Reel of the Month: Wynn Reichert

This month's "Reel of the Month" belongs to our own Wynn Reichert!


Wynn Reichert Acting Reel - July 2012 from Wynn Reichert on Vimeo.


- Lena

San Diego Comic-Con 2012

By Donato

Comic-Con opening night when it wasn't that crowded!

Well, another year has past and another crazy five days spent at the San Diego Comic-Con!



I have been attending the event for over 12 years now and while each year gets easier to pack and mentally prepare for the convention, the professional atmosphere on the main floor seems to diminish.  While I am making as many business dealings as ever, the shear mass of humanity that fills the floor (and the mind numbing music rant from the FOX booth nearby at a high decibel range) makes it difficult to have a conversation on the subject of business or art.   You barely begin a discussion when another passerby, fan or professional, joins in.  This is not a bad situation per se, but makes for in depth discussions on one train of thought exceedingly rare.  A few times I found myself stepping out of the booth, into the aisles to extend the conversation so others would not know I was there to meet and talk to!

Capt Haddock strolling by!

It is frustrating to want to share and talk with so many people - from young talented beginners to highly established writers like Rachel Caine and her artist husband Cat Conrad - but find your attention constantly fractured.  Luckily I'll catch up with  Rachel and Cat in September, and planned a dinner with others who swung by, writer Christopher Paolini and his sister Angela, but when Dylan Cole dropped off his latest children's book unfortunately we had only seconds together.  I was bummed.  But luckily enough I ran into him at a late night hang out and talked for over an hour!  Others whom I ran into range from Phil Hale, Tony DiTerlizzi, Todd Lockwood, Dave Dorman, Scott Robertson to, Jason Manley, Dave Seeley., John Picacio, Allen Williams, Craig Elliot and Robh Ruppel, to name just a few.  The place was teeming with talent!!



The ritual (and necessity after 10 hours on the floor!) of relaxing business dinners and late night socializing with other professionals provided the much needed release from the 2 minute short talk which dominates the day.



It is these after hours gatherings which keep me coming back year after year to events like the Comic-Con and other major conventions.  While, yes, I am there on the main floor exhibiting art and selling drawing, paintings, books, DVDs and prints, but more importantly I am there to stay in touch with the industry.  I am very much interested and care about what is happening in our field and want to be in on the pulse of anything that transpires.  Talking with other professionals as well as fans provides insights which cannot be cultivated from other sources - people are much more candid in person.  These events keep me on the edge, never complacent and fully inspired.



I hope you get the chance to experience the same for yourselves!

A wonderful evening with Acme Archives.

Back: Donato, Madelynn and Stephan Martinere.

Front: Brian Rood, Lisa and Sean McLain, Chris Jackson.

Todd Lockwood staring down the three trolls from the Hobbit.

http://www.comic-con.org/

5 Tips to Avoiding Actor Scams

Rachael Patterson from Chicago Acting Studio writes this informative article for actors to beware of scams:

5 Tips to Avoiding Scams

"As director of Acting Studio Chicago, I talk to new adult actors and the parents of young actors on a daily basis. Many of the folks I speak with have fallen prey to business practices...while not exactly illegal, I find immoral. It drives me crazy to hear stories from people who have spent literally thousands of dollars on sub par training, conventions and useless headshots. Unfortunately scams are rampant in the Acting World and folks looking for a short cut to success are particularly vulnerable. Here are Some Tips to help you avoid being scammed."

Good Luck Out There,
Rachael Patterson


#1 AVOID “AUDITIONS” THAT ARE ADVERTISED

- on the Radio or in the Newspaper

Certainly there are times when a casting director or film production company will hold an open call when casting a movie. For example, recently in Chicago, open calls were held for Kit Kittredge: An American Girl and for Leatherheads. However, legitimate union franchised agencies have no need to advertise for “New or Fresh Faces.” Chicago agencies commonly get 100-200 headshot submissions per week from trained actors, with credits, headshots and resumes.

The “Modeling/Acting” Agencies advertise “auditions,” employ phony talent scouts and typically “call back” everyone who auditions. The “talent” is then told that they are beautiful or marketable or talented, and then high pressure sales tactics are used to get the “talent” to commit to exorbitantly priced classes, not taught by professional acting teachers.

A school for modeling is one of the biggest scams, period! When you get picked up by a LEGIT modeling agency like Ford or Elite, they will guide you. They're not going to reject your resume because you don't have any modeling classes.

These expensive modeling/acting classes range from $2000 -$3000, and often break down to about $50/hour. A reputable professional acting school/studio typically charges between $275 - $400 per 8 week class; breaking down to $12-$20 /hour.


#2 PHOTOGRAPHERS
When searching for someone to take your headshots you should meet 2 or 3 photographers and meet them at a free consultation. Ask actors, acting teachers, agents and casting directors for suggestions.

If an agent strongly suggests one particular photographer, steer clear. In Chicago there are at approximately 8-10 strong headshot photographers that are especially adept at helping an actor “reveal their personality” in a headshot A good photographer will collaborate with you….not berate you.

A good photographer will show you test shots in the beginning of the shoot and be open to your input. A good photographer will mark shots that they think are strong, but will also encourage you to have the shots viewed by an agent and or teacher…a good photographer will not insist on choosing the photo themselves.

A good photographer knows that you are paying for your marketing material…not theirs…so they should never insist on putting their name on the front of your photo. A good headshot photographer should not over glamorize you, over re-touch your picture or make your skin tone look lighter or darker than it really is. A good headshot photographer will charge you between $300 and $700 for a session.


#3 AVOID WEBSITES THAT CHARGE MONEY
There are a lot of glitzy websites out there…promising to get you auditions and help you to find opportunities. Do not pay to join a website which promises to find you auditions in “your area.” Film, television and commercial auditions come through union (and sometimes Non-Union) agencies. If you really want to audition for on camera projects, typically you need great training, headshots and resumes. You can get your feet wet in student films. Many of Chicago’s colleges and universities have film programs, with student film makers looking for actors. Try calling the schools (Columbia, The Art Institute, Northwestern and Flashpoint Academy) and ask where you might send a headshot & resume to be considered.



#4 AVOID TALENT COMPANIES WHO CHARGE YOU FOR PICTURES
If you have no training or experience there is NO REASON to pay for pictures, period!


#5 AVOID BEING LAZY: DO YOUR HOMEWORK!
As the old adage goes…if it sounds too good to be true…it probably is. Don’t lose your common sense when starting in the business. If you’re not sure whether something is legit or not….ASK! Call the Chicago SAG/AFTRA office at (312) 573-8081. The SAG/AFTRA staff is knowledgeable and friendly, and they hate scams as much as I do. Or try calling a Chicago union franchised agent and ask if they can spare a minute to answer a question. Google the name of the person or place that seems fishy together with the word “scam” and start reading! You can even call us at the studio, if possible we will steer you in the right direction.

Kurt Nabig Free Class
The Whole Actor

- Lena

10 Things I Remember...About Tracing

Gregory Manchess

Last week, I taught a class on painting at the Norman Rockwell Museum. It was the third time I’ve held a workshop there and it was a full class at eighteen painters. It was a bit difficult for everyone to see the model, but we adjusted well enough.



We loosened up the first day working quickly from the live model, and then, in order to give the entire class the full advantage of working from the same angle, I photographed her in a new pose, and projected it. Everyone worked from this new angle so that we could all talk about the same points of concern.

That may just be the first time anyone’s ever done that. The students needed to get beyond the stigma associated with using photographs. I wanted them to compare working from life and working with an edited photo. The model returned the second day and we worked from both. The Rockwell even provided color and b/w prints of the pose. This way, we worked with whatever it took to learn and get a good painting on the surface.

When I was hired for my first studio job, I refused to use any kind of projection, any kind of tracing whatsoever. Then as I watched the hours tick away while my other better, faster colleagues were covering far richer ground, I decided to use it. But I promised myself to learn from it. I would master it and use it to inform my skills.



I found it a fascinating teacher.



1. Memorize

First off, I used tracing to learn anatomy. By tracing, I could actually feel how an arm foreshortened. I could see what length the line was that was needed to foreshorten it. I could understand how eyes, noses, hands looked at difficult angles.



I used it to train my drawing skills and improve them. No, it didn’t happen right away. Like anything else, it took time. Yet I sped up, my drawings improved, and I began to keep up with the guys around me who chuckled to themselves at my naivete.



In life drawing classes we work from the model, sitting before us. But what happens when they’re not there? What most art schools fail to tell you is that you’re supposed to be memorizing. Memorize anatomy? What kind of alchemy is this? Most instructors think you learn anatomy by simply drawing the model. Uh huh.



2. Draw, don’t trace.

When I draw, I remember that using the point of the pencil is boring if all the line weight is the same. Same for tracing. I use the side of the lead, roll it, angle it, vary it for shadow lines, hair, folds, trees, etc. I get different line weight by varying the pressure on the pencil. Ultimately, you’re doing a drawing. SO DRAW.



3. Edit detail. 

Forget about tracing every little subtle light shift, or shadow, every tree branch or eyelash. Forget about drawing every strand of hair. Draw for shape, draw for tone. Generalize the reference for the most part. It’s a guide.



4. It’s a guide.

When you trace under something like an Artograph, drive yourself to get good enough to draw with it. It’s not about tracing the image exactly. It’s about using the image as a guide to correct proportions and delineate shadows, depth, line, and contrast. Give it your own technique, otherwise your work looks lifeless, pedestrian, lame. It’ll look like you traced it. Exaggerate. Use fluid lines. Any ol’ goof can follow lines. Draw with it.



5. Use your own photography.

Shoot what you need. Best that way. The internet is full of pictures you need for reference, but I use them only as reference to draw from. I still need to make the sketch my own. Whenever you can, buy the reference you need. Better for everyone that way.



6. Distortion Happens. 

No photograph records life exactly. Photos adjust the image from three dimensions to two. It’s already distorted. But you have to know when it’s telling you a lie about reality. Do not believe that photographs are real or telling you about reality. They do not. You must learn to recognize when they do and don’t and be able to compensate. Besides, it’s a GUIDE.



7. Perfect the composition. 

First, I design the composition with thumbnails. Then I use reference to draw separate elements of a complex composition on separate slips of tracing paper. I move the sheets around until the composition is refined, perfected. It’s a composition guide. Artists have been using this since the Dawn of Illustration. Today, you’ll likely do this by cutting and pasting the reference together on the computer. It’s the same thing.



8. Use it sparingly. 

As I trained with tracing, I used it less and less. It instantly improved my drawing skills, especially drawing from my head. It improved my memorization skills, but I had to focus on it. The next time you draw from life, you’ll understand what you learned from tracing. The next time you trace, you’ll understand more from your life drawing. Back and forth, back and forth. --What? Did you think there was a straight line to skill? C’mon.



9. Nothing is cheating. 

If I hear another artist talk about being a purist and only drawing from the model, I’m gonna burst. That’s just part of the training. Honestly, get over it. Now, today. If your grandma's hurt because you trace photos, tell her to get over it, too. I do whatever it takes to get the idea to the canvas because it all changes from there. If Leonardo could’ve used today’s technology, you bet your sweet maxilla he would’ve. Sorry, but there’s no “cheating” in the art field. Anybody who says you're cheating, you have my permission to, umm, enlighten them. At this point in mankind’s search for Art, all is fair game.



 Let’s see where you, where we all, can go from here.

New Work for DragonCon 2012

By Justin Gerard

So I have been busy working on some new imagery for DragonCon 2012. I will have a booth there (as will fellow Muddy, Dan Dos Santos.) If you will be attending, stop by and say hello.



It will be my first year at the convention, and I want to make a good impression.

So I canned my original idea of Ninjas vs. Bears, it seeming out of place for this event, and went with something more traditional. (I am not ruling out Ninjas vs. Bears for next year's Spectrum Live though.)



These are my studies for a more DragonCon-themed image. This one continues the thread of; if I was a player in some fantasy story, I'd probably be the guy who made the really dumb mistake and got us in all this trouble.

In this case, our hero is thinking, "maybe this wasn't such a good idea after all," as he tries to quietly draw his sword. The dragon has its head up, suddenly alert.



Next week: Watercolor and Final.

'White Trash Zombie' Prints

For years, I've only offered prints for sale at conventions, or through third-party vendors, making it pretty difficult for the average person to their hands get one. This is mostly because the notion of fulfilling online orders all day in a cramped studio just never appealed to me.



But I've gotten a bit more organized recently, and have a really fantastic assistant now, so I finally set up my website to take orders.



The first, of what will hopefully be many to come, is the Spectrum award-winning 'White Trash Zombie'. I am REALLY happy with these prints! The printed image is the exact same size as the original, and the colors could not be more accurate. In all honesty, it's as close to the original as you can get. Each one is hand signed, and mailed in a tube to ensure it arrives in perfect condition. Plus, it's free shipping anywhere in the USA. (Sorry, but I am currently only accepting USA orders)



To purchase one, just click here: http://www.dandossantos.com/store.htm



The first 10 orders get an extra copy free!



It's likely I will print a few other images as well. If there is a piece in particular you'd like to see offered, please let me know in the comments section.

Rochelle Aytes Stars in ABC's "Mistresses"

Our own Rochelle Aytes (The Butterfly Chasers) is starring in ABC's upcoming series "Mistresses" alongside Alyssa Milano! Check out the trailer for the sexy new show coming this fall!

Life is all about the choices we make, the changes we take, and the friends who see us through



- Lena