WRITER’S GUIDELINES FOR
WILDFOWL CARVING DEMONSTRATIONS
Many
artists/authors have confided to us that they’re “not writers.” Some confess a revulsion at the thought of high school English class. Not
to worry. That’s why you have an editor. Her job is to help you get your point
across to the reader. You’re the expert without whom the magazine would not
exist. So relax, and just try to imagine you’re talking to one student or a
small group. Teach them what you know.
Tips on organizing information and
preparing photographs:
As you move
from one step in the carving/painting process to another, photograph the
section of work you’ve just completed. It helps to have the camera and lights
pre-set so that you just need to click the shutter. It helps a lot if you have an assistant who can
photograph while you work.
After the
photos or slides are developed, spread them out in sequence. Number each one. Write
the word "top" with an arrow pointing up to show the proper
orientation of each photograph.
For each
numbered photo, jot down a few notes on what you are doing in the picture. What
kind of tools are you using? Be sure to
mention specific brand names, when applicable. What color mixes did you
use? What brand of paint? Are you
aiming for a particular effect? Is there any danger involved in the technique?
After you
have something written down for each photo, review the photo and caption
together to make sure you’ve included the appropriate info.
Some tips on photographs:
Use halogen
lights rather than incandescent bulbs. Regular light bulbs cause a “sepia
tint,” giving photos a greenish-yellow cast when reproduced. Use film that is specifically
recommended for indoor use.
For
black-and-white photos, always ask for glossy finish. Matte and E-finishes are
not reproducible because they do not reflect enough light. Developing BW prints
is very expensive. In most cases, wildfowl
carving will reimburse you for film and developing in addition to paying
our regular author fee.
Color
transparencies or slides are good for showing painting sequences. Prints,
already a generation removed from the original, cannot capture the true colors
you’re trying to portray. You may show
color mixes directly on artist’s board by simply painting swatches; this method
produces the best color match.
If your carving is being
considered for a cover shot, wildfowl
carving must have a professional photograph, 2-1/4" or 4" x
5" color transparency only. Background should be medium tone, gray, green
or blue, with enough background extending above the carving to accommodate the wildfowl carving logo box.
Contact
information:
Wildfowl Carving Magazine
Email: [email protected]
Phone: (717) 234-5091, ext. 211