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• Who's the Artist?
  by RedBubble

  Standing, looking at an artwork in a gallery recently I found myself asking, who is the artist? At one level the answer is obvious – the …

  Standing, looking at an artwork in a gallery recently I found myself asking, who is the artist? At one level the answer is obvious – the person who created the object. But the tricky bit is they may or may not be the person/s who decided it was art. A recent exhibition at the National Gallery of Australia of Aboriginal art is a case in point. The early objects on exhibit became “art” when a curator determined they were. Before that they were objects the community created to give meaning to their lives. There were no artists just the people making the works. And, I will confess here, I find the idea of being an artist a little bit diminishing. It is possible to be a lawyer because other people aren’t one (I know at least that I am not a lawyer). But if I decide I am an artist does that mean I wasn’t one before or that you aren’t one? The truth is we are all artists or at least have the potential be. And so being an artist is really little different than being human. At least if we allow ourselves to be fully human. And whether the things we make are considered to be “art” or not, I guess we will have to leave that to the critics. Martin (aka Pilgrim)

• Chinese & Amsterdam Storeys
  by Maxwell Edward

  “Good afternoon Gentlemen. Our delicious Chinese restaurant serves some of the greatest Chinese delicacies. Can I take your orders?” J…

  “Good afternoon Gentlemen. Our delicious Chinese restaurant serves some of the greatest Chinese delicacies. Can I take your orders?” Jermaine takes charge as usual. “I imagine you can sir. Well my friend will have special fried rice and I will have special sweet n sour chicken. Could you make sure it’s especially sweet n sour though? Thanks sir.” People love to eat Chinese. More often the meals though…for the appetisers may prove too fattening over time. Neville and Jermaine have definitely had their share of fattening up over time. Neville is said to eat more Chinese than most Chinese and as for Jermaine, he probably eats more of most things than most people. “Jerry, don’t you think it’s strange how he mentioned they serve some of the greatest Chinese delicacies?” Jermaine who finds nothing short of highly unusual strange, makes a joke from anything less of great importance. “_Why_? What did you expect in a Chinese Restaurant, Indian food?” Neville who hears these jokes more often than not (but still not in appreciation of them) seems to always be misunderstood. “No, I mean, we’re not Chinese. I can’t see anyone in here that is Chinese…In fact I would say that the only Chinese this restaurant ever sees is on the plates. So, they could get away with telling us that this restaurant actually serves the greatest Chinese delicacies. Why would they not?” Jermaine’s opinion always went back to philosophy. “Some wise advice I have for you Nev. Never question the Chinese.” Something about the way the duo talked, it was utter enjoyment. The puns continuously employed emphasised it. A certain kind of pleasure whenever they accompanied one another was unleashed. “Oh Jerry, you got to hear about what happened to my cousin. _You’ll never believe it_…So Ben was in Amsterdam for some time, on holiday or something. Well on the last week he jumped off the top of a three-storey apartment balcony.” Jermaine who believes most things reasonable, but also hesitates in jumping to conclusions always feels obliged to question the situation. “Why the hell would anyone do something like that?” Neville started blushing. He was never as outgoing as Jermaine, even being questioned made him feel slightly insecure. “Well Jerry, you know my cousin Benjamin. No one questions him.” A certain kind of tension was building somewhere between Nevilles growing timidity and Jermaine’s pursuing nerves. “I think anyone thinking about jumping off the third storey of an apartment should be prepared to answer a lot of questions.” There was an uncomfortable short-lived silence between the duos. Neville thought of it as his responsibility to protect his cousin’s reputation, yet his loyalty had previously shown to lead to misdemeanours. Neville decided to break his loyalty for what his reason was telling him was sensibility. “Yeah Jermaine, agreed. Benjamin sure must be a moron hey. Oh, which reminds me, did I tell you he is going to become a lawyer?” The Chinese waiter had brought back the dishes. This is possibly the fastest time a waiter had brought out dishes (which were supposed to be quality cuisines). Then again, Jermaine and his friends always had their doubts about Chinese restaurants. Over their many meals they had discussed many things ranging from the health issues to the political and economic consequences of the different restaurant franchises. The Chinese waiter did not talk this time. He had a chilling frown cast upon his face. Perhaps he had heard their talking? Perhaps it was just the all-round atmosphere of working in such a demanding service. Jermaine and Neville dug into their meals, each choosing their pick of chop sticks and spoon respectively although ironically not in quite a disorderly manner. It was only lucky that Neville chose a spoon for the fried rice to prevent any more mess (if more mess were possible). “So Nev, back to the story; now that you tell me Mr. Benjamin wants to be a lawyer…that makes much more sense; their all lying bastards. This is one big story to you in order to gain your sympathy or something. It can’t really be explained, except that he is behind it all…” “Not true. I saw his bandages and cuts and sores; everything. That can’t really be faked.” “I’m sure for a lawyer, anything can be faked. Any kind of falsehood can be created and unleashed by those guys!” “No seriously. Okay here’s the story, he said he went to a party. He got pretty drunk knowing it was his last week. Who knows maybe he even did…goddamn man it’s Amsterdam! I don’t have to mention the possibilities, their limitless! Anything could have happened. Well anyway, he woke up and that is when the nurse told him what had been reported to her.” “You know what this sounds like? Chinese whispers. She said this; he said that, you say this…” Sceptical Jermaine could never let any possibility go. “Okay whatever, whatever.” Neville had enough. This sort-of-debate had turned into a sort-of-argument. It was time for him to try and change the mannerism of things “Hey Jerry, this kind of talking is probably not good for eating, let’s just eat okay. I mean just the other day I saw the scars and bleeding…well you know.” Eating continued. Polite (enough) slurping of Chinese tea and rice among other things died down the sound of thought. Than Jermaine continued speaking, but not where they left off. “Hey Nev, I’ll be back in a minute. Just have to convenience myself!” Neville sat there. Five minutes boring his intellect- no one to talk to! Jermaine returned. Back to his meal; back to messy eating and the hope of more polite interesting talk. Before Neville had seen it, Jermaine had finished the rest of his special sweet n sour. “Hey Neville, are you still feeling hungry at all?” Before Neville had a chance to reply Jermaine had beckoned the waiter over and ordered “Special Chinese fortune cookies”. The cookies came in no time at all again. It made it seem like there was surely something efficiently magical about this restaurant. “Hey Nev, can you tell me about this story a bit more. So would you get this, I actually heard about a story similar to his; actually two stories, exactly like his…they both sort of were like these crazy stories where these things happened to guys in…well Chinese restaurants actually!” Neville was only half listening, except the information was still unconsciously processing into his mind. He opened his fortune cookie. “No I do not believe it! Coincidences of such do not occur! Madness unleashed!” Neville started shaking intensely, trembling, his usual steady figure rumbling in what looked like fear; his skin pale and pupils dilating and goose bumps on his skin forming. Than he shoved his hands over his head and continued his fearful actions half-hidden by the table. Jermaine grabbed the little slice of Chinese paper, it must be not so fortunate whatever the fortune be he thought! “You will suffer falling three-storeys tonight. Do not question the Chinese” They both sat there; Jermaine seemingly doing and thinking nothing except watching the actions of Neville. Neville with his behaviour turning more and more intense and shocking as seconds progressed and turned into minutes. “Neville!” Neville took no notice, for a moment, to only a moment later reply, “What? Don’t you fucking get this? Can’t you see what’s happening?” Jermaine looked at his watch. Five minutes. Long enough…longer would be dangerous perhaps. “My good friend Neville. I have a confession. I put that note in your cracker…it’s to teach you a lesson really. But it’s also quite a cracker now too to think of it! You should have seen the look on your face! And my friend, I’ll tell you the moral of the story…Question anything with suspicion, even the Chinese, otherwise who knows what will be unleashed!”

• André’s creation: eclectic pleasures
  by Maxwell Edward

  Black and white keys, saxophone, guitar, everywhere. The music has much more magnificence than can be tried to be explained through words…

  Black and white keys, saxophone, guitar, everywhere. The music has much more magnificence than can be tried to be explained through words. This jazzy rendezvous has always been André’s favourite ear-food. He just loves the way its beauty, splendour, radiance is ‘unleashed’. André stares at the canvas for over a dozen times. Here he is staring at the blank space which is future marvel…or was it to be past marvel? Had he missed his chance, missed the boat which would have sailed to sentimental stardom? He refuses to collaborate more than a sentence for any one idea. Any idea that deserves a sentence must deserve no doubt. Any canvas is only worth the greatest ideas. Two André’s exist; though only one at any one time. The withdrawn analytical front, designed for most occasions. On rare occasions the other character may appear, the intensive, massively determined André who acts on impulses. Impulsive André must be begged out. A Pandora’s Box of surprises, his job will at least never cease to astonish. “Dearest André, Through years have you befriended my son Louis, so therefore I am offering an opportunity to benefit both of our interests (with intent towards your gain). Litton inc., my company has stepped up towards mainstream success. We require visual arts for our newly bought edifice. I understand you have been painting for the eight years since high school. To your discretion I would like to require a painting; just one will suffice. I would like something vibrant and colourful, yet deep and meaningful; Contemporise to your own vision. Much thanks, Dr. Raymond Fonck.” The commissioned paper lies stuck on the wall. André has read it. Now it is time for the future. It has been too long sitting around (or rather bouncing around); too get too much productivity from anything. Someone once said to him that anything is good experience. True perhaps, although he prefers productivity, especially in a time of intensity such as this; three days left until confrontation. His vigilant eyes stroll around the room, searching for advice. He is not bored, nor has he painters block, for such a term does not exist and will not ever for him. His eyes strike the clock. The clock glares 5:48 pm back. What a disgusting fierce look it has. Not 5:45, nor 6:00 and only one uncomfortable minute in-between. For at this time these uncomforting three digits add to the frustration in the actual time. “Aw!” André suddenly realizes the importance of the time. It is the one factor which never seems to be on his side but actually encourages his total progress. It is an epiphany like that of a mother to the newborn. André decides to let his hands take / control. They are the secret key, (sometimes the gatekeepers of unleashing impulsive André) His dominant left one picks up the brush (over time it has made up for its fault of statistically losing him seven years). His right hand decides to lose cognition. It dips itself into a little puddle of Sangria oil paint muck. Than it flies onto the near-centre of the canvas, smeared diagonally. His left hand takes initiative once again, waving lines of smudge to and fro. Right hand brings more paint to its destination. Myrtle, Indigo, Olive, Magnolia…and no, not that…Yes, yes, even black! (Well seal brown to be precise). All of these contextually beautiful colours unleashed! There are no thoughts in André’s mind now. This is impulsive André now; organised thought is of little importance! That colour is important here. This colour is unimportant there. A few lines of any colour are important right here or there, but perhaps a darker colour is better. More negative space up and down the edges. Shape is forming. Lines are bolding. Complete non-representational form is diminishing. Visualizations; the visualized images in mind are being…unloaded bit by bit. It is coming about. What is it though? No one knows. If anybody could guess it definitely would not be André. André knows he has the power to bring out the reality in it though. In a seemingly paradox situation he must not connect to reality at the moment though. Now, after these hours of painting, André is in the painting. He would not know it has been hours besides the constant glare of the illuminating digital clock staring from across the room; it unconsciously processes its recognition into André. The phone screams out, ‘br-ring, br-ring!’ Like the other external matter it creeps into André, until finally its screams become too annoying to ignore. It’s too late now…impulsive André has vanished; his conventional counterpart has replaced him. The phone persists though. André decides to take it (typical for his returned mannerism). He dives across the room horizontally attacking the corner where that nuisance phone lies. ‘Aw, aw, aw, aw!’ A tube of paint has squirt from underneath his stomach. Agonising that his material friend can be so painful at times (like any of his life long friends). He picks up the phone; only the tone. He has missed whatever, whoever it was. Once again, missing the boat… Now thought and all that comes with it has returned. Why now out of all times possible? There is only sadness, misery, all this escalated from these small miniscule misfortunes; all has turned to turmoil! What can one do, when feeling like crawling into a hole? His secret minor disorders such as his claustrophobia would prevent him from crawling into that hole, even if he had one. At the moment everything feels like one big hole. Not surprisingly André’s eyes begin doing the only thing they know to do in times of unrest; wander. It is impossible to ignore what is there; it has been there all along, yet has never been seen. It is beautiful! It is splendour! It is radiance!! It is interrupted by another scream of ‘br-ring br-ring’. André picks up the damn phone. Without contemplation he whispers, “Sir, madam, I’m very terribly busy, could you perhaps call back sometime?” A deep sophisticated voice replies, “Raymond Fonck, André. Listen, I need to know about the progress of the painting. How is it going; ready to sell on Friday?” Many emotions garner at the speed of light inside André allows these emotions to clash inside of him. The painting; it is beautiful, splendour, radiance! How could he give it away now, after an indescribable series of emotional contributions? It is something that has not been attempted before; yet it is new but the expression of old. It is everything, at the moment, hopefully containing more interpretive inoculations for the future. It is a subject, of just some time, yet it contains a collaboration of detail separated from time. It is…once again interrupted by screams, this time of another sort; the infuriating talking of man. “André. Are you there?” Feelings of great rebellion sweep André off his feet. He knows how he will revolutionize his life, because after all; this painting has revolutionized his thought already. “Mister Fonck. I am so sorry. Some things have come over me…a type of sickness…although I am sure you are not aware of this mad syndrome I am suffering due to it. Well to the point, I must say I will not be supplying you with your wanted artwork. Thank you for your understanding. Hopefully we can collaborate something in future.” André hangs the phone up without replies, without a stated understanding from the mister Fonck. Without even the knowledge of acceptance or approval from the mister Fonck…it does not matter. All that matters is this new painting, this contemporised vision. It is everything. Most importantly of all, it is…unleashed!

• Art Criticism: How to Criticize a Work of Art
  by Trace Lowe

  Art Criticism: How to Criticize a Work of Art / A four step process This is what I give my students as a guide to art appreciation: / ...

  Art Criticism: How to Criticize a Work of Art / A four step process This is what I give my students as a guide to art appreciation: 1. Description- What do I see? Study the work in detail carefully. Describe the work in full detail. Be factual. Mention everything you see. 2. Analysis- How is the work organized? Look for and talk about the elements and principles of art and design that seems to dominate the work. Look at how the artist has used The Elements of Art / • Lines- real and implied, curved and straight, direction of movement / • Shapes, Space, Forms- Are the shapes geometric or free-form? Where is the horizon? Where is your point of view as the viewer? (Above, below, in the work, or outside) / • Colors- Warm, cool, bright, dull, soft, bold, etc. / • Value- light: reflecting much light; dark: absorbing much light. / • Texture-Both the medium and the objects portrayed: rough, smooth, shinny, dull Look at The Principles of Design / • Rhythm- Are there repeats of elements or images? / • Movement- Is there an illusion of action? How does the eye move around the work? / • Balance- Formal or Symmetrical, informal or asymmetrical / • Proportion- The size relationships between one part to the whole or one part to another part / • Variety- Visual difference and contrast within the work / • Emphasis- What part is dominant, and what part is subordinate? / • Unity- Does the work hold together? 3. Interpretation- What is happening? This is more than storytelling. As in literature, you need to interpret and generalize from data given. You need to find the metaphor or allegory in the work. What is the artist trying to communicate? Use your intelligence, imagination and courage to explain and tell the meaning of the work. This is based on the facts you have observed and your own life experiences. You can express your feelings, but they must be backed up by the observations you have made about the work. 4. Judgment- What do I think of the work? Does the work hold together visually? Does it communicate with the viewer? Judge whether the work succeeds or fails. You give your opinion backed by the three steps above. To make a judgment, you need to be honest with yourself. You need to know why you feel the way you do. Three Theories of Judging Art Imitationalism -Some people believe that art should imitate what we see in the real world. / Formalism – Some people believe that the most important part of a work is in the use of the principles of design and the elements of art. A work is successful if the texture, color, lines, etc are organized properly. / Emotionalism – Some people believe that the most important part of the work is the mood the artist communicates. Perhaps it is best to use all three theories when judging a work of art. Adapted from many sources, including Arttalk by Rosalind Ragans

• "You're not doing ART right!"
  by BlueKnot

  Got an interesting and somewhat saddening bubblemail today. An artist who was being criticized for digital manipulating a photo and dari…

  Got an interesting and somewhat saddening bubblemail today. An artist who was being criticized for digital manipulating a photo and daring to call it “art.” They wrote to me because I also work in digital art, and asked my opinion. First let me describe the Artwork in question. It had started as a photo, then was converted to a line art drawing using software. (And by the way, if that sounds easy to you, you haven’t tried. Sure the software does most of the “work”... once you find good settings for your particular image! ...and that can be a major headache!) But more than this, the Artist had gone over each section, adjusting color and gradient. This was not a lazy piece of work. I started off addressing the work: “I actually like both versions; it’s clear that some people just don’t ‘get’ that the intention is a sort of digital impressionism, not photorealism.” “I note you said ‘Photographers’ were panning it. There are some – not all – in that category who are …. er, “purists” is a nice word. Let’s use that. The purist feels that the skill and effort of capturing the perfect picture is the ultimate achievement – they and their camera vs. the world. For them, digital manipulation is a distasteful “cheat.” Maybe to smooth over a flaw or two in the otherwise perfect picture, but it shouldn’t alter the overall look of the picture (so they say.) Fine for them, but some will insist on enforcing their opinions on everyone else.” “You have started with a great photo, and then you saw more in it: it became the canvas for another work. And you’ve done a fine job. Even if you’d just “run it through a filter”, that was your decision, you made the input of altering the picture that way. (And sometimes that yields spectacular results… look up a guy by the handle “lightsmith” here. I like his name, too: he doesn’t just capture the light with his camera, he works it over in photoshop as a smith does iron.)” The artist also asked me if I had ever “gotten flack from other artists because you don’t get your fingers dirty with paint?”... “Have I gotten flack for not getting my fingers dirty? For not even using a camera? Well, not so much personally but I’ve seen it over and over in other communities. I look at it this way: The photographer does not usually sculpt or give birth to his or her subject, they do not cause the sun to rise or the landscape to teem with flora. They take what they find and use it, manipulate it, frame it and capture that wonderful image that they saw and wanted to share. I have pictures in my head… to get them out I use models created by others and software I did not write, but I carefully place, pose and arrange. I adjust the light, changing it’s intensity, color or direction (an ability some photographers would kill for!) I compose and frame my images the same way as the photographer, I just have a somewhat fantastic camera and infinitely patient subjects. ;) “ But the big question in the email was Is it Art? “To borrow/paraphrase the definition of a friend of mine (“GoofyFoot” here) ‘Art is anything created by one person capable of eliciting an emotional response in another person.’ “ “And if I were to extend it into the definition of an artist, I’d say “A person capable of creating Art, as defined above, and who does not deny the validity of someone else’s ‘art’” ... because once you cross that line, you’ve become a snob, and the only reactions you can create are unpleasant ones.” And there you go. If it makes you feel, it’s Art. It doesn’t mean you have to like it. I’ve seen plenty of Art I didn’t like. It doesn’t mean that your way of doing Art is “wrong” and you need to do it that way. But what it does mean is that however it was created is a valid way of creating Art; and you have no right to deny the legitimacy of it because techniques were used that you don’t approve of. The traditional media artist critisize the photographers for “just snapping pics of what someone else created.” The photographers criticize the digital artists for working in a medium that has “undo.” The digital painters criicize the 3D artists for “playing with digital dollies and letting software make all the art.” The ‘pro’ photographer criticizes the photographers who “manipulate their work artificially.” The ‘pro’ 3D artists criticize the hobbyist for “not making their own models.” The oil painters criticize the watercolor artists for working in a “lightweight medium.” It’s all ridiculous. I have a friend who likes to turn the tables and ask the painters if they bind their own brushes and gather and mix their own pigments. After all, if you don’t you’re taking credit for work that is partially someone else’s. ;) Art comes in all flavors. And while it is part of redbubble’s massive organization problem, it is also one of the things that makes redbubble great. They (almost) got it all. I would never go to a photography-only site, but I’ve seen some awesome photos here that I’m glad I didn’t miss. Excuse me, I should have said “I’ve seen some awesome Art here that I’m glad I didn’t miss.”

• Constructive Criticism
  by Rhana Griffin

  Some of us can handle it, some can’t. Me? I’m in the can category… in fact I welcome it. I feel that it is only from constructive …

  Some of us can handle it, some can’t. Me? I’m in the can category… in fact I welcome it. I feel that it is only from constructive criticism that we learn. I realise that art is subjective but by the same token there are certain technical aspects that can make a good photo great, a great photo exceptional. I also realise that fellow bubblers may be hesitant to post their critique in the comments section knowing that “potential buyers” can also read these comments. So here is what I am proposing. The staff at RB have provided us with the useful bubblemail tool. While I will always endeavour to post images that are of the highest standard I can achieve at present, if you see something that you feel can be improved or have any hints and tips that you think I might benefit from throw me a bubblemail and let me know. Thanks all!!

• CRITICISM!!!
  by Tony Moore

  I sometimes look at photo’s I’ve taken and noone leaves any comments, I can only make the conection that noone likes them, and that’s fin…

  I sometimes look at photo’s I’ve taken and noone leaves any comments, I can only make the conection that noone likes them, and that’s fine, it’s not a problem, the reason I like them maybe more subtle, a texture or a shadow. / What I would love is if people would say why they don’t like a shot, I would learn more by that than any positive feed back, not that I’m saying I don’t like positive feed back, because I love it as much as anybody. / Sometimes I look through other people’s work and think it could be improved, but are scared of leaving criticism, because I don’t want to hurt anybodies feelings, and I’m not the chief judge of photography. / I would like anybody who wants to help my work to reply to this, or if anybody would like my humble help, to leave a reply to this, or even suggestions of how to say criticism without hurting. Thanks Tony

• Is everyone too soft?
  by Lachlan Kent

  I met a guy taking pictures with two very beautiful leicas in the botanical garden yesterday. I told him about RB, and he asked whether t…

  I met a guy taking pictures with two very beautiful leicas in the botanical garden yesterday. I told him about RB, and he asked whether the feedback you got on here was soft (in words I can’t quite remember). It got me thinking a bit. How “nice” should we be? Is the purpose of this website purely to help us feel good about our photography? I know I love getting affirmation. But is this by itself a good thing, if we aren’t learning anything new we didn’t already know. Another thing… I tend to comment on the photos I like… I think most people do… what about the photos that we don’t like, but we can see what is trying to come out of the photos. I guess this is a bit self-reflexive. But… just some thoughts

• Tell us what you really think
  by community

  If you’re after tough but fair feedback on your art, photos, writing or other creative output, then pay a visit to the For Critique...

  If you’re after tough but fair feedback on your art, photos, writing or other creative output, then pay a visit to the For Critique forum. Most of RedBubble operates on the basic principle of “if you like something, say so. if you don’t, keep quiet”. But the For Critique forum is different. It’s a great spot to ask for criticism, feedback, and specific advice on how to improve your skills. Post a small image or link through to your writing, design or artwork …and write a few words about any specific things you’d like people to consider when critiquing your work. Or, if you know a thing or two about a particular area, then why not give others the benefit of your considered opinion? No doubt others have done the same for you in the past.

• help wanted guys
  by Mark Gardner

  hi all, ok i been here for a while now and have been blown away by the friendliness of everyone and the standard of work here but…........

  hi all, ok i been here for a while now and have been blown away by the friendliness of everyone and the standard of work here but…............ i really want to improve my work, ok i take a decent shot but i want more !!!!!!!!!! I am determined to improve so i am asking for constructive criticism of my work, tips, comments on how it could be done better, general ideas on how it could be improved. / To all the people who comment on my work, thanks and please dont stop, but i really would like to know how my work can be improved :-) I WILL SUCCEED !!!!!!!!!!!!!!!!!!!!!!!!!!! thanks in anticipation Mark

• Does Diddums want Bitty?
  by Simon Gladwin

  Has anyone else come across this poor fellow….seems he cant express himself more creatively than using profanity…...I think his mummy…

  Has anyone else come across this poor fellow….seems he cant express himself more creatively than using profanity…...I think his mummy didnt love him when he was small and his emotional development is stunted as a result….;.Here is what he thought about ‘Stamped on by Giants” ‘report comment | delete comment fckmecock, 20 minutes ago this fuckin sucks. i’ve shit stuff out my ass that’s more creative than this’ Has anyone else encountered his incisive critique? How Swiftian his wit is with its rapier like subtlety….

• Constructive or Destructive?
  by Alan Rodmell

  Having recently read a scathing attack on the lack of constructive criticism here on RB I am retaliating as such. I do believe that we…

  Having recently read a scathing attack on the lack of constructive criticism here on RB I am retaliating as such. I do believe that we all have our individual styles of work. We like what we like. We are all individuals in the world of Art. If I browse work and I don’t like what I see I don’t comment. If I like it but can offer constructive criticism I tend to BM the artist and offer it that way. Unless, that is, I have been asked to do otherwise. We do have a “nicely nicely” approach to things on RB I think. Being too afraid to criticise sometimes. Therefore I propose we do this. If you are happy to have constructive critique of your work then STATE SO in your description field. Therefore we can all speak our minds without fear we are going to make someone cry. I am gonna do this – feel free to comment honestly and I promise to do so also

• My Show Review
  by Ash Sivils

  Anthony Di Michele states: Her work still gets the most intense responses… / people…even artists who do ‘straight’ drawing from m…

  Anthony Di Michele states: Her work still gets the most intense responses… / people…even artists who do ‘straight’ drawing from models… / say: ‘oh, I love HER work!’ She is special… and her work makes every opening special. Everyone loves her content…or is affected by it. Ash~ your work is consistently direct and to the point… / ’ I feel like I am drowning in this relationship’ / I might say… but you make an image that is EXACTLY how I / am feeling! She does this both with a dark humor and no / humor at all…excellent work, as always… I find her fascinating… Who is she… I wonder… sometimes out / loud while I am showing her work to others. I say: I spoke with / her on the phone, and she is so nice… so grounded… so sweet… / she doesn’t sound like one embattled by doubt… pessimism… / grief… pain or emotional suffering. (studio7@rockisland.com) / (gallerymezzotint@rockisland.com) / http://www.gallerymezzotint.com / http://www.laprintmakers.com/html/anthony_dimichele.htm A NEW SHOW AT GALLERY MEZZOTINT: The Artist And Their Models. FEATURINGLOCAL ARTISTS: / CYNTHIA CHURCH; ANNIE ADAMS; THRINLEY DIMARCO; / ANTHONYDIMICHELE; DAVID HARSH; VIRGINA HALL; / TAYLOR BRUCE; MARY ANN ROCK; JOANBENNY; ASH SIVILS; / BILL CURR; AND MANY OTHERS. The show will exhibit prints, paintings, photography and sketches / of models, nudes and not~nudes! The show will run from MARCH 7TH ~ APRIL 7TH. OPENING RECEPTION: FRIDAY MARCH 7TH ~ 5 ~ 9 pm. / 301 TUCKER AVE. #7 / FRIDAY HARBOR, WA. / (360)298-1553 OR (360) 298- 4360 EMAIL: gallerymezzotint@rockisland.com

• Dare we?
  by Gottography .

  Disclaimer: to those who welcome constructive criticism Dear reader, Thank you for reading this far :) It has come to my attention …

  Disclaimer: to those who welcome constructive criticism Dear reader, Thank you for reading this far :) It has come to my attention that most comments on photos lack constructive criticism. I believe the reason is that people fear being seen as a). un-nice (for want of a better word) b). not worthy and c). offensive. a). I have only met nice people here, this may be that we have a common love for art, photography more specifically for me. So let’s trust/assume that should a constructive criticism come your way, it comes from a loving fellow photographer/artist. b). Agreed that pro photographers take intimidating beautiful pics, so let’s leave them out, but your pics are not here on RB because you lack confidence in your own work. Let’s not compare art, it’s subjective, isn’t it? Each person is unique and will bring a different perspective to your work. / I for one, have pics I’m proud of, but I know there’s something lacking in some to make them better. RB is where I hope to have these things pointed out. / Let’s aim for progress and lend a helping eye. c.) We’ve all been warned by RB to “Play nice”, so let’s assume people have read that an not be offended. Word to potential offenders – we offendees will not be or allow you to offend/ed or intimidated. I have not been providing much constructive criticism myself for the lack there of already. But I’ll endeavour to see who exactly welcomes it and do them the kind favour. Our comments needn’t be rude and without compliments. Let’s guide, suggest, and teach in order to learn, rather than just stroke each other’s photographic egos. Lastly, I’d like to thank Mark German for giving me extremely helpful feedback. I was awed by his work and requested that he critically comment on my work. It seems there are the few odd pros who have the time and inclination to help us hobbyists and amateurs. Replies and comments (as per above) welcome.

• The Earth has a Fever: An Important Message About Our Future...
  by Curtis Bard

  This message is so timely, so important, that I wanted to share it with all my RB friends and acquaintances. Yes, today our world is sick…

  This message is so timely, so important, that I wanted to share it with all my RB friends and acquaintances. Yes, today our world is sick; sick in many ways, and now our world has a fever. If I tried for the rest of my life I don’t think I could express my concerns about our global situation any better than Al Gore has done here. We need to personally, collectively, and actively begin to do our very best to discern what the Truth is concerning our relationship to each other, to our earth, and to our God. Gore’s speech is rather long, but in my humble opinion almost each and every sentence has important meaning and the ring of truth, and should be a wake-up call for all of us. All good people want to help and do whatever they can to make our world a better place, but the inevitable question arises: “What can I do?” You can start by buying products that are clearly better for the environment and facilitate energy independence. You can start communicating your concerns to others and to your news agencies, and to your government representatives. You can confront and address your own inner conception of how our government and our citizens should react to coming threats and how we can work together to help each other. And you can apply subtle pressure on business and government to begin to accept a less selfish, less wasteful, and more w/holistically enlightened approach to social and economic problems and their potential solutions. And as difficult as it is, you can also start by addressing your own shortcomings as an individual, and by trying to be a little less selfish, a little less consumptive, a little less ego driven, and a little more concerned about the welfare of others and the proper stewardship of the earth. Cast all fear aside and find just purpose and healthy development in this new opportunity for personal and spiritual growth. If you have any helpful ideas or ways that the rest of us can start to live more appropriately and harmoniously with each other and with our environment, please pass them along and share them with the rest of us… / —-—-—-—-—-—-—-—-- Dear Curtis, I wanted to share with you my speech from the Nobel Peace Prize ceremony in Oslo. Check AlGore.com for video of the event later today. Thank you, Al Gore SPEECH BY AL GORE ON THE ACCEPTANCE / OF THE NOBEL PEACE PRIZE / DECEMBER 10, 2007 / OSLO, NORWAY / Your Majesties, Your Royal Highnesses, Honorable members of the Norwegian Nobel Committee, Excellencies, Ladies and gentlemen. I have a purpose here today. It is a purpose I have tried to serve for many years. I have prayed that God would show me a way to accomplish it. Sometimes, without warning, the future knocks on our door with a precious and painful vision of what might be. One hundred and nineteen years ago, a wealthy inventor read his own obituary, mistakenly published years before his death. Wrongly believing the inventor had just died, a newspaper printed a harsh judgment of his life’s work, unfairly labeling him “The Merchant of Death” because of his invention – dynamite. Shaken by this condemnation, the inventor made a fateful choice to serve the cause of peace. Seven years later, Alfred Nobel created this prize and the others that bear his name. Seven years ago tomorrow, I read my own political obituary in a judgment that seemed to me harsh and mistaken – if not premature. But that unwelcome verdict also brought a precious if painful gift: an opportunity to search for fresh new ways to serve my purpose. Unexpectedly, that quest has brought me here. Even though I fear my words cannot match this moment, I pray what I am feeling in my heart will be communicated clearly enough that those who hear me will say, “We must act.” The distinguished scientists with whom it is the greatest honor of my life to share this award have laid before us a choice between two different futures – a choice that to my ears echoes the words of an ancient prophet: “Life or death, blessings or curses. Therefore, choose life, that both thou and thy seed may live.” We, the human species, are confronting a planetary emergency – a threat to the survival of our civilization that is gathering ominous and destructive potential even as we gather here. But there is hopeful news as well: we have the ability to solve this crisis and avoid the worst – though not all – of its consequences, if we act boldly, decisively and quickly. However, despite a growing number of honorable exceptions, too many of the world’s leaders are still best described in the words Winston Churchill applied to those who ignored Adolf Hitler’s threat: “They go on in strange paradox, decided only to be undecided, resolved to be irresolute, adamant for drift, solid for fluidity, all powerful to be impotent.” So today, we dumped another 70 million tons of global-warming pollution into the thin shell of atmosphere surrounding our planet, as if it were an open sewer. And tomorrow, we will dump a slightly larger amount, with the cumulative concentrations now trapping more and more heat from the sun. As a result, the earth has a fever. And the fever is rising. The experts have told us it is not a passing affliction that will heal by itself. We asked for a second opinion. And a third. And a fourth. And the consistent conclusion, restated with increasing alarm, is that something basic is wrong. We are what is wrong, and we must make it right. Last September 21, as the Northern Hemisphere tilted away from the sun, scientists reported with unprecedented distress that the North Polar ice cap is “falling off a cliff.” One study estimated that it could be completely gone during summer in less than 22 years. Another new study, to be presented by U.S. Navy researchers later this week, warns it could happen in as little as 7 years. Seven years from now. In the last few months, it has been harder and harder to misinterpret the signs that our world is spinning out of kilter. Major cities in North and South America, Asia and Australia are nearly out of water due to massive droughts and melting glaciers. Desperate farmers are losing their livelihoods. Peoples in the frozen Arctic and on low-lying Pacific islands are planning evacuations of places they have long called home. Unprecedented wildfires have forced a half million people from their homes in one country and caused a national emergency that almost brought down the government in another. Climate refugees have migrated into areas already inhabited by people with different cultures, religions, and traditions, increasing the potential for conflict. Stronger storms in the Pacific and Atlantic have threatened whole cities. Millions have been displaced by massive flooding in South Asia, Mexico, and 18 countries in Africa. As temperature extremes have increased, tens of thousands have lost their lives. We are recklessly burning and clearing our forests and driving more and more species into extinction. The very web of life on which we depend is being ripped and frayed. We never intended to cause all this destruction, just as Alfred Nobel never intended that dynamite be used for waging war. He had hoped his invention would promote human progress. We shared that same worthy goal when we began burning massive quantities of coal, then oil and methane. Even in Nobel’s time, there were a few warnings of the likely consequences. One of the very first winners of the Prize in chemistry worried that, “We are evaporating our coal mines into the air.” After performing 10,000 equations by hand, Svante Arrhenius calculated that the earth’s average temperature would increase by many degrees if we doubled the amount of CO2 in the atmosphere. Seventy years later, my teacher, Roger Revelle, and his colleague, Dave Keeling, began to precisely document the increasing CO2 levels day by day. But unlike most other forms of pollution, CO2 is invisible, tasteless, and odorless—which has helped keep the truth about what it is doing to our climate out of sight and out of mind. Moreover, the catastrophe now threatening us is unprecedented – and we often confuse the unprecedented with the improbable. We also find it hard to imagine making the massive changes that are now necessary to solve the crisis. And when large truths are genuinely inconvenient, whole societies can, at least for a time, ignore them. Yet as George Orwell reminds us: “Sooner or later a false belief bumps up against solid reality, usually on a battlefield.” In the years since this prize was first awarded, the entire relationship between humankind and the earth has been radically transformed. And still, we have remained largely oblivious to the impact of our cumulative actions. Indeed, without realizing it, we have begun to wage war on the earth itself. Now, we and the earth’s climate are locked in a relationship familiar to war planners: “Mutually assured destruction.” More than two decades ago, scientists calculated that nuclear war could throw so much debris and smoke into the air that it would block life-giving sunlight from our atmosphere, causing a “nuclear winter.” Their eloquent warnings here in Oslo helped galvanize the world’s resolve to halt the nuclear arms race. Now science is warning us that if we do not quickly reduce the global warming pollution that is trapping so much of the heat our planet normally radiates back out of the atmosphere, we are in danger of creating a permanent “carbon summer.” As the American poet Robert Frost wrote, “Some say the world will end in fire; some say in ice.” Either, he notes, “would suffice.” But neither need be our fate. It is time to make peace with the planet. We must quickly mobilize our civilization with the urgency and resolve that has previously been seen only when nations mobilized for war. These prior struggles for survival were won when leaders found words at the 11th hour that released a mighty surge of courage, hope and readiness to sacrifice for a protracted and mortal challenge. These were not comforting and misleading assurances that the threat was not real or imminent; that it would affect others but not ourselves; that ordinary life might be lived even in the presence of extraordinary threat; that Providence could be trusted to do for us what we would not do for ourselves. No, these were calls to come to the defense of the common future. They were calls upon the courage, generosity and strength of entire peoples, citizens of every class and condition who were ready to stand against the threat once asked to do so. Our enemies in those times calculated that free people would not rise to the challenge; they were, of course, catastrophically wrong. Now comes the threat of climate crisis – a threat that is real, rising, imminent, and universal. Once again, it is the 11th hour. The penalties for ignoring this challenge are immense and growing, and at some near point would be unsustainable and unrecoverable. For now we still have the power to choose our fate, and the remaining question is only this: Have we the will to act vigorously and in time, or will we remain imprisoned by a dangerous illusion? Mahatma Gandhi awakened the largest democracy on earth and forged a shared resolve with what he called “Satyagraha” – or “truth force.” In every land, the truth – once known – has the power to set us free. Truth also has the power to unite us and bridge the distance between “me” and “we,” creating the basis for common effort and shared responsibility. There is an African proverb that says, “If you want to go quickly, go alone. If you want to go far, go together.” We need to go far, quickly. We must abandon the conceit that individual, isolated, private actions are the answer. They can and do help. But they will not take us far enough without collective action. At the same time, we must ensure that in mobilizing globally, we do not invite the establishment of ideological conformity and a new lock-step “ism.” That means adopting principles, values, laws, and treaties that release creativity and initiative at every level of society in multifold responses originating concurrently and spontaneously. This new consciousness requires expanding the possibilities inherent in all humanity. The innovators who will devise a new way to harness the sun’s energy for pennies or invent an engine that’s carbon negative may live in Lagos or Mumbai or Montevideo. We must ensure that entrepreneurs and inventors everywhere on the globe have the chance to change the world. When we unite for a moral purpose that is manifestly good and true, the spiritual energy unleashed can transform us. The generation that defeated fascism throughout the world in the 1940s found, in rising to meet their awesome challenge, that they had gained the moral authority and long-term vision to launch the Marshall Plan, the United Nations, and a new level of global cooperation and foresight that unified Europe and facilitated the emergence of democracy and prosperity in Germany, Japan, Italy and much of the world. One of their visionary leaders said, “It is time we steered by the stars and not by the lights of every passing ship.” In the last year of that war, you gave the Peace Prize to a man from my hometown of 2000 people, Carthage, Tennessee. Cordell Hull was described by Franklin Roosevelt as the “Father of the United Nations.” He was an inspiration and hero to my own father, who followed Hull in the Congress and the U.S. Senate and in his commitment to world peace and global cooperation. My parents spoke often of Hull, always in tones of reverence and admiration. Eight weeks ago, when you announced this prize, the deepest emotion I felt was when I saw the headline in my hometown paper that simply noted I had won the same prize that Cordell Hull had won. In that moment, I knew what my father and mother would have felt were they alive. Just as Hull’s generation found moral authority in rising to solve the world crisis caused by fascism, so too can we find our greatest opportunity in rising to solve the climate crisis. In the Kanji characters used in both Chinese and Japanese, “crisis” is written with two symbols, the first meaning “danger,” the second “opportunity.” By facing and removing the danger of the climate crisis, we have the opportunity to gain the moral authority and vision to vastly increase our own capacity to solve other crises that have been too long ignored. We must understand the connections between the climate crisis and the afflictions of poverty, hunger, HIV-Aids and other pandemics. As these problems are linked, so too must be their solutions. We must begin by making the common rescue of the global environment the central organizing principle of the world community. Fifteen years ago, I made that case at the “Earth Summit” in Rio de Janeiro. Ten years ago, I presented it in Kyoto. This week, I will urge the delegates in Bali to adopt a bold mandate for a treaty that establishes a universal global cap on emissions and uses the market in emissions trading to efficiently allocate resources to the most effective opportunities for speedy reductions. This treaty should be ratified and brought into effect everywhere in the world by the beginning of 2010 – two years sooner than presently contemplated. The pace of our response must be accelerated to match the accelerating pace of the crisis itself. Heads of state should meet early next year to review what was accomplished in Bali and take personal responsibility for addressing this crisis. It is not unreasonable to ask, given the gravity of our circumstances, that these heads of state meet every three months until the treaty is completed. We also need a moratorium on the construction of any new generating facility that burns coal without the capacity to safely trap and store carbon dioxide. And most important of all, we need to put a price on carbon—with a CO2 tax that is then rebated back to the people, progressively, according to the laws of each nation, in ways that shift the burden of taxation from employment to pollution. This is by far the most effective and simplest way to accelerate solutions to this crisis. The world needs an alliance – especially of those nations that weigh heaviest in the scales where earth is in the balance. I salute Europe and Japan for the steps they’ve taken in recent years to meet the challenge, and the new government in Australia, which has made solving the climate crisis its first priority. But the outcome will be decisively influenced by two nations that are now failing to do enough: the United States and China. While India is also growing fast in importance, it should be absolutely clear that it is the two largest CO2 emitters — most of all, my own country –– that will need to make the boldest moves, or stand accountable before history for their failure to act. Both countries should stop using the other’s behavior as an excuse for stalemate and instead develop an agenda for mutual survival in a shared global environment. These are the last few years of decision, but they can be the first years of a bright and hopeful future if we do what we must. No one should believe a solution will be found without effort, without cost, without change. Let us acknowledge that if we wish to redeem squandered time and speak again with moral authority, then these are the hard truths: The way ahead is difficult. The outer boundary of what we currently believe is feasible is still far short of what we actually must do. Moreover, between here and there, across the unknown, falls the shadow. That is just another way of saying that we have to expand the boundaries of what is possible. In the words of the Spanish poet, Antonio Machado, “Pathwalker, there is no path. You must make the path as you walk.” We are standing at the most fateful fork in that path. So I want to end as I began, with a vision of two futures – each a palpable possibility – and with a prayer that we will see with vivid clarity the necessity of choosing between those two futures, and the urgency of making the right choice now. The great Norwegian playwright, Henrik Ibsen, wrote, “One of these days, the younger generation will come knocking at my door.” The future is knocking at our door right now. Make no mistake, the next generation will ask us one of two questions. Either they will ask: “What were you thinking; why didn’t you act?” Or they will ask instead: “How did you find the moral courage to rise and successfully resolve a crisis that so many said was impossible to solve?” We have everything we need to get started, save perhaps political will, but political will is a renewable resource. So let us renew it, and say together: “We have a purpose. We are many. For this purpose we will rise, and we will act.”

• Why I left IPA
  by Miron Abramovici

  I was very proud when I was accepted by IPA (after a long wait), but now I have decided to leave that group. The reasons can be seen from…

  I was very proud when I was accepted by IPA (after a long wait), but now I have decided to leave that group. The reasons can be seen from this item I posted in the group forum titled “Dignified silence” —-—-—-—-—-—-—-—-—-—-—-—-—-—-—-—-—-—-—-— We all got this BM from Trevor: “The group’s hosts have been very concerned about events over the last few days and about some of the things being said by a select portion of the Red Bubble community, most of which has been both uncharitable to the hosts and a gross distortion of the truth. Two members of the group were removed for deliberate rule breaking and trolling in the group forums. The group hosts collectively believe that our recent decisions have been totally justified, and as such, we make no apologies for our actions. However, being mindful of the greater interests of the membership, we have thus far elected to adopt a dignified silence, rather than get involved in pointless squabble’s with individuals who frankly only seem to have their own selfish interests at heart. Instead, we prefer to make our actions speak for us and have decided to do our best to turn over complete control of the IPA to its members in an orderly and dignified fashion.” —-—-—-—-—-—-—-—-—-—-—-—-—-—-—-—-—-— / How do we the members have “complete control” when the hosts do not even bother to justify the removal of two members, which is quite an unsual event? What specific rules have they broken? What worries me is that the same “dignified silence” was the “answer” to my question “How and why do topics disappear?” in which I was looking for an explanation on why a topic on “freedom of expresssion” was completely removed? I was never told what specific rules were broken there either. I guess I should no longer worry about things like this since now we the members have “complete control”. I grew up in a communist country and this story brings back a lot of bad memories of people were sent to prison for any criticism of the leaders. There we the people also had “complete control”… —-—-—-— end of posted item —-—-—-—-—— / This item got no answer either – and the sound of “dignified silence” became too loud for me to bear…

• Critical Critique
  by Stephen Mitchell

  The best advantage of displaying our artistic abilities on Redbubble is getting critiqued by artists we revere, treat as mentors, or lear…

  The best advantage of displaying our artistic abilities on Redbubble is getting critiqued by artists we revere, treat as mentors, or learn from their artistic style. But I fear some people are confusing constructive critique and cyber-bullying ... they are far different things. If someone should happen to say “Your work is awful!”, you may find it’s merely the limited vocabulary of someone who really meant to say “You don’t understand that Redbubble is in the business of selling work, not displaying your dog’s water bowl, your work would be better suited for some where like, say, oh, I don’t know … maybe flickr.com. They like that sort of thing.” Those of you who respond to this with “Who gave anyone the right to be judge and jury of my art?” ... You gave them that ‘right’ when you uploaded it to the internet. If you consider the advice (ie, constructive critique of your art-work, either for its merit, composition, camera-style and/or saleability) to be arrogance, you are looking at it from all the wrong angles. Yes, there will be a few comments that may well be a tad aggressive, we’ve all experienced that. But at the end of the day, someone will have something to say about the images you upload to your gallery. Unless you turn off commenting, people are always going to have an opinion, even if misinformed, incomprehensible, and rude. It is most unfortunate when comments are misinterpreted as rude. Maybe they were. There are two options here, but only one is good: / 1. Bitch back, be rude back at them, get angry, tell everyone, make a biggggg deal of it. / 2. Read it a few times. Change the emphasis on each word. Determine if there was any other way it could have been said. Find something in it that helps you. If that doesn’t work, and I’d be surprised if it didn’t: Ignore and delete the comment. / ‘Nuff said.

• Twelve Months on Redbubble
  by Stephen Mitchell

  My response to ’ What Has Redbubble Done for You?...

  My response to ’ What Has Redbubble Done for You? ’. It didn’t take me long to type this out, but I took a bit longer to sort out the words into a readable format. Redbubble has … 1. Allowed me to to read and write constructive articles of personal interest … specifically DPI and copyright legislation 2. Made me rethink my future, abilities, desires and career. 3. Has introduced me to the most amazing photographers around the world, a lot of whom are in my locality! 4. Made me learn / ... .... about the features of my DSLR, / ... ... how to utilise multimedia to fix and alter images, / ... ... more about the style of photography I truly prefer, / ... ... about finances and running a small business. / ... ... how to find and make customers in the REAL world. 5. Been my addiction since April 2007, and I don’t see myself leaving anytime soon. 6. Has made me realise that not every image needs a critical or complimentary comment. I’ve learnt that I am number one , I need to care more about the way I present myself, and that my clientèle deserve that respect when I am putting my name against both my own and other people’s work. / All artwork is copyright© to Stephen Mitchell, All Rights Reserved. / You may not use, replicate, manipulate, redistribute, or modify this image without my express consent.

• Does my stuff Grind Your GEARS?
  by Benjamin Liew

  I have noticed that all of the comments and critiques I have received on redbubble have been positive. While that is all good and I appre…

  I have noticed that all of the comments and critiques I have received on redbubble have been positive. While that is all good and I appreciate it, I am a fan for real harsh criticism. I have not sold a single piece so there must be something I’m doing wrong.. Is it the price, the content or is my profile picture too scary for most? I welcome you to view my portfolio and really tear it apart in terms of harsh critiques, suggestions, what you DONT like… and what you do like. I want to know why you don’t like it or why you do like it. Why does it float your boat, or why does it grind your gears. I wont cry … too much, I promise :) -Ben (bracing himself for an onslaught of abuse)

• Why few African leaders criticize Robert Mugabe
  by Daniel Rarela

  Why few African leaders criticize Mugabe I found this rathe…

  Why few African leaders criticize Mugabe I found this rather interesting… particularly on how it relates to us here in the States. Your thoughts?

• Your opinion is appreciated - My First Blog Entry!
  by Adriana Glackin

  Hi everyone, I’ve been reading some blogs, and admiring people’s art/photography/tshirts, and thoroughly enjoying the whole RB experie…

  Hi everyone, I’ve been reading some blogs, and admiring people’s art/photography/tshirts, and thoroughly enjoying the whole RB experience. As addictive as it is! What I would like to know is what is it that people want to achieve by uploading their work on RB? Is it purely sales? Is it the touchy feely positive comments? Is it the notoriety of being a featured artist on the home page? I’ll tell you why I’m here – I get a buzz from seeing my images on this website. Simple as that. I look at a lot of people’s images, and try my hardest to meet the same standards they have achieved. Sometimes, the equipment they use, and the techniques they employ are listed – so i can see what I’m up against. At the moment, I’m using my 10 year old son’s compact digital camera and photshop to fix up the shortfalls. (My 19 year old Canon SLR is in dire need of a service/overhaul, so I’m saving up for a new camera – but nothing fancy, as this is a hobby – remember, I dabble…) In my mind I can see what I would like to create, but it quite often doesn’t work that way. What I also thought RB was about, was about people giving constructive feedback. All I’ve seen is nice, positive comments – which is great, too. I haven’t seen anyting that I would classify as negative or nasty or derogative. I have come across the odd woeful image, and am astounded at some comments that people leave on these images, and wonder whether they’re taking the piss out of that person, or whether I’m really missing the point altogether… So, this is how it is for me…If you come across one of my images, please bear in mind the following: 1. I’m using a Canon A450 compact camera that I fight over with my son. 2. I do use photoshop, and have no idea what I’m doing until I hit the buttons. I have not training in photoshop or any other digital program. 3. I am NOT an artist, this is purely and simply a hobby of mine that I have enjoyed on and off for over 20 years. I do not aspire to be an artist, and would never put myself in the same category as many of the talented artists on RB. RB please note: maybe there should be a separate section for the likes of me, so that potential clients of the true artists who rely on RB sales for their income don’t come across images of the more amatuer RB’er, and therefore they won’t be put off buying art. 4. I love taking photos of anything and everything. I have no formal training in photography – except if you count 1 term of beginner’s photography that i did almost 13 years ago. It was 1 night a week for 2 hours, and no, nothing sunk in – I still get muddled up over all the terminology. 5. I invite you to browse my images and comment on those you feel you’d like to. Whether those comments mean you leave positive feedback, or some of your constructive criticisms, I will leave that up to you. I won’t be offended at the comments you leave. Just bear in mind the above 4 points when commenting. 6. The reason I have many of my images available for sale (even though this is only a hobby – and it will always be that way), is simply that my firneds and I may buy them. Some have already been bought, and all have been pleased with their purchase – the quality of the cards is exceptional. So there you are, I’ve been stewing over this for several days, and I’ve finally committed typed word to screen. I have opened up why I’m here. I understand that RB’ers are very passionate and protective of their work, there are some exceptional images on this site (some I’ve even added to my favourites!), and I feel very honoured my images are accepted on RB. So, tell me, why are you here? what do you want to achieve? What sorts of comments do you look for? I might see you around, Red Bubbling away! BFN, dabble : )

• Hats Off To Camerashy, (Greg)!!!
  by Carol & Kev Haberle

  I just want to publicly post a VERY BIG THANK-YOU to Camerashy, (Greg), also a member of RB, who through gentle criticism, honest opinion…

  I just want to publicly post a VERY BIG THANK-YOU to Camerashy, (Greg), also a member of RB, who through gentle criticism, honest opinion, and gentle persuasion, has opened up the world of photography even further for me! / Greg’s help has given me hope and encouragement, has dramatically changed the way I view my own photography, and also the way I view others’ work! / I feel my work has greatly improved with the support and guidance given by Greg! I can never thank him enough for all the time and effort so freely given! / He has made me realise the value in fully assessing ones’ own work, to study the detail …...He has taught me valuable lessons in editting my work….....But most of all he has taught me acceptance!, how to accept criticism, to take it on board and use it in respect to the way it is given! / It is the little kindnesses and great friendships we make through RB and all the helpful advice so kindly offered that make RB such a wonderful place! / For this I TAKE MY HAT OFF TO YOU Camerashy, (Greg)!! / Sincerely, / Carol

• Redbubble vs That Other Gallery
  by Stephen Mitchell

  At flickr We are allowed to display anything, from the absolute mundane and seemingly boring shots of things nobody should, could or wo…

  At flickr We are allowed to display anything, from the absolute mundane and seemingly boring shots of things nobody should, could or would normally see. The general householder can display every single glass, cup, crock-pot, souvenir and goblet in their kitchen collection. Seems boring to you? That’s OK, because somebody else does like it. Within both flickr and redbubble We are permitted to upload our finest art, our macro photography of bugs and bees through to the lush landscapes where the sun enhances every shape, colour, hue and gradient. Dammit, there really is some amazing landscape work that I continue to view and enjoy … and learn how to recreate! At flickr It’s an honour to the FIRST to critique on EVERYthing; To wow-ify everything that makes our work pale by comparison; To leave garish and gargantuan glowing awards on them; To invite everyone to join a seemingly-unique group that has less members than the Jamaican bobsledding team. At both flickr and Redbubble We are encouraged to leave comments on all manner of photography. If it is better than yours, go right ahead and say that. If you just want to say you can do much better, don’t be so condescending. Provide proof. Commenting is NOT about making the other person feel bad, it’s about saying, “Hey, have you tried this method…?“ It’s definitely not about saying “Yo, don’t you know your ISO from your f-stop?”. Hardly constructive is it? Unless you follow up with a lesson … but even that would be patronising. Ask and Listen more, Speak less. It helps. Not that I am knocking comments, they certainly have their place. / Without comments, we are unaware of how people truly feel about our work. / Comments are like a thumbs-up-thumbs-down voting system. For some people, their traffic says enough, but for the bulk of users, it’s all about getting massive amounts of people to attempt to say something unique. (I said ‘attempt’!) Note: I’ve previously said that I don’t need comments on my work. I retract that statement and thank each and every one of you for your comments!

• CRITICISM II "The Revenge"
  by Tony Moore

  Thank you all for your interesting and intelligent comments. / Further to some of the comments left, I thought we would come up with our o…

  Thank you all for your interesting and intelligent comments. / Further to some of the comments left, I thought we would come up with our own system for allowing criticism until Redbubble can include a button, which was suggested by Zeanana and Coralie to tell people to leave constructive criticism. / Let’s leave a CP in the tag line of any photograph which we are happy to have real criticism. / I understand some people are here to sell, and that’s understandable they do not want criticism on a sales item, I too would like to sell, but to me it’s more important to improve. / I thank all who left comments both for and against, all were very helpful, I hope this is a sensible solution, I thank Steven Sandner, Coralie, Zeanana, jeff burns and all who helped with this solution. / i look forward to criticising all of you.