Yummy! How to Create Delicious Donut Icons in Adobe Illustrator

by Diana Toma

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What You'll Be Creating

In this tutorial you will learn how to create four types of donuts in Adobe Illustrator. We’ll start with the base, which is a classic plain donut, and then we’ll use this one to create the four variations: chocolate sprinkles, icing with chocolate chips, plain sugar, and strawberry frosted. The great news is that we will also use the same Scatter Brush to create all the decorations on the donuts. Let’s get started while they’re fresh!

1. Start a New Project 

Launch Illustrator and go to File > New in order to open a new blank document. Type a name for your file, set up the dimensions, and then select Pixels as Unitsand RGB as Color Mode. Next, go to Edit > Preferences > General and set theKeyboard Increment to 1 px and while there, go to Units & Display Performanceand make sure that the Units are set as shown. I usually work with these settings, and they will help you throughout the drawing process. 

2. Create a Basic Donut

Step 1 

First, grab the Ellipse Tool (L) and draw an 187 x 187 px ellipse, and then select a warm brown as the fill color. With the circle still selected, go to Object > Path > Offset Path and apply a -2 px Offset in order to get a slightly smaller shape. Fill the new circle with the radial gradient shown, and use the Gradient Tool (G) to adjust the direction.

Step 2 

To add some texture on the donut, take the Pen Tool (P) and draw a straight path as in the following image. Then stroke it with an Art Brush called Chalk from theBrush Libraries Menu > Artistic > Artistic_ChalkCharcoalPencil. Increase theStroke Weight to 4 pt and change the color to warm brown. Then select Blending Mode Color Burn and 30% Opacity. Leave the brush stroke like this for now, and we will mask it later. 

Step 3

Use the Ellipse Tool (L) again to draw a 54 x 54 px circle and arrange it in the middle of the donut. Select white as the fill color, and then go to Effect > Stylize > Outer Glow and apply the settings shown below. While this circle stays selected, go to the Appearance panel, select only the Fill attribute and set it to Blending Mode Multiply. This way, the white fill becomes transparent but the Outer Glow effect will still be visible.

Step 4 

Now it’s time for the mask. Select the first brown circle and the circle from the center, and Copy and Paste in Front (Control-F). Set both copies to Fill-none, Stroke-none, and then bring them in front of everything by going to Object > Arrange > Bring to Front (Shift-Control-]). 

With the two copies still selected, go to Object > Compound Path > Make (Control-8), and then select everything on your artboard and go to Object > Clipping Mask > Make (Control-7). The end result is featured in the next image. 

Name the resulting group “Basic Donut”. This is what we’ll use to create the other variations. 

3. Create the Chocolate Sprinkles Donut

Step 1

Grab the Pen Tool (P) or the Pencil Tool (N) and draw a shape like in the next image. Select dark brown as the fill color, and then go to Effect > Stylize > Inner Glow and apply the settings shown.

Step 2

Copy and Paste in Back (Control-B) the chocolate shape, and then move it 3 pxdown by pressing the Down Arrow Key on your keyboard three times. Keep the existing appearances but set the Blending Mode to Overlay and you will get the shadow. 

Step 3

Next draw a path as shown below and give it a 7 pt light brown Stroke. Go to Effect > Blur > Gaussian Blur and apply a 6 px Radius, and then set this path toBlending Mode Overlay. 

Step 4

To add some shine, draw a shape like in the next image and fill it with the linear gradient shown, and then go to Effect > Stylize > Feather and apply an 11 px Radius.

Step 5

Draw a new similar shape on the bottom right side of the donut and fill it with a basic black to white linear gradient, but use the Gradient Tool (G) to adjust the angle. With this shape still selected, apply an 11 px Feather Radius again, and set toBlending Mode Screen.  

Step 6

Next, grab the Pen Tool (P) or the Pencil Tool (N) and draw a few shapes over the dripping chocolate similar to the ones below. After you are done, fill them with the linear gradient shown. 

Step 7

Still using the Pen Tool (P) or the Pencil Tool (N), draw a few smaller shapes over the ones from the previous step and fill them all with the color indicated (1). To add more shine, draw a few more shapes and fill them with the color indicated (2). Draw two more shapes as in the image and fill them with white, and then set them toBlending Mode Overlay (3). The final result is featured in the image 4.

Step 8

Let’s create a Sprinkles Scatter Brush. First, draw a shape like below and fill it with a medium gray. Use the Pencil Tool (N) to draw a random shape at the bottom as a shadow, and use a darker gray as the fill color. Draw a smaller shape at the top as the highlight, and use a lighter gray this time. 

Now select and drag everything to the Brushes panel, and choose New Scatter Brush. In the Scatter Brush Options window, leave the settings as they are—just type a name and change the Colorization Method to Tints and Shades. 

Step 9

Grab the Pencil Tool (N) again and draw a few random paths over the chocolate, and then stroke them with the Sprinkles Scatter Brush saved earlier. With the paths selected, double click in the Appearance panel on the brush stroke applied and change the settings in order to spread the sprinkles and to make them smaller. Also, since the Colorization Method is set to Tints and Shades, you can select any stroke color for the paths to create different colored sprinkles. I chose green, red, blue and pink. 

These are the settings that I’ve used—totally random. 

Step 10

With the stroked paths still selected, go to the Object menu and choose Expand Appearance. Now, delete the sprinkles that you don’t need by entering Isolation Mode (double click on one of the sprinkles in the group), and you are done with the first donut.

4. Create the Icing and Chocolate Chips Donut

Step 1

First, select and make a copy of the group “Basic Donut”. With the Ellipse Tool (L), draw two circles with the dimensions 168 x 168 px and 74 x 74 px, and arrange them over the donut as shown in the image below. While the circles are selected, go to Object > Compound Path > Make (Control-8), and fill the resulting shape with the color indicated. I will name this the “icing shape”. 

Step 2

With the “icing shape” selected, go to Effect > Distort & Transform > Roughen, apply the settings from the image below, and hit OK. Next, go to Effect > Stylize > Inner Glow and apply this effect using the settings indicated. 

Step 3

Make copies of the two “highlight shapes” from the Chocolate Sprinkles Donut, and move them over the new donut in the same place. Select a black to white linear gradient for both of them, and use the Gradient Tool (G) to adjust the angle. Set them both to Blending Mode Screen (black becomes transparent). Then go toEffect > Stylize > Feather and apply a 5 px Radius. 

Step 4

Next, grab the Pencil Tool (N) and draw a random path over the donut, and then stroke it with the Sprinkles Scatter Brush. Select brown as the stroke color, and double click in the Appearance panel on the brush stroke applied in order to change the settings. This time, also set the Rotation relative to Path. 

Step 5

Still having the stroked path selected, go to the Object menu and choose Expand Appearance. Now, delete all the extra chocolate pieces that you don’t need and also the path that you used by entering Isolation Mode (double click on one of the chocolate chips in the group). After you are done, select the new group of chocolate chips, go to Effect > Stylize > Drop Shadow and apply the settings shown. At this point the Icing and Chocolate Chips Donut is ready.

5. Create the Plain Sugar Donut

Step 1

From the Icing and Chocolate Chips Donut, select the “Basic Donut” group and also the two “highlight shapes”, and then Copy and Paste (Control-V) them on your artboard. For the two “highlight shapes”, keep the same appearances but increase the Feather Radius from 5 px to 9 px. 

Step 2

Grab the Pencil Tool (N) and draw a random path over the donut (I used the previous one again) and stroke it with the Sprinkles Scatter Brush but set the color to white this time. Open the Stroke Options window from the Appearance panel and change the settings in order to get really small sprinkles all over. The numbers were chosen at random.

Step 3

To add even more sprinkles, Copy and Paste in Front (Control-F) the stroked path, and then select Flip Vertical from the fly-out menu of the Transform panel.  

Step 4

At this step, we should clean up the extra sprinkles, but they are too many this time so I decided to use a mask instead. Grab a copy of the compound path that you have used before to mask the “Basic Donut”, and make sure that this shape is in front of everything by going to Object > Arrange > Bring to Front (Shift-Control-]). Now, select the two stroked paths along with the compound path (Fill-none, Stroke-none) and go to Object > Clipping Mask > Make (Control-7). 

Step 5

In the Layers panel, locate the mask that you just made and name the resulting group “Sugar”. Open this group and select the two stroked paths, and go to Object > Expand Appearance. Now enter Isolation Mode and delete only the two paths that you used from each group, and then Exit Isolation Mode. Next, go to Effect > Stylize > Drop Shadow and apply the settings shown to both groups. After that the Sugar Donut is ready. 

6. Create the Strawberry Frosted Donut 

Step 1

From the Icing and Chocolate Chips Donut, select the “Basic Donut” group along with the icing and the two “highlight shapes”, and then Copy and Paste (Control-V)them on your artboard. While the “icing shape” is selected, change the fill color to bright pink, open the Inner Glow window, and change the color used for the effect. For the two “highlight shapes”, increase the Feather Radius to 9 px. Keep everything else the same. 

Step 2

Grab the Pen Tool (P) or the Pencil Tool (N) and draw two wavy paths like in the next image. Set the Stroke Weight to 7 pt and select the Round Cap option in theStroke panel (1). Choose Expand and Ungroup (Shift-Control-G) from the Objectmenu in order to turn the two stroked paths into fills. 

Use the Direct Selection Tool (A) to move some of the anchor points to create thicker, uneven areas, because the more natural the better (2). If you don’t have enough points, you can add more with the Add Anchor Point Tool (+). Next, select the blue and green shapes, go to Object > Compound Path > Make (Control-8), and fill the resulting compound path with the radial gradient shown (3). 

Step 3

To add some shine, draw a few thinner shapes along the wavy shape and fill them with white. 

Step 4

To add a shadow, Copy and Paste in Back (Control-B) the wavy shape, change the fill color to pink, and move it 3 px down by pressing the Down Arrow Key on your keyboard three times. 

7. Create Shadows for the Donuts 

Step 1

First make a new layer under the “Donuts” layer and name it “Shadows”. Now, locate the compound path that you have used to mask the “Basic Donut” in the Layerspanel, and Copy and Paste (Control-V) it in the new layer. Select brown as the fill color, and then go to Effect > Stylize > Drop Shadow and apply the settings shown below. 

Step 2

Repeat the previous step for the other three donuts using the same settings, and you are finished.

Congratulations! You're Done

Let me know if you liked this tutorial and if you learned some new “delicious” techniques. Feel free to experiment with different colors and settings to create your own unique donuts. Don’t forget to show me your re-creations so I can enjoy them. 

Are you hungry now?

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How to Design a Cool Contents Page in Adobe InDesign

by Grace Fussell

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What You'll Be Creating

Every magazine needs a contents page, but there are ways of making sure your layout becomes just as eye-catching as the magazine’s cover and articles. In this tutorial, suitable for beginners, you’ll learn how to create a full-spread contents page in Adobe InDesign, and pick up some tips for making your contents page layouts look beautiful, striking and ultra-modern.

Want to create a fantastic print design you can show off to friends and family? Then let’s get started! In this tutorial, you’ll learn how to create this two-page contents layout in Adobe InDesign, for the fictional magazine Pro Cook. 

We’ll be creating the layout at a standard US magazine size, but you can adapt the layout to a smaller or larger size if you prefer.

1. Set Up the Magazine Document in InDesign

Step 1

First up, get InDesign opened up and create a new document by selecting File > New > Document from the top menu or Welcome window.

In the New Document window, keep the Intent set to Print (if you want to create a magazine for online circulation, you can always export it to an Interactive PDF at the end of the process).

Set the Number of Pages to 3, and keep Facing Pages checked.

Under Page Size, select Custom... to create a new custom page size. 

Type ‘US Magazine’ into the Name text box, and set the Width to 213 mm andHeight to 276.5 mm. This is an industry standard size for magazines in the US, but you may want to choose a different format depending on your preferences.

Click Add, and then click OK to return to the New Document window.

Step 2 

Under Margins, ‘break’ the chain icon to allow you to enter different values for the margin width. Set the Top Margin to 13 mm, Bottom to 15 mm, Inside to 14 mmand Outside to 13 mm.

Under Bleed and Slug, set the Bleed to 3 mm on the Top, Bottom and Outsideedges of the page, and 0 mm on the Inside edge.

Click OK to create your new document. Ignore Page 1 for now—we’ll create the contents spread on pages 2 and 3. Scroll down to these pages.

Step 3

Ensuring your rulers are visible (View > Show Rulers), click and drag out a guide from the left-hand ruler, allowing it to rest on the far-left margin of Page 2. Drag out a second guide to X position 61 mm. 

Drag your mouse over Page 2 to select both guides, and go to Edit > Copy, andEdit > Paste. Position the pasted guides on the right side of Page 2, resting the right guide on the right-hand margin, as shown below.

Drag your mouse again over the whole of Page 2 to select all four guides, and Copyand Paste. Place in a mirrored position on the opposite page, Page 3.

This has created a set of column guides, which will be helpful when we come to place our text onto the layout.

2. Create a Balanced Layout

What makes a good contents page design? Often it comes down to a finely-tuned balance between images and type. Graphics and text shouldn’t compete for your attention, but should work together to create a visually appealing, clear-to-read layout.

When selecting images for your contents page, consider containing them within a defined box if they are busy, and varying the size of a large number of images to create a pleasing collage effect.

A great tip is also to choose a single image which allows you to place text into white space. This doesn’t need to be actually white, but just an image that contains enough empty space to allow any text set on top of it to be clear and legible.

For this design, I’m going to create the look of a single uniform photo by using a number of related images all set against a white background. I’ll be using a number of images taken from Cameron Knight’s food photography tutorial (check outCameron’s tutorial here) and I’ve also used this image of a wok from PhotoDune. 

You can find similar images for the spice dishes at PhotoDune, like this one or this one, or use any images of cooking ingredients, which are taken from an aerial viewpoint and are set against a white background.

Step 1

Expand the Layers panel (Window > Layers) and double-click on the default Layer 1 name in the panel to open the Layer Options window. Rename the layer asImages and click OK.

Zoom into the right-hand page of the spread, Page 3, using the Zoom Tool (Z). 

Take the Rectangle Frame Tool (F) from the Tools panel and drag to create a small, square image frame. Go to File > Place and select one of your chosen images (a small one, don’t select the wok image yet), and click Open. Choose Fill Frame Proportionally from the top Controls panel to fit the image nicely in your frame.

Step 2 

Repeat the process, creating new image frames with the Rectangle Frame Tool (F)and File > Place new images; or Copy and Paste existing image frames to create a repeated look.

Try to position the images running roughly down the center of the page, avoiding the space between the guides we created earlier, and position a couple at the fringes of the page, allowing them to run over the edges of the page, and onto the left-hand page if you like. 

Try to leave a nice amount of white space on the left-hand page.

Step 3

Take the Rectangle Frame Tool (F) again and drag onto the left-hand page, Page 2, to create a much larger image frame. File > Place and choose the image of the wok; hit Open.

Double-click to directly select the image within the frame, and hold down Shift to enlarge the image. Rotate it a little until the handle of the wok sits diagonally towards the bottom of the page, as shown.

3. Create Typography That Catches the Eye

You’re now ready to start placing text onto your layout. The first task is to choose fonts which are going to suit the layout.

The typefaces for headings can be as creative as you like, but stick to classic, clear-to-read fonts for any pieces of smaller text. For this design I’m going to be using three distinct fonts: Arial Black for the heading, Matchbook for the sub-headings (page numbers), and Theano Didot for the remaining text. 

Download and install the fonts, and then return to your InDesign document.

Step 1

Return to the Layers panel and Lock the Images layer by clicking in the blank square space to the left of the layer’s name in the panel. 

From the panel’s drop-down menu, select New Layer. Name the layer Typographyand click OK.

Select the Type Tool (T) from the Tools panel and drag to create a long, narrow text frame about 45 mm in Height and 280 mm in Width, and position at the top of the left-hand page, sitting the left edge on the margin. 

Type ‘Contents’ and set the Font to Arial Black, Size 160 pt. 

Highlight just ‘Con’ and set the Font Color to [Paper], either from the top Controlspanel or the Swatches panel (Window > Color > Swatches). 

Highlight the last letter of the text and set the Font Color to [Paper] too (if it’s sitting across an image; keep as default [Black] if not).

Step 2

Move over to the right-hand page (Page 3) of the spread, and take the Type Tool (T)again. Drag to create a much smaller frame, that fits between the two guides on the left side of the page. Position about a third of the way down the page, nested between the guides.

Type ‘Page Number’ and set the Font to Matchbook, Size 60 pt and Align Center. 

Step 3

Take the Line Tool (\) from the Tools panel and, while holding down Shift, drag from left to right to create a completely straight horizontal line, about 10 mm in Length. Position centrally below the page number text frame. 

Open the Stroke panel (Window > Stroke) and reduce the Weight of the stroke of the line to 0.1 mm.

Step 4

Take the Type Tool (T) and drag to create a text frame the same Width as the page number frame, and position below the straight line. 

Type in the title of the magazine article, followed by a paragraph break and then a short one- or two-sentence summary of the article. 

Highlight all the text and set the Font to Theano Didot, Align Center, Size 9.5 pt, and keep the default Leading (11.4 pt). Highlight just the article title alone, increase the Font Size to 12 pt, and choose the All Caps button from the Character Formatting Controls panel running along the top of the screen.

Step 5

Drag your mouse over the two text frames and the line between them, and go toEdit > Copy. Return to the Edit menu and select Paste. 

Move the pasted elements below the first article summary, in the same column, as shown. Edit the page number and text appropriately. 

Drag your mouse over to select both the article summaries, and Copy and Paste. Move the pasted pair over to the right side of the page, moving them towards the top of the page, and fitting them within the column guides on the right-hand side. Edit the page numbers and text appropriately.

Step 6

Expand the Swatches panel (Window > Color > Swatches) and from the panel’s drop-down menu select New Color Swatch.

Set the Color Type to Process and Mode to CMYK. Set the percentage sliders to the following values: C=15 M=98 Y=100 K=6. This creates a lovely red color swatch. Click Add, and then OK.

You can also lift an RGB color from one of your images, if you prefer, using theEyedropper Tool (I), and convert it to a CMYK Swatch by opening up the New Color Swatch window from the Swatch panel’s drop-down menu. This will ensure your color swatch will match nicely with your choice of images on the layout.

Step 7

Drag your mouse over two pairs of article summaries (each including the page number, line, and article summary below), and go to Edit > Copy.

Edit > Paste the elements and move them over to the left-hand page, moving them into the bottom right corner, and fitting them perfectly within the column guides, as shown below.

Adjust the Font Color of the text and Stroke Color of the line to the new swatch color you created in the previous step.

Now take a step back and admire your work...

Your contents page is finished, and it’s looking great! A bold heading, striking images and generous white space create a clean, modern design that helps the reader to find relevant information quickly and easily.

Step 8

You can export the contents page artwork for print by going to File > Export, and choosing Adobe PDF (Print) from the Format drop-down menu. Click Save.

In the Export Adobe PDF window that opens, choose Press Quality from theAdobe PDF Preset menu at the top of the window. 

From the Marks and Bleeds options window, accessible from the far-left menu, check All Printer’s Marks and Use Document Bleed Settings. Click Export to create your print-ready contents page!

You can also export your contents page for a digital or online format by choosingAdobe PDF (Interactive) from the Format drop-down menu when you come to export the file.

Conclusion

In this tutorial you’ve learned how to successfully create a two-page contents spread for the fictional Pro Cook magazine. 

Many of the skills and tips we’ve looked at here you can apply to creating your own unique contents page layouts. You now know:

• How to set up a magazine layout at a standard size and incorporate margins, guides and a bleed
• How to select suitable images for a contents page, and focus on allowing for generous white space in the design
• How to create striking typography for your contents page using a variety of font styles, and apply color appropriately to keep your text looking legible and modern
• How to export your completed layout as a print- or digital-ready file, ready to incorporate into a full magazine design

Great work! Feel free to share your contents page designs, and any tips and tricks you have for creating your own beautiful contents layouts in the Comments below.

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So You Want to Be a Gallery Artist?

by Mary Winkler

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Opening day at Slushbox Gallery's "The Geek Strikes Back: NerdCore III", run by JR and Amanda Linton.

Fine artists and commercial artists alike often exhibit their work in a gallery setting. What does it take to become a gallery artist, curator, or owner? What's involved on either side of the art gallery coin? In this article we'll tackle both sides, giving perspectives on creating work for galleries, curating shows, managing a gallery, and more. Consider this your guide to working within art galleries.

Who Is Involved With an Art Gallery?

Galleries and those involved with them vary. What are some of the roles needed to put on a gallery show? I interviewed several artists, curators, and gallery owners to see what was involved with gallery shows they had been involved with in the past.

Artists: OK, no-brainer here. They're the creators of the work on the walls. They're the people who are bringing their visions to the masses. You can't have an art gallery without an artist or two.

Curators: In name, curators put together each show. Sometimes that is their entire role within a gallery. Other times there's a different person creating each event. For those I spoke to, it was common that this role was taken on by the manager or owner of the space.

Managers: For some gallery spaces, managers handle the day-to-day operations of the business as well as employee relations. They coordinate with curators, artists, customers, employees, and the owner. Perhaps they inhabit more than one of these roles or are the owner themselves. In any case, it's like many other managerial positions: hard work, with a high need of organizational and time management skills.

Owners: Like any business owner, their involvement varies. Some owners take on every role they can: the gallery space is their baby and art is their passion. Others may simply be business folk who enjoy owning something that contributes to the culture of the world around them. In any case, owning a gallery takes quite a bit of business know-how, from daily operations to advertising to accounting to keeping a building up to code and more. They're self-employed and an employer, making this a heavy role to take on, but possibly one you aspire to.

And More... There are definitely more people involved in art galleries. The day-to-day operations of the business itself involve many people, depending on the size of the space and whether it's a small gallery within another business or not. What about marketing for the show? And social media management? Depending on the gallery, these roles could be done in-house by curators or managers, or contracted to a marketing agency or freelancer. It definitely varies, but the short of it is there are many roles behind the scenes that get galleries and gallery shows up and running.

DeEtta Harris posing with her piece at Inner State Gallery in Detroit, Michigan.

"Make the art that you like, the art that you want to create and don’t let anyone tell you to create anything other than that." — DeEtta Harris, Michigan-based artist.

How Does Someone Get Involved With a Gallery?

First things are first: how does someone get their work within a gallery or get to create a show themselves? For most of my interview subjects, they started with small student shows or local venues. If you major in art at a university or attend an art school, you'll find you have end-of-semester and end-of-year shows as well as access to calls for art for students (depending on where you attend and the culture around you).

Additionally, there are local calls for art that may be listed in newspapers or on the websites and social media pages of gallery spaces. Many galleries run juried shows where artists submit content and portfolios to be considered for an upcoming show. A great way to get involved is to check out a gallery or gallery space's website for news on upcoming shows and to see who is looking for artists to fill their walls.

Kyla Crawford, bottom right, taking part in Oliver Herring, Areas for Action, Houston (Day 2: Mondrian Miek), 2015. 

"I seek out galleries by getting involved in juried shows and contacting curators and owners for studio visits. I go to openings, lectures and be part the art world. Network, never burn bridges." — Kyla Crawford, Houston, TX-based Artist

In the case of curating a show and learning the ropes behind the scenes, some cities have large art events that look for curators to outfit a venue with art. Some galleries also take on volunteers to help put on shows or simply may be hiring for a position at the gallery (perhaps doing merchandise, framing, or as an administrator). 

In the event you don't personally know a gallery owner that would be willing to hand over the reins for an event, working with galleries in this way or answering open art calls are ways to get involved and become known to curators, managers, and owners within your target community.

The Thrift Show at Glitter Milk Gallery in Grand Rapids, Michigan.

"Don't be afraid to submit your work to galleries. Read through their website to see what their submission guidelines are and go for it! Even if they don't respond the first time, submit again after a few months.

"Sometimes galleries are too busy to respond to all of the emails they get or they get lost in the shuffle. Keep showing them new work and progress! Sending an art postcard in the mail too makes you stand out." — Miranda Sharp, owner of Glitter Milk Gallery in Grand Rapids, MI

What Are Shows Like for the Artists?

Let's say you've been invited to participate in a gallery show. Is there a specific theme? Is there a stipulation that it should be new work only? How many pieces are allowed, and what size should your piece or pieces be?

The first order of business for artists is knowing what curators and owners expect from them. Deadlines, themes, number of pieces, size of pieces, and pricing for their piece all need to be sorted out. Often, it's best to sort most of it out before you begin creating for the show. Curators set boundaries and limits for the artists so their job of wrangling everyone and everything together goes as smoothly as possible.

Allison Bamcat posing in front of one of her gallery pieces.

"A painting you rushed to meet the gallery deadline will look rushed and may not communicate what you want. Trying to do 3 pieces for a group show where you only need to turn in one may not give you the time to create a considered piece." — Allison Bamcat, Boston, MA-based artist

How will your piece be displayed? If it's meant to hang on a wall, you need to know what the space provides in terms of hanging devices. Most often from shows I've been to or participated in, a simple saw-tooth hanger on the back of a canvas or frame was best. Some artists may want to showcase their work in a unique way. It's up to you to know what the gallery space can hold or handle, as well as if an installation is something you can do. 

In the case of group shows, you're often limited on number of pieces, size, and media. Group shows often have themes to them, and depending on the show you may be working off the same basic theme or idea as everyone else. As such, you'll be asked to work within specific limits, so everyone's work can be showcased come opening night.

Gallery piece by Amber Renne.

"If there is a theme I surround myself with inspiration on that theme... for instance if it’s about space then I’m constantly studying photos of space and sketching out illustrations relating to space or space travel until I combine them all in my brain into a new work." — Amber Renee, Indiana-based artist

In the case of solo shows or a show with another artist, you'll likely have more control over how your work is displayed. I've never known a solo show, from my experience or those I interviewed, that did not involve the artist heavily. If you want to create your own wonderland within the gallery space for your exhibit, you'll have to be as hands-on as possible and work together with the curator, manager, and/or owner of the space to make that vision come alive.

Liz's Sailor Moon piece for Q Pop Shop's Sailor Moon show in 2014.

"I like things to be cohesive and work together as a set and as individual pieces since they are usually purchased individually, that way the experience of the event and all the pieces on the wall together is one “art piece” per se, and the individual painting is another. I always personally find that much more appealing vs miss-matched pieces all on the wall." — Liz Lorini, California-based artist

What Are Shows Like for the Owners?

The other side of the coin is creating and managing the show itself. For the curators and owners I spoke to, they often create shows based on themes and ideas they enjoy and invite artists whose work they admire. 

JR and Amanda Linton run Slushbox Gallery out of Ink and Pistons Tattoo in West Palm Beach, Florida. I asked them about running their business and creating shows. Both agreed that if you're running the business side of things you either have to be good at it and organized, or work with someone who is. Being clear and concise with artists you're working with in creating shows minimizes the setbacks that may occur (missed deadlines, missing submission forms, unexpected art pieces, and more).

The Candy Coated Dreams show at Slushbox Gallery in spring 2015.

"Running any small business is HARD. Prepare to learn how to do it ALL. If you know you are not good at multitasking you better have a partner that is. If you are not willing to scrub toilets and take out the trash in the beginning, don't bother opening any kind of shop.

"You will wear many hats until you are A: able to pay other people to do those mundane things or B: are comfortable with allowing other people to know your business ins and outs. There is so much paperwork and organization that needs to happen on the back end that can make your business fail even before it’s running. You have to be organized from the get go." — Amanda Linton

Miranda Sharp owns and runs Glitter Milk Gallery in Grand Rapids, Michigan. I was curious about how she went about curating shows and how she got started with her gallery. While she curates most shows, she's also had guest curators and is quite open to bringing in new talent to do so, especially when it comes to bringing fresh work and ideas to Michigan.

The opening of "Buffet" at Glitter Milk Gallery in June 2015.

"I wanted to create an environment locally where artists could display lowbrow subject matter at a top notch level. Like something you'd see in LA but happening in the Midwest. It's really great to give a larger audience to local artists and to bring international artists into my city." — Miranda Sharp

Keep those plates spinning and you'll have no trouble putting together fantastic gallery shows. Figure out your theme, marketing materials, artists in the show (making sure all of the information they need has been sent out), costs of putting on the show, opening and closing schedules, and additional events for the show itself (catered openings, live band performances, art demonstrations, merchandise shop, artist signing, etc.). Of course the list goes on, but as with any event, planning, preparation, organization, and passion are the keys to success.

What's the Business of Selling Work?

How do artists price pieces, and how does the gallery make money? They're both important questions to consider on either side of the coin if you're involved with a gallery. 

For starters, as the artist, a percentage of your sale price will go as a commission to the gallery. It varies from gallery to gallery, and they will definitely let you know, but I've found anywhere between 20% and 40% to be common. As such, when pricing your work, it's important to consider materials, time taken to create it, and the percentage going to the gallery if it sells while on display. Some galleries also charge an application and/or entrance fee to artists, ensuring they are able to fund the show on top of what sells during the show's run.

Galleries want the art to sell, so artists have to consider their demographic as well. If it's a gallery in a high-rent area, pieces can likely sell for more than a space in a low-income area. It's also important to consider who will see the work: is the opening a big event, do they have high traffic and sales in their online store, or are they popular on social media? Having an idea of the likelihood of pieces selling can influence prices as well, though often it's a personal choice on where artists place the value of their work.

Mary Kinsora's pieces for an Alice in Wonderland-themed tarot card gallery show.

"The nice thing about galleries is you have a freedom to do what you want within the theme, the difficult part is making sure it caters to the audience looking at it." — Mary Kinsora, Michigan-based artist

Galleries may also have merchandise shops in addition to the show itself. Artists can sell prints, owners can retail related goods, or additional items can be made for the gallery itself or their online store. Often, galleries hold off on adding a new show's work until a short time after the opening. That way an opening is exclusive and special for those attending. Many galleries, though, allow work to be purchased online from a current or recent show, giving the artist and gallery more chances to promote the work and sell their pieces. 

Liz's piece for the Sugar high Club show at Slushbox Gallery in 2014.

"If I don't know any of the names on the list I am usually reluctant because names are usually what bring people in to view the art and buy pieces, and it is also a good clue if the price range of the show will match with how I price my work since my artwork may be too expensive for smaller boutique locations and casual galleries." — Liz Lorini

This just scratches the surface of pricing, marketing, and selling work. Each venue, group of artists involved, and location is different. From those I spoke to about their work selling in galleries, it really depended on current trends, how they catered to the gallery and their demographic, and whether or not their work was something someone wanted to collect. There is no simple formula to pieces in a show selling, but experience and the shared experiences of others can help give you a good idea.

Words of Advice From Artists and Owners

"Don’t be afraid to make mistakes, often times mistakes can be quite lovely, or at least a lesson" — DeEtta Harris

Painting by Crystal Mielcarek.

"Smaller shows with no fees for entry are great starting places, larger shows with fees and tons of artists applying can be discouraging at first because they cost you upfront and there is always a chance with a juried show that you won't be accepted. The more shows you do the more people will remember your work and the likelihood that larger shows will start taking you increases." — Crystal Mielcarek, Michigan-based artist

Gallery piece by Amber Renne.

"As an artist you are always changing and getting better at conveying the theme or emotion you want to communicate visually. I believe the more you work at doing this in your own visual language the better chance you have to be noticed for your work." — Amber Renee

Conclusion

So you want to be a gallery artist? Or own or operate a gallery of your own? There's a lot to consider aside from putting art up on a wall, and it's all well worth the hard work and dedication of those involved. Gallery artists need to know their voice, artwork, and demographic in order to make a career out of creating work for collectors and fans. Owners and curators need to understand the current art trends as well as what sells around them in order to create a successful business. Having a passion for what they do and building a fan base for their gallery is a definite must as well.

It takes hard work and effort on all sides to bring ideas to life on the walls of a gallery. Get involved in the community around you. Go to gallery shows, student shows, and pop-up shows at venues within your community and start networking with artists and curators. Your work or vision may be perfect for an upcoming show, and the only way you'd know is by getting yourself and your work out there.

Many thanks to the artists that took the time to answer my questions and give us a peek into their lives and experiences within galleries. You can check out their work or gallery spaces in the links below:

• Allison Bamcat
• Amanda Linton
• Amber Renee
• Ashley Donovan
• Clair Kruskamp
• Crystal Mielcarek
• DeEtta Harris
• JR Linton
• Kyla Crawford
• Liz Lorini
• Mary Kinsora
• Miranda Sharp

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