Freebie Friday: Japanese Floral Woodblock art, Petunias

Much more beautiful art to be found on Vintage Art Download, the best high res vintage and fine art download site on the web…nobody else comes close. And there’s no usage restrictions.  From Victoriana to vintage postcards to vintage French posters to Monet, Mucha and Renoir, you will find an explosive high resolution, archival quality collection of printable art unparalleled on the web.

Enjoy…design, create, be inspired and inspire. Download by clicking the thumbnail.

Freebie Friday-Victoriana, Girl with St. Bernard

Again, sorry I am late. Maybe I should make it “Freebie Saturday” or “Freebie Whenever I Can Get To It.” Hope you can forgive me. This beauty is a piece of classic Victoriana…a beautiful young girl and her dog. Use it freely and don’t worry about restrictions. Do what you want with it–hopefully, it will spur your imagination and you’ll use it for new, derivative works. I’d love to see what you’ve done, so if you post the result, you’ll make me happy! Click the image to download the full size. It’s nice and big, 300 dpi, and retouched…as is all our downloads. Don’t forget to visit www.vintageartdownload for the really good stuff, with no restrictions.

Freebie Friday-Art Nouveau Decoratif

Sorry folks; late again with my Friday Freebie, but this one will make it up to you. I don’t know about you, but I adore Art Nouveau. Give me those luscious, ornate swirls, parabolas, flourishes and I am one happy girl. One of my favorite artists, Alphonse Mucha, is the definitive Art Nouveau master. If you want Mucha in high res download format, without any usage restrictions, click here.

This one is a beauty; you can make it seamless for backgrounds or use it as is for logo and web design or as part of an original art piece. Click the image to download the high resolution version.

And hey, if you like our freebies, tell me! Post to me here and tell me how you used it, or even better, show me what you’ve done with it. I’d love to see If there is something you’d like to see here, also, let me know—I can’t read your mind

Remember, for the best vintage and fine art in high resolution, downloadable digital format, there’s only one site: Vintage Art Download.

More fontalicious goodness

Here are some more fonts I use a lot, and simply love. Enjoy! Don’t forget you can get most of them at My Fonts.

Post processing your fractals-exploring new ways to create fractal art.

For those of you fractal artists who believe that fractals should remain “pure” and “untouched” right out of the fractal generator, cover your eyes. In fact, close this page on your browser, because this article is about taking the beauty of fractals and changing them, molding them like clay, adapting them in accord with your own personal artistic eye. I don’t believe in the “purist” viewpoint–in fact, I think it’s rather silly. Fractals are art, and as such, are means to an end, and the end is the artist’s vision. Just as no two completed fractals are just alike, neither are fractal artists, their vision or their tools.

(Note: I exclusively use Tierazon and Vchira for my fractal art. However, they are no longer available for download. They used to be available for purchase, but I can’t seem to find them anywhere. They are very small programs and need no install, so if you’d like these programs, post to me here.)

I wrote this “post-processing” (in other words, changing, tweaking, revising, adapting) tutorial for fractals in 2003, but I think it’s still relevant today and can offer any fractal artist who wishes to experiment some new ideas and ways of looking at their fractal art. At the very least, I hope it sparks your imagination and allows you to take risks and try things you’ve never tried before.

(I am an exclusive Photoshop user, and though I am fairly certain that programs like Paintshop Pro have similar features, I do not know their names so all my references will be from Photoshop.)

Of course, it goes without saying that some fractals are so perfect, so blissfully perfect, that to touch them would be blasphemous. I don’t see a whole lot of those, and this article is for the majority others which may have not been as similarly blessed.

Everything starts with the raw fractal. I believe you can train your eye to “see” beauty and possibilities in the most mundane of images. After awhile, once you become really comfortable with your generator of choice, you’ll know the kinds of lines and shapes that work the best and just need your special touch to bring them out.

Don’t be so quick to trash a fractal that doesn’t sing to you. If it made you stop and look, there may be something there. Keep the parameter for another day. You might be surprised at what you’ll find. Many of my own favorites were literally pulled out of the recyle bin. Conversely, I freely admit to working for hours and hours on an image only to be dreadfully disappointed with it, and it never sees the light of day.

Composition
Never rush your cropping and composition–both in your fractal generator and in your art program. It’s just as important as anything else you will do to it, and is often the difference between an average image and a great one. I compose and crop more than once, I may even do it multiple times. It is not unusual for me to spend a half hour, an hour or even more, composing and cropping.

Everything needn’t always be centered. Make it interesting! Try it as an off-center image. Or rotate the fractal round and round (either in your generator, if you can, or your art program) and see which way it looks the best. Make sure there is no boring, wasted, hanging space that does nothing but pull the eyes away from what you want the viewer to notice, what you want to emphasize.

Is there too much stuff going on in the image, so much so that the eye won’t know what to look at first? Is it beautiful but not flowing together smoothly, does it look somewhat awkward? You can often fix these problems with cropping. Do not be afraid to crop, and crop dramatically. In fact, don’t be afraid to crop so dramatically that you’ve totally changed your image, and need to render it again in a larger size because you’ve cropped so much off! Like a good writer, a capable artist will sacrifice a beautiful piece of his or her image if it detracts from the whole. Cropping is a crucial part of the process, and should not be rushed or underestimated.

Your Raw Image
I ask myself what the fractal is “about” after I’ve generated and composed it to my satisfaction. Does it have really interesting, well-defined shapes but is lacking in good color? Or, is it all about color while being rather amorphous? What stands out most about the fractal? What am I going to emphasize? Is it that wild shape in the corner that attracted me, a striking form surrounded by quieter, more serene shapes? Is it a happy image or a moody one? Is it a dreamlike image*, or more of a still life, or is it an abstract? Once you have a feel for the “mood” your image is going to exude, then you will have a better idea of the direction you will ultimately go with it. Don’t “fight” the image. In this I mean that if it has more shape and shadow going for it than color, then emphasize the shapes and let the color take second billing. If the image is all about color, then play that up with strong contrasts and glow and don’t worry about emphasizing the shapes. Go with the flow of the image you’ve made in your generator. Follow its lead.

*(For example: a dreamlike image might use a lot of different blurring effects, both with blurring filters and your hand blurring tool. Dreamlike images also work very well with some of the Flaming Pear filters like “Glare” and “Aetherize.” KPT 6′s “Equalizer” filter is one I couldn’t live without. I use it for everything. This filter gives you endless possibilities in blurring and sharpening, like having the millions of little quarter-notes between the half-notes.)

Color
The first thing I usually look at after the cropping is color. Am I happy with the colors? Usually I’m not, so I start changing them.

A side note about Ultra Fractal, inarguably the most popular and sophisticated fractal software. The artistic control you have with color (as well as other things like layers) in UF is legendary. However, you do not have even one-quarter the amount of comprehensive, artistic control of your image in any fractal generator, including UF, as you do in Photoshop or in an art program.

There are many ways to change your color. So many, in fact, that only a few will be mentioned here. First, I decide if I like the level of saturation. Often, I might start the recoloring process by desaturating a touch just to soften it. Then I might do a “test color run” by opening the Hue menu and sliding the hue bar back and forth to see the possibilities. Sometimes a slight hue adjustment is enough, although most times it isn’t.

Next, I’ll open the Color Balance menu. Giving you much more control than the Hue sliding bar, Color Balance allows you to add different shadows, tones and highlights to your *whole* image by sliding the bars back and forth. Is it a sea scene? Slide the bar toward green or cyan. An autumn scene? Go more yellow and red.

After that, if I want to play some more, I’ll go to the “Grandaddies Of Color Control options”: Selective Color and Replace Color. These are my favorites. With Selective Color, let’s say you have a yukky red shade you want to get rid of, but you want to keep everything else. You pull the drop-down menu to adjust only the Reds, and start sliding the color bars back and forth until the reds change into other colors and hues you’re happier with. With Replace Color, you can exercise even more control: using your eyedropper to select the color you want to change, as well as the amount of Tolerance (ie, how much of the color you want to select, you can only select part of it and not all of it) and change only that particular color. There are literally thousands of hues and shades and colors, and changing the Tolerance level of your selection can literally be infinite when it comes to the end color result.

Another way to change your colors is by using the regular Select menu, by dropping down and clicking on Color. With this option, you select your color with your Magic Wand, highlight it and change it to something more appealing. “Save selection” is an important part of this option because it allows you to go back later and load this same color selection again, even though later on the image may have changed dramatically. By saving your selection and then later clicking Load Selection, you can easily re-select the part of the image you originally chose, colorwise. You can do this even if you can no longer make your original color selection with your Magic Wand; having been prevented from doing so because the colors and shadows have now changed. (Because Magic Wand only picks up smooth blankets of same-color areas, after you’ve changed their color it is sometimes impossible to go back and re-select them without saving the selection.)

After you’ve changed your colors and you are content with the changes, then you can play and see what various filters will do to your image. I typically run my image through Flaming Pear’s Aetherize or Mr. Contrast or KPT’s Channel Surfing (From KPT Effects) to see what kind of effects I’ll get. I may not use them at all, or maybe I’ll use them just a little by clicking on the filter and then clicking on “fade” which will lessen the effects of whatever last filter, or action, I applied. The “fade” button is absolutely essential. I play with it right after every single effect I apply, to see how to best maximize that particular effect. Sometimes applying an effect at merely three percent strength is enough, and anything more than that is way too much.

The Curves filter in Photoshop is another wonderful way to get interesting color and light effects. You can enhance each channel, or find the dark and light colors and enhance the difference, or enhance the monochrome values of the image. Do not be afraid! Keep experimenting with your image. You don’t have to save the effects you don’t like.

Then, of course, there is always the hand-coloring option with your paintbrush.

Think I’m done yet with color? Nope. Because when I am not satisfied one hundred percent with my color, or still feel more can be done, I may go back to the same filters a second, third and fourth time to see the different effects I can get by reapplying filters over and over again, in varying amounts and ways. I might layer two or more different versions together, changing opacities and values, to see which version I like the best.

Cloning, Shadows and Light
You may find you have an image with an empty, boring area that just lays there like an eyesore, adding nothing to your image, and you’ve already cropped as much as you can. In many cases, you can use the cloning tool. “Cloning” simply means copying a part of your image and reproducing it elsewhere in the image. With the Cloning Tool, you can take a little part of your image and clone it into the empty space, blending it in. You can even clone at diminished opacity, to make it look faded or far away–a subtle afterthought that can add so much depth to your image.

To add shadows and highlights, you can use your Dodge and Burn tools to emphasize what is already there– all you need to do is to follow the natural structure of the image. Example: do you see highlights, lighter parts of the image that are seemingly facing the light? Use your dodge tool to brush over these areas to emphasize them. Conversely, use your burn tool to deepen your shadows and make them even more shadowy and contrasty. Another way to de-emphasize and emphasize parts of your image is to blur them; the sharpened part of the image will then pop out even more and grab attention when you blur what’s around it. The same effect can be used with the sponge tool, which can both desaturate or saturate color. This tool is wonderful when you want to either add or remove emphasis from a part of the image.

Another handy filter with which to add light is Flaming Pear’s Glare filter. Certain blurring and sharpening filters, like KPT’s Equalizer, also add a certain amount of light to the image. Keep experimenting; you can always hit “undo”.

You can also get wonderful lighting effects with KPT’s Effects filters, in the Channel Surfing filter. There is a preset which is luminescent, and effectively yet subtly lightens the image in such a way that it looks like ambient light.

“Everything was a blur……”
One of the most effective ways to bring attention to certain parts of your image is to blur others. Usually (not always) the part you want to blur is the background. To blur your background in Photoshop, while maintaining the most amount of control as you do so, is easy. First, you want to duplicate your layer. Then, go to filter, then blur, then Gaussian blur, and blur the bottom of the two layers…..blur as much or as little as you like. Working with the toppermost layer, you will use your brush, in the CLEAR mode, to erase the top layer so it will reveal the blurred image below. I sometimes go to my layer menu and adjust the opacities of the upper layer as I do this, so I can better see what I am blurring below. Remember, in clear mode, you can adjust the opacity of your brush as you are erasing. This allows for endless myriad effects in your image.

Arbitrary Filters aka “I Go Crazy”
Just a little note here about popular filters like Flaming Pear’s Flood filter, the filter that creates beautiful water effects, complete with reflections. Like many artists, I, too, love that filter, but I am aware of the danger of overuse and try to use it sparingly and only when I feel the image would be enhanced by it. A Mandelbrot or Julia rising out of the misty depths of the sea can be interesting, but it can also be a cliche if not handled properly. If the image can stand on its own, by all means, let it. It won’t need the odd and overdone juxtaposition of water and fractal. It makes no difference as to whether you create your “water” in your fractal generator with a formula or in an art program with a filter; the end result is usually the same: uninspired generica. Another example of this is the sparkly brush filter that makes shiny parts of an image seem to sparkle and glitter. In small doses, this is a very effective tool. When you see flat, non-shiny surfaces with a little sparkle, you’re looking at what I call The Flood Effect, or overkill.

The End Game
To me, framing your image or “preparing it for the gallery walls” as my friend would say, can make the difference between a typical presentation and a compelling one. Beautiful, ornate digital frames can be quite breathtaking, but only if they don’t overpower your image. You don’t want people gaping at your frame and ignoring your image. The frame should be considered part of the image and not a separate entity; they should flow together seamlessly. You might want to consider something other than a traditional beveled frame, and make the fractal itself the frame. There are many ways of doing this; here are just a few: by duplicating the image colors in a drop shadow; by bringing the image itself into the frame; by applying an array of effects to the borders/edges of your image to create your frame. Is your image about duality? Slice it in two and frame the two pieces next to one another. Is one part of your image busy and the other part serene? Frame the busy part more ornately than the quiet part to artfully drive this home. If you imagine your image is leading you, almost like a dance partner, creating different ways to frame your image will come to you more readily.

Thinking out of the Mandelbox
Why eat one piece of chocolate when you can have three? You can take elements of other fractals to incorporate into your image, whether it’s a shape or even a hue. You may generate a fractal that’s interesting, but prefer to make it part of another image instead of the whole reason for being, because it isn’t powerful enough to stand on its own. You may decide to make the image a metamorphasis of sorts by actually showing the development of the image–the changes and additions–by displaying them all. For example, you might want to juxtapose your original fractal next to the finished version, but make it part of the same image and frame them together. There are no rules, nor should there be. What personally rocks my world is exaggeration: whether it’s exaggerated color, exaggerated monochrome, exaggerated light effects or shapes, exaggerated flatness or shadow. What rocks your world? Do it, then!

There are truly no limits when you decide to push your creativity as far as it can go by really diving into your image and making it your own. Be daring and unafraid. If you’ve never seen it done before, it’s most probably a winner.

(New to fractals? Check out Ultra Fractal, Fractal Explorer, Chaos Pro, Apophysis. Or you can Google “Fractal Generator” and see the many free generators available for download.)

Tips for artists: the best way to print your art.

As any artist knows, printing is far from a science, it’s more of an artform. Lots of experimentation may be required before you are happy with the results. That said, however, there are certain universal, objective guidelines to follow that will result in rendering a high quality print. This remains the same if you are printing on paper, on canvas, or even on tile substrates such as glass or ceramic.

DPI or RESOLUTION

Let’s talk about DPI, or resolution. So many people still get confused about how DPI (dots per inch) works, or they think that if an image is displaying a 72 DPI resolution rate is tantamount to a low quality image. Not necessarily. Let me explain. It’s not the DPI that’s important–it’s the richness of, the amount of, the data present. The DPI number may waver and vary, but the image data will not. Either you have an image that’s innately rich in data, or you don’t. If the image is big, it has more pixels. That makes it data-rich. The former will render high quality prints, the latter will not. And you can actually change the DPI number and it won’t affect the quality of the print. In other words, SIZE DOES MATTER. Not sure what I mean? Keep reading–it will make sense, I promise.

IT’S NOT THE DPI, IT’S THE AMOUNT OF DATA THE IMAGE HAS.

What is DPI? DPI is “dots per inch”. The more pixels, or dots, per inch, the richer, the more sharp and clear your image will be. The gold standard for most professional printing is 300 DPI. A 72 DPI resolution is more suitable for web use, and easy loading. But this is where people get tripped up. The DPI number displayed on an image is less important than the amount of data the image innately has, i.e, if the image has enough data to support a large size when configured in 300 DPI. This is kind of difficult to explain, but here’s one way to explain it. Let’s say you have an image that measures 5000 pixels, but when you bring it into an image reader or art program, it shows “72 dpi”. This does not mean it’s a substandard image for printing. That DPI is fluid. It actually doesn’t matter.  What it means is that the DPI in that big, data-rich image can safely be changed to 300 DPI, and you will *still* have a high quality, professionally printable image—because, in most cases, a 5000 pixel image will most definitely have enough data to support a good print. It’s the DATA, not the DPI, you must ultimately be concerned about. So you can have the very same image–one in a lower DPI, one in a higher DPI, that will render the same result.

MAKING AN IMAGE BIGGER…CAN’T I JUST CHANGE THE NUMBERS?

Lots of artists ask me if they can’t just “change the size” or “increase the DPI” in their art program, like Photoshop, with a small, data-challenged image, to make it bigger. No, you can’t. When you do that, the computer does something called “interpolation”, which means “making stuff up from nothing.” The data isn’t there, so it’s “faked” by the computer software, and the result will never begin to match the original as far as detail. Now, this isn’t to say that professional enlargement programs like Genuine Fractal or Alien Skin Blowup can’t do a good job. Most enlargement programs work as plugins to your main art program, like Photoshop or Paintshop Pro. They can work wonders–but not miracles. That’s why digital artists have a definite edge over the traditional canvas artist—they are designing digitally, which is the format the printer is going to read, and nothing will come between that process and the printing process. You have one step–as opposed to two or three steps–between the image and the printer.

Now, conversely, let’s say you have a 56 kilobyte image. It will not matter what the DPI number is—you still have an image that is not usable for anything except web use. You will not be able to ever get a decent print from it.  There simply isn’t enough data to support high quality printing.

DIGITAL VERSUS TRADITIONAL ART

Digital artists have a definite edge when it comes to printing their work–a huge edge. Why? They can initiate their design in very high resolution, very large and rich in data, or start with a very large “digital canvas.” The image can show 72 DPI or 300 DPI—but that is moot. The important thing is, the image was created starting with a very large digital canvas: such as, say, 4500 pixels by 4500 pixels. I, for example, start my design using a digital “canvas” of about 6000 pixels. They are guaranteed superior printing results, since printing and digital art are a marriage made in heaven. Now, a painter of canvas has more challenges. They have to go through a few processes—each of which will degrade the image–to get it in digital format. They either have to scan or photograph their image first, which, in itself, will result in varying losses of data and detail. That’s an added step, but an important one, in the printing. So the scan must be as high resolution as possible–like 1200 DPI and up–to ensure the image loss of quality will be minimal. See this post to read more about how to get the most from your digital scans.

MONITOR CALIBRATION: THE HOLY GRAIL OF COLOR MANAGEMENT.

Many professional printers have spent thousands on monitor calibration software for their color management, but I have found that Adobe Gamma (automatically comes with Photoshop) works fine for me. If I know what an image is supposed to look like when printed, I simply use Adobe Gamma to calibrate my monitor to “match” what I know the images are supposed to look like, and coordinate the colors on my monitor. Having printed my work, and the work of other artists, professionally for almost six years, I’m confident in saying that programs like Adobe Gamma or Power Strip will do the job just fine.

HOW MANY PIXELS TO AN INCH IN 300 DPI?

If you’re printing your work, remember that there is 300 x 300 pixels to every inch you want to print in 300 DPI. In other words, a 12″ x 12″ print must from an image that is 3660 pixels by 3600 pixels.

COLOR PROFILES

Don’t forget to embed a color profile in your image. In Photoshop, you can do this by going to edit >> assign profile. The standard color profile is SrGB (if printing in RGB) or Adobe 1998, which is a bit more color-rich. You may choose these options from the drop-down menu that comes up when you click “assign color profile.” Resave the image once you’ve embedded your color profile.

But what about CMYK? CMYK (profile: US Web-Coated SWOP V2) is an older, more universal printing mode most prevalent when using a professional printer for large print runs. Thankfully, more and more printers are switching to (the vastly superior) RGB mode. But you may find that you have to deal with CMYK printing. CMYK colors are washed out, flat, and less luminescent and vibrant than RGB. In fact, CMYK compromises reds, decreasing their richness and turning them an orange tone. In addition, there is a very specific way to achieve CMYK perfect black and, if you don’t assign 40 to C, zero to M, zero to Y and 100 to K, you’ll end up with a very washed-out grayish black. Therefore, if you are switching between modes (CMYK to RGB or visa-versa) bring your image into Photoshop and play with the color until the image best reflects the way you want it to print.

WATCH OUT FOR TEXT

If you’re printing a piece of art that has text on it, remember you run the risk of getting your text chopped off because bleed images will be cropped by your printer. To avoid this disaster, make sure your text is at least 1/2″ inside the border.

That should do it for now. If you have any questions about getting the best print results, feel free to post here.

Antique Styled Tumbled Stone Porcelain Clock

Based on a turn-of-the-century French clock face, Color Bakery’s new antique style stone clock is made from tumbled porcelain stone imported from Italy. At 12″ square, this heirloom quality piece of stone *is* real stone from the earth, and as such, boasts delicate, naturally present jagged edges, lines and crevices that add to the antique look and vintage charm. The complementary clock hands are black metal in a lovely, antique scroll design. We will custom produce any image on the Color Bakery OR Vintage Mural site for your custom clock.

Click image to see full size. Click HERE to purchase.

Freebie Friday-Two vintage digital downloads today

My apologies for being late for Freebie Friday….so I am making it up to you with two high resolution vintage images instead of one. One is a beautiful turn of the century floral, and the other is a vintage advertisement. To download, click on the image. Enjoy, and tell your friends about Vintage Art Download, the ONLY website on the ‘net with a huge, unprecedented selection of high resolution vintage and fine art downloads WITHOUT user restrictions.

No, I Don’t Like Cafe Press.

Like many artists, I was excited when I found Cafe Press. About ten years ago, I was looking for a way to print and resell my art on products, and Cafe Press seemed like a dream come true. I was able to simply upload my image, have them print it on products, fulfill the order, and I would just sit back and collect the commission checks. I wouldn’t have to worry about building a website; I wouldn’t have to deal with stuff like inventory, production, shipping, customer service, credit card processing. Not only that, I was able to preview what my product would look like before I created it, and I could do that right online with their nifty software. Wow, such a deal! Who can resist that?

My first red flag came after my computer crashed and I lost a goodly amount of original art. As a digital artist, my life is literally residing on my computer. Although I have huge eight external drives today, in those days I was working off one shaky hard drive, and when it finally exploded I knew I was in deep trouble. I had to beg Cafe Press–and I mean beg, and even cry hysterically on the phone—to talk them into sending me a disc with my own artwork on it.  After many phone calls and emails during which my sanity hung on a thread, they finally did, but grudgingly.  I found myself thanking them with embarassing, sniveling, tearful humility even though in actuality what I was asking for was not unreasonable–access to my own art. As I look back on that episode, it’s really no surprise that this arrogance manifested in many other, more sinister areas.

As many artists do, the first order of business when signing up with Cafe Press is creating products and ordering stuff for themselves, as well as for friends and family as gifts. I was no different. When my delivery came, the excitement with which I tore into the box subsided quickly once I saw what was inside. Crap. And no, I don’t think I am being harsh here. The wall calendar and greeting cards were printed on crummy, low quality paper stock and the colors were as washed out as if the pages been tossed in a washing machine; the tile coasters were not terrible, but the colors were way off–blues were too green and reds were more orange than red, and the tiles had none of the subtle gradations in hue and levels present in the originals; the clock was made from the crappiest, shoddiest plastic and I immediately dumped it in the trash–it was more suitable for a political slogan than for a piece of art. Okay, I thought: I’ll stick to the tiles and mugs and maybe my customers will like it.

But the real surprise came when I received my first order. I was told a “Mary” from “Oregon” had bought some mugs. I was very pleased about the sale and I couldn’t wait to thank her personally. I looked at my customer information, but couldn’t find any way to contact “Mary.” No address, no phone, no email. Nothing. Not even a last name. Confused, I emailed Cafe Press and asked them to send the my customer information. “We don’t do that,” I was told. Company policy. Were they kidding? Evidently not, as they didn’t consider Mary my customer, but theirs–even though it was my artwork she purchased. This was simply outrageous. I couldn’t believe they were actually getting away with this incredibly unfair policy, but, seemingly they were. Let’s get this straight: the artist is Cafe Press’ customer, the only one. The end buyer is the artist’s customer. Period. This glaring, unethical lack of transparency is terribly unfair to artists, not to mention exploitative. But there was nowhere else to go, so I continued promoting and adding to my store, but with markedly less enthusiasm than before.

And then I received an email from a lady in Colorado. She absolutely loved the multiple sets of “Black Cats” coasters she had purchased six months before; could I possibly make them for her in another color? I started to write back–of course I can change the color–but then I realized I never received any notification (or commission) from Cafe Press regarding this order. I logged in, checked my stats to make sure. Nothing. I emailed the customer, asking her if she was certain she had purchased from my store. “Oh yes,” she replied, and attached her invoice. There it was, in black and white. I wrote to Cafe Press, armed with proof of their error, but did not receive a response.

After another customer thanked me for the “pretty mug” she bought, another order I was first hearing about, I logged into my Cafe Press account, and angrily deleted my store. I called Cafe Press to complain about what happened and to tell them why I shut my store down and what I thought of the way they ran their business. They apologized, insisted it was an honest oversight, and though I asked for a full accounting of my orders and due commissions, I never received it. However, I did receive a check in the mail about four months later–without any corresponding accounting.

Now, I doubt very much if Cafe Press needs to steal commissions from a couple of mug and tile sales to make a profit. It probably was an oversight, and an honest  mistake. I am willing to give them the benefit of the doubt. However, this is the kind of thing that happens when you have zero transparency and refuse to give a vendor artist access to their own customer information–information they most certainly have a right to access. It’s also dumb business practice–nobody will promote their art the way the artist will, and to deny personal interaction between the artist and the customer—with the accompanying personal touch, news, sales, promos, works in progress, answers to questions–is undoubtedly costing them revenue. But hey, secrecy works for them, the artists don’t question/fight it, so it doesn’t seem to be hurting them.

When Glen and I opened Color Bakery in 2004, our goal was not only to custom print/manufacture my own work on quality products, but give other artists the opportunity to do the same. Cafe Press is the largest of an array of companies who offer custom printing and fulfillment services for gift and apparel items, but the fact remains that artists have precious few avenues to produce and resell their art on high quality items, items like glass and tumbled marble and fancy wood or metal serving trays, as well as items with lower price points.

It is a little frustrating when I hear from artists who are inquiring about the possibility of Color Bakery custom-printing their art on their products for resale, and they initially compare us to Cafe Press. If I say that comparison is akin to comparing a stick figure to a Renoir, people will call me arrogant. I’m really not being arrogant, I’m merely telling the truth: the breadth of our services, intensive personalization, customization capabilities, product diversity and quality is a million universes away from what Cafe Press does. I make it a point to work with the artists with issues such as color management, cropping, and product mix. I guarantee you nobody at Cafe Press sits at their desk fretting over a low resolution image (I’ll enlarge it); or taking a washed out scan and correcting the levels/removing the moire pattern; or making sure a rectangle crops into a square without compromising the artwork. In fact, I defy anyone to do those things

Bottom line? If someone is making and selling Obama tee shirts, Cafe Press is probably a great way to make some supplemental income. But artists who care about quality and the integrity of their work need to look around for other options.

New Victorian/Vintage French Style Romantic Glass Clock

Priscilla, Color Bakery’s newest Limited Edition 12″ glass clock features antique, vintage styling–a distressed floral background acting as a “canvas” for the vintage beauty carrying a basket of flowers. (The distressing surface is the artwork, the glass itself is not distressed). The clock numerals are from an authentic 18th century French clock. As with all our products and art, the Priscilla Clock is exclusive to Color Bakery. Perfect gift for Mother’s Day! Can be displayed on wall (ready to hang) or using clock stand.

We do not have a product photo yet, but this is the artwork from which it will be reproduced. We will get a photo of the product online as soon as possible, but this is a very accurate representation.

Beautifully reconstituted, (earth-friendly) smooth glass, delicate pale gold hands and incandescent color make this wall clock a stunning way to tell time. The stand-alone clock (no border or frame) enhances its beautiful design, compelling in elegant simplicity. Mounting hardware on back; takes one AA battery (not included).

Click image to see full size, and/or to purchase.