list your flaws. They are not delusional about them. (That thing you do is not cute.) Your mate is curious to discover who you are going to be. You are dying to know how their story turns out, and hope that you’re in it the whole time.
Whether it’s kids or animals or plants, get something living and care for it. Be reliable. Pay your rent on time. Get your oil changed. Pay your taxes. 
When you find a home, put down roots. Take your time. Don’t settle. But settle eventually. Have a local. Know your neighbors. Bring your garbage cans in. Pick up litter. Say hi to kids. Watch the news. Know who’s on the ballot. Vote. Watch your community change. Engage with the people who are trying to change it for the better. Take a Saturday off to clean a park. Host a fundraiser. Be known.
Play. Tell jokes. Pick up an instrument. Find your perfect ball: golf, tennis, soccer, foot, basket? Be a fan of a team. Root for someone. Dance. Sing. 
Ice someone. Prank. Punk. Look silly for the laugh. 
Remember you are not the drinks you make, you are not the glasses you polish, you are not the people you train nor the bars you build. You are not the children you create. You are not the failures you suffer. You are not the awards you don’t receive and deserve. You are not your undeserved kudos. You are who you are and what you believe. If you are a bartender, you will know it, and so will the world.  
Jackson Cannon

This is all great art career advice, especially the advice to Observe, Jump in, Get Watched, Expose Yourself, Speak Up, and Listen. 

And far be it from me to have a cocktail-related post without an art-themed cocktail recipe and some beginner knowledge:

I went back to one of the most revered cocktail books, The Savoy Cocktail Book (first published in 1930), and found a cocktail apt for Muddy Colors:

The Artist's Special Cocktail
1oz Whisky
1oz Sherry
1/2oz Lemon Juice
1/2oz Grosielle Syrup 
(this is a red currant syrup, but you can substitute Grenadine)
Shake with ice and strain into a cocktail glass.

The note in the original Savoy Book says:
"This is the genuine ‘Ink of Inspiration’ imbibed at the Bal Bullier Paris. 
The recipe is from the Artists Club, Rue Pigalle, Paris."

The Artist's Special Cocktail and the awesome cover of my copy of The Savoy Cocktail Book.
Starter cocktail links & knowledge:

—If you want to order anything cocktail-related such as tools and bitters (everything except the actual liquor) go to The Boston Shaker. And if you have a question, they're fabulously friendly and helpful to newbies on the phone or by email.

—If you buy one cocktail book a great one is The PDT Cocktail Book by Jim Meehan, from his bar PDT (Please Don't Tell) in NYC. Not only is it great for recipes, the production value on the book was so high it's a pleasure as a design object. It has fabulous illustrations by Chris Gall. Each piece illustrates a different cocktail. You can see them all in the cute promo video below.

Chris Gall's illustrations for The PDT Cocktail Book by Jim Meehan

(For extra credit, every serious drinks geek should own a copy of The Savoy Cocktail book. Be careful, chasing vintage cocktail books on ebay gets to be an expensive obsession quickly. There's a company that does exact reprints with all original art and binding called Mudpuddle books, they're all available on the Boston Shaker site too.)

Cocktail DataBase is a good website to look up recipes and ingredients.

—A good app to keep on your phone that has most of the best classic and new recipes is called Bartender's Choice. It's $2.99 and well worth it.

—For those of you who don't drink liquor, you can still be a drink geek, there's some great books on zero-proof and low-proof cocktails out there with recipes for virgin cocktails and homemade soda syrups and other delicious things to drink. Just don't call them "mocktails" — that's just insulting to a good drink. Here's a few great recipes.

—If you want to geek out on cocktail history, the Museum of the American Cocktail is a great place to start. Drool over the amazing vintage collection of tools and books and advertising ephemera.

—If you are already a cocktail geek, you should go to Tales of the Cocktail next year, it's amazing. All the world's best bartenders hanging out in the French Quarter with all the liquor brands in the world throwing drinks and food and samples at you all week. Non-professionals are welcome and it's not expensive to attend. If you go, remember: do not call bartenders "mixologists" and do not expect flair bartending. Although there was a Cocktail showing (mostly in jest) and accompanying 80s party closing nite.

Disclaimer: The author of this post, nor the blog it lives on, is responsible for intoxicated driving or art-making. Please refrain from operating heavy machinery or paintbrushes while drunk. Thank You.

 Thank you to Alex van Buren for the letter transcript and Jackson Cannon for writing it.

Wednesday, July 23, 2014

Rise As One

No Man's Land, first painting of the series

Greg Manchess

    During the recent World Cup Series, Anheuser Busch ran a series of TV ads during breaks in the action. Entitled, “Rise As One,” it retold the story of the 1914 Christmas Day Truce that happened in the first months of WW1. If you’re not familiar with the history, it’s a touching story of how the soldiers in both the German and British trenches established a brief peace all on their own, and ventured out into No Man’s Land on Christmas morning, to play a friendly game of football. Soccer. 

One hundred years later, I was contacted by Tarras Productions and asked if I could do a few paintings to give the film a more personal, and special feeling. I was immediately excited as this is the power of painting, to touch the heart of the subject in a way that allows the viewer to complete the scene in their own way. My paintings were to capture the feeling of those moments the agency had in mind.

The British trenches

At our first meeting, the art director thought that they might need 4 to 6 paintings to express the events of the day. They thought that my oil paintings would be a good fit, but they were also looking at a few other artists. They hadn’t made up their minds yet, and their client, Anheuser Busch, was inclined to work with a comic artist.

During the meeting, I quickly realized that if I was to get this job, I had to sell my work right then and there. I had to push them in my direction as I really wanted the assignment. I love that time in history and I thought that my paint would give the film the weight and gravity needed to pull off the emotion of the event.

The German Trenches

I explained how the oil paint would bring out the feel of the mud, the grime, the awful conditions of the trenches, and the depressed facial expressions of the men. I described how the colors could be muted for effect to enhance this, and how a few accent colors could grab attention in certain places. 

Part of an actual trench maintained in Europe

The meeting went well. They loved my work and told me as much. I offered to help find a good comic artist match for them, if indeed the client ultimately went in the direction. It’s always good to help share the work in the field. They said they’d get back to me.

They always say that. I figured I’d lost the job.

That was New York, and I was due to fly back to Oregon the next day. Once back in my studio, I scratched up a page of thumbnails to show them what I was thinking, based on our conversation and some notes they’d sent. A few days later, I got an email from the AD/director who asked if I could possibly do a sketch that looked like a comics page. I knew what they were going for. If they wanted to use me, I was going to have to show that I could handle storytelling in a panel-to-panel approach. 

Photo of the real Capt. Hamilton

One hour later, I’d sketched the page and sent it off. Twenty minutes after, I got a call. They loved it, but.....”could you add a little color?”

“I’ll get back to you.”

Capt. Hamilton

Two hours later, I’d sent them a full color rendering of the page. (I’d developed a speedy way to do this: print out the page on copy paper and paint right on it. It dries really fast, and be can scanned immediately.) They were elated.

That’s what sold them and they showed it to Anheuser Busch. The job was mine.

Photo of the real Lt. Zemisch

All we had to do now was figure out the timing and payment, etc. But they had something bigger in mind. They’d decided that they needed more paintings. Thirty of them, in fact. Yikes. So I asked when they needed them.

“Two weeks.”

Lt. Zemisch

“But...that’s three paintings a day. With research, sketches, and sketch approval, that’s not gonna happen. I’m pretty fast, but no one’s that fast. Not in oil paint.”

“We’ll get back to you.”

They must be insane, I thought. That’s it, the job’s gone. But they called back the next day. They had a better deal. They only needed twenty-four paintings. They took away six, yet, they still only had two weeks.

“That’s two paintings a day.” But it didn’t matter, the deadline was set. I wasn’t sure how I’d do it, but I figured I just might make it, if they allowed me to send thumbnails and they’d ok each painting based on those. They were happy to hear that, and agreed. Then they mentioned the gallery shoot.

“Gallery shoot?”

Stray shell that landed in Hamilton's dugout, but didn't detonate...

They planned to put the paintings in a gallery and shoot them at a ‘faux opening,’ with patrons wandering about, looking at them.

“Wait, wait--how big do you think these are gonna to be?”

They thought they were going to be gallery-sized scale, perhaps three feet across for each. I politely informed them it wasn’t possible to cover that much canvas in the time alloted. But thinking on my feet, to keep the job, I told them that I could paint them much smaller, then have them shot by Gamma One Conversions, who could also blow them up to whatever scale they needed for the gallery setting, printed on canvas. On camera, viewers would never be able to tell if they were original or not.

They loved that one. After conference calls, technical talk, budget clearance, and much concept discussion later, I was good-to-go. Huzza!

Signalman Brookes in his dugout...

I figured if I could find just the helmets for reference, I could freehand everything else. That proved a little difficult after calling all over the country and coming up short. I eventually found a WW1 German helmet and a doughboy helmet at a surplus store not even three miles from my studio. Figures. Should’ve called them first.

The thumbnails shown throughout the post are what I drew while looking at tons of WW1 trench reference. The art director signed off on them and I went from there. First step was to shoot reference of my model: me. I posed for every single figure in the series. I had to. There was no time to line up models. 

Starting Friday, March 14th, I had to hit two paintings a day. I figured as I went along, I could adjust earlier paintings while working on the latest ones. My daily schedule was this: Up at 8 am, sketching by 9, getting ok’s by noon, shooting reference and drawing directly to canvas and getting one painting done by 6-ish. Drive to Starbucks, sit and stare over a mocha for one hour. Back to painting until midnight. Watch something until tired by 1am. Back up by 8 am.

As is usually par for the illustration course, everything goes belly-up when you most need it. My stupid email program decided to download every email I had in the dang Cloud onto my laptop. It jammed the thing up tight, while I deleted files for hours. Then my iPhone stopped working, and went into a perpetual boot-up loop. The scanner crapped out, and I burned out a photo lamp late at night while shooting. No backup.

But in the first couple of days, I managed to basically finish five paintings. I shot them and sent the images to the AD for clearance. He loved them. Minor adjustments. So far so good. I pinned those first eight pieces to the wall and started in on the second set, making good progress and staying on target.

But one week in, it all started to unravel.

First, the client had multiple changes to several of the pieces. Not bad, but time-consuming. Second, I was nearly half-way through the paintings when I started losing energy. I slowed down, finding it more difficult to stay focused, and my output dwindled.

I made all the changes, though, packed the first five paintings and shipped them to Gamma One for high rez scans, allowing just enough time for them to get the shots.

That’s when Fedex lost the package.

Next post: trying to find the package while finishing up the next set...with twelve to go.

Signalman Brookes running a message across No Man's Land

Tuesday, July 22, 2014

Art for Expsoure

By Justin Gerard

“I’m writing this totally cool book; I’d like you to illustrate it. Do you have to be paid, or will the exposure be enough?”

We were recently asked this question at a comic convention. Like many of you, I’ve heard this several times in my career and it still shocks me every time I hear it.

“Wait, you are wanting me to work …. for free? In the hopes that this mystery project of yours will be a New York Times #1 bestseller and I will somehow get famous for it?”

I find that it happens more often at comic shows. Perhaps this is because so many struggling artists attend and get artist alley tables in the desperate (and understandable) hope of being noticed by a publisher. And here unscrupulous people prey upon them.

Before I begin, let me clarify: This is not about all free work. There are certain times when it is right and good to do free work.

Briefly, a few examples of free work that are exceptions here:

A Charity or Cause
Perhaps it is for something you truly believe in and want to support.  (Like being asked to contribute art to the Society of Illustrators Microvisions show, the proceeds of which are dedicated to student art scholarships.)

For A Loved One
Perhaps it is for a close personal friend who you truly believe their book needs to be illustrated. Perhaps it is your mom, and you love your mom. (Note: These are almost always bad ideas to accept, but they are exceptions and people are absolutely allowed to do crazy things for their loved ones.)

For Your Artist Representative
An Art Rep is someone who you have agreed by contract to provide art for so that they can market you. In this case, you already agreed to provide art for exposure. But an art director isn’t trying to get you to illustrate his project. He is trying to put together your portfolio. He only makes money when you make money from actual clients. So this is very different, and until you get work, you should be doing everything in your power to improve your portfolio.

And this is also not about work where there is some form of profit-sharing being suggested.  That is a different article entirely.

This is about providing free work, given in exchange for the dubious promise of "exposure."

Here is a flow chart I have created so that you can decide wether or not a project of this nature is right for you:

Providing skilled artwork in exchange for exposure is an exchange of services. You provide art, and they provide marketing for you and your brand.

It is not that this is an inherently bad exchange, it is that 99.9% of the people who promise this 'exposure' cannot deliver on their end of the bargain.

Here is why you NEVER take these projects:

1. Someone who offers exposure for art does not understand the industry.  If they did, they would know that they HAVE to pay you. Someone who offers this will have NO idea how to get the project produced. And therefore won’t be able to deliver on their promise of exposure.

 2. Someone who offers exposure for art lacks the capitol necessary to produce and market the product towards a successful end.

3. Someone who offers this lacks respect for you and for creative professionals in general.
They will be miserable and extremely demanding to work with.

4. It is insulting to you and to creative professionals everywhere.
By taking the work, you are supporting an evil and manipulative market and furthering a corrupt mindset that devalues the art of illustration and dehumanizes those who practice it.

If you are still tempted, ask yourself:
Could you use the time you would spend on this project to do your own, much cooler project?
Could you use the time you would spend on this project to further you art education through classes? Could you use the time you would spend on this project to improve your portfolio so you have a better chance of getting ACTUAL, paying commissions?
Do you have even a shred of self-respect?

If you said yes to any of these, then don't take the project.

Keep this in mind: 
If their project is so great and is going to be so successful, then they can go sell an investor on it, and he can put up the money to pay you a fair rate for your work. Let the sharks handle that. You make sure you get paid.

What to do when someone asks you to do work for free:
Kindly, politely, educate the person that this is not how the world works.

Perhaps they didn’t mean to say something so horribly offensive to you.
Perhaps they didn’t mean to suggest that you give up 3 months of your life for no pay because they think of you as something inferior to themselves.
Perhaps they just don't understand art.

Or perhaps they didn’t whole-heartedly agree with the abolition of slavery.

So take a moment and explain to them that illustration is a professional skill, acquired through years of difficult training and practice. The execution of it takes time and great effort.  Illustrators are just like other professionals, and they expect to be paid for their work, and to work under similar working conditions of any other human being in our society. Perhaps when they understand that you are a working human being just like them, they will change and become someone who can support the arts in a more honest and helpful way.

NEVER take unpaid work for the promise of exposure.