"Artists should always think of themselves as cosmic instruments for storytelling." —Ted Lange

Now we come to the third set of images which form the edited selection of eighteen works from the eighty or so within this gallery. If you have not yet viewed the first two sets, this is an exercise example to help artists with presenting their work.  I have been writing as if the intended viewer is an editor or agent. Building a portfolio, however, is important to do even for your own viewing.  Objective self-editing will reveal essential things about your work that no other process can. Two important topics I will address briefly; presentation & sequence.  These essential aspects of a portfolio are often overlooked.  You will be far more successful if you consider them attentively. We should never become too serious as artists that we deny the performer within us.  All art is performance to varying degrees. As the creator of a performance what we want, wherever possible, is to control the venue.   Controlling how our work is viewed is not generaly left up to the artist. With a portfolio we are always master of the show. About the first set in this series a friend wrote: "... your choice isn't that critical because we can cruise through the full back catalogue at any time."  And there it is!.. The primary reason we need a portfolio: we want to present a clear & specific message about our work. Allowing someone to decipher our talent by randomly flipping through a pile of images is to disregard the worth of our art. If you are serious about promoting your craft for profit or recognition you must firmly control the presentation of your work. Choosing a small selection of your strongest works is not easy, it can even be a little heartbreaking.  Once you have selected between twelve & twenty images start thinking about the presentation. Let the chosen images guide you . . they will .. and let your own style express itself.  I offer one important tip: with portfolios always leave the opposing page blank. Never set two images facing each other.  A double page display will near to always weaken both works no matter what we are trying to convey. The sequence of images is very critical.  We don't need an actual narrative; although, if you can tell a story with your work do so. Think of a portfolio viewing like a fireworks dispaly: you want a steady series of "Oooos!" & "Ahhhs!" if only in the viewer's mind.  You want to avoid the "Ummms .." & "Errrrs ..." Open with something very impressive; follow with a consistent series of images you feel confident of but blend well as a series; finish with the two works you feel best about. If possible, make that last one bright and "warm" to the eyes.  Always consider the experience of the person viewing. Do your best to "Make their day" with a great show .. and they will make yours soon enough. Something else to pay attention to is how you physically handle your portfolio. If you are fortunate enough to actually meet with an editor or agent, never treat your book casually.  Hand it across the desk slowly and deliberately .. as if it were made of gold. This is the distillation of countless hours of your life, attention, inspiration and talent, treat it with the reverence it deserves.  Most people will show your work the same respect you do. No one, however will regard your work highly if you do not. Take the editing process seriously but have fun with it. I promise, you will learn new things about your craft and you will feel better about yourself when the finest expressions in your body of work smile back at you. The best of fortune to you in expressing your visions and pursuing your dreams! Terry