No 3. BUT make her submit designs and ideas for your approval. ie Try to make it as much like she was doing this for a stranger to get the experience, without the payments etc. This will be an important learning curve for her, and give her the opportunity to express herself in a real life situation without the stress of it being with strangers. Don't give her too hard a time, she should also enjoy the experience, but do insist on her sticking to the chosen design as the whole family has to live with it.
Plus, it would make your house unique and recognisable, which could be useful.

Like everyone else here, I would love to see progress pictures and a final result picture!

Quoting Mole:

Quote:
OK, my 16-year old art-student (when she's not being maths-nerd) daughter announced over dinner, that she thinks it would be a good idea to art-brush our double-garage door....which is currently a tasteful "old fogey" shade of brown. She favours a gothic-biblical theme: lots of angels/ demons etc.....

She's quite talented, so we'd get an artistic work (whatever artistic means  )

So do I say:

1. Not on your life, I like my brown door.....  

2. No, it will upset the neighbours on our terribly middle class estate and they will wreak a terrible revenge (hey, I've seen that X Files episode!!!)   

3. Yes....it'll upset the neighbours....and they deserve it!   


Discuss

Go for it! Yes

#1 or #2. If you live in the getto: #3.

That not what was suggested.

Quoting Peter von Frosta:

Quote:
3)

You can always paint it over if it's inappropiate.

"You (the owner of the door, not the artist) can always paint it over if it's inappropriate."

Not, perhaps the artist will see the work as seasonal, or impermanent, ready to be painted over after completion... give no heed to the artist's wishes, just paint it over if the work is inappropriate.

Still wrong.



I am an artist. A work of mine was displayed in the San Francisco Museum of Modern Art, next to "The Dream of Christopher Columbus"/"The Discovery of America by Christopher Columbus" (1958-1959) by Dali, during a major show there in 1966. I think I might understand artistic temperment.

Quoting VibroCount:

Quote:
I am an artist. A work of mine was displayed in the San Francisco Museum of Modern Art, next to "The Dream of Christopher Columbus"/"The Discovery of America by Christopher Columbus" (1958-1959) by Dali, during a major show there in 1966. I think I might understand artistic temperment.

That sounds great and, seriously, I wish I could see it. But I must humbly suggest that you understand your artistic Californian temperament, not necessarily another artists. I think we've got way off track here and maybe that's my fault.

All I'm trying to suggest is that as the canvas is a garage door, the use of which must not become compromised by it's appearance, she will likely be approaching it as temporary. Going by his flag symbol, I assume this is a UK garage door. In between the weather, the council and the average chav, I bet she'll have a different design every month!

I have never (56+ years now) met an artist who ever appreciated any work painted over because it was not appreciated. Not one.

That's why I suggested the daughter work as a professional, submitting sketches for approval. Design something mum & dad would like to have on the door. If it fades, that is one thing. But to deliberately paint over a work of art because it offends someone is emotionally criminal.

My work has been private since 1970. I have sent a few holiday cards I designed and printed on rare occasion, I have a few unfinished (permanently, I suspect) works I've started since then. The last work I completed for public view was a parody/cartoon of van Gogh's "The Starry Night" for the cover of a brochure I designed for the California mental health association. I placed another cartoonist's work (to my specifications) over it... showing a person climbing a ladder (steadied by others) to reach the stars in the painting. The New York Museum of Modern Art will not allow the work to be reproduced with anything covering up any part of it, or for it to be wrapped around a cover. (It also cannot be cropped, but we did not plan on doing that to it.) But they encouraged me to create a copy distinguishable from the original to do what we planned.

Prior to that, for nearly twenty years, I created advertising cartoons.

Prior to that, I was a "serious" artist. My mother owns a few, I gave a few away in the 1960s and '70s, and there are some buried in my closet behind the PA, bass amps, and guitars. All of my Rembrandt, Mondrian, and Pollock imitations were seized many years ago. (Kidding... I might have a couple left, but most were thrown away... none were illegal: all were either both sized incorrectly and of an incorrect proportion or were my originals in those artists' styles. None were meant to be forgeries; all contained my signature. I learned first by learning how to control my tools: brush, knife, spray, pencil, crayon, pen, etc. Then I learned composition. Then I tried to learn by doing still lifes and portraits, and even (horrors) copying photos I had taken. Finally I tried to learn lighting by copying all the Rembrandts in San Francisco (mainly the deYoung Museum). This served me well in lighting both in film and television. Then I tried to improve my composition by copying every Mondrian I could find, even from book & poster reproductions (very few originals in the SF Bay Area). Finally, I destroyed my links to them (and Klee, Kandinsky, Dali, Miró, and others I admired) by becoming a Pollock parodyist. I saw what was later to be described as fractals in his work, and as strong a sense of composition as Mondrian had. I spent two years working from small (12" x 18") to large (two story walls, created on the floor and erected into place). During this period, I was asked to create a work to decorate a set of a local production of "Boy Meets Girl" -- it was to be the large piece of art behind the Hollywood producer's desk, showing what horrible taste he had. I created a Pollock parody, five feet tall by four feet wide, using black, white, and the three primaries on a silver-grey background. I signed it in letters nearly a foot tall. I used tempera paint, knowing it would be destroyed.

Then I began painting my style(s). Fierce ugly portratures, precise copies of cheesy barn photos I took, pop-art abstract expressionism, and my masterpiece, one that comtained no composition, no likable colors, no ability for anyone viewing it to say, "Here -- here's a bird-shape" or see anything at all into it other than the burnt umber and burnt sienna I had put on with a stiff, uncleaned brush. It was nothing but two shades of ugly brown paint on an 18" x 24" canvas board which was slightly bent before I began painting. I placed it in an unfinished wooden picture frame that had been sitting in my grandmother's garage for longer than I had been alive... it was water-stained, raw (both smooth and rough texture from the elements), bleach by sunlight on one corner, and had many cobwebs. I submitted it to my instructors, was granted approval for graduation. They submitted it into a juried show, the judge being the curator of the SFMOMA. He gave it no award. But he called me the next week to place it near the Dali, where they were displayed for three or four months. He reurned it. I've never shown it since. I tried showing with my first wife twice. Once only her pop-art succotash painting was purchased. The second time, most of her works sold, but only a canvas construction I had sculpted, spraypainted, glued forms onto, then stencilled on "DON'T" was purchased by a priest with a sense of humor. Other than that, I have never sold one of my "serious" works.

I went commercial (after being ejected from a commercial art class). I drew editorial cartoons for a Republican organization's newsletter (I am quite anti-Republican), sports cartoons for a local park & recreation district's newspaper, and ran two print advertizing departments for two huge building materials chains, drawing silly homeowners using the tools and materials. One owned an Iwerks-like duck as a pet (Marie Iwerks was an early babysitter of mine and Ub taught me how to draw The Mouse when I was four).

So I don't think I have a artistic Californian temperment: I just know artists from everywhere.

I'll see if I can scan or shoot a digital copy of some of my work when I find them. My latest failure has been above my (then fiance's) wife's couch since 1983. It would take a post longer than this to describe it, even in its unfinished glory.

Quoting VibroCount:

Quote:

I own a graphic design studio and an advertising agency. The artists that I use include many current and past DC & Marvel Comics artists and a few who will soon be published, as well as many other fine and commercial artists of today. I suggest you know nothing about me, my tastes, nor the other music I create elsewhere. I cling to nothing but my own temperment, child.

I see comprehension isn't one of your strong points as you did not comprehend one thing I wrote. BTW, thanks for proving my point on opinions...you jumped to one assuming I was the person in my avatar. In the future please try to remain a grownup when replying to my posts. It would be appreciated by all as I'm sure they're pretty tired of the way things "use" to be over at what I like to refer to as "Geek Hell".

DbP, you cannot spell.