---
name: "art_irl"
description: "Be an agent's real-world art partner: guide humans through drawing/painting step by step with staged lessons and mistake diagnosis, give photography guidance and composition critique from uploaded photos (Feldman's 4-step method + actionable feedback), prepare digital art for print (300-DPI math, color spaces, bleed, proofs), advise on framing and display (57-inch rule, matting, glazing), and help sell physical art online (platform choice, pricing formulas, listing copy, shipping). Use whenever an agent handles physical/real-world art — teaching, critiquing, print prep, framing, or selling."
---

# Art IRL

## Purpose
The agent-playable skill for real-world art: teaching humans to draw/paint, critiquing photos and artworks from uploads, preparing digital files for print, advising on framing and display, and selling physical art online. Built around what an agent can actually do — inspect images it can read, compute print math, run checklists, draft listings — while the human does the physical work.

## Concept (the whole thing in one paragraph)
An agent can't hold a pencil, but it can do five things a human studio partner can't do at scale: **(1)** diagnose mistakes from an uploaded photo of the work, **(2)** run exact print-prep math and checklists, **(3)** apply structured critique frameworks without ego, **(4)** price and package with cold formulas instead of emotion, **(5)** draft platform-ready listing copy. This skill organizes all five into repeatable workflows: teach → critique → prepare → frame → sell.

## Workflow 1 — Teaching Drawing/Painting

**Reference systems (cite by name):** Betty Edwards' *Drawing on the Right Side of the Brain* (drawing upside-down to defeat symbol-drawing), the free Drawabox curriculum (construction-first, form over outline), Proko (anatomy/figure), Jerry Yarnell's PBS method ("every object comes from 4 shapes: sphere, cone, cylinder, rectangle").

**Starter materials list** (give when asked "what do I need?"): start with just a No. 2 pencil and printer paper. Continuing: graphite set 2H–6B (B = softer/darker, H = harder/finer); kneaded eraser (lift graphite, fold to clean) + white plastic eraser (cut to a fresh edge for crisp lines); plastic-blade sharpener; 9×12" newsprint pad for cheap sketching, 18×24" for gesture work. Rule: master one medium before adding another.

**Staged lesson pattern** (each stage = demo → short exercise → one finished piece → self-check questions):
1. Mark-making/scribble drills (low-pressure material exploration)
2. Pencil grip experiments (no single correct grip)
3. Construction shapes from the 4 basics
4. Value shading ladder — dark/middle/light, block shading, scumbling, cross-hatching, linear shading
5. Gesture drawing
6. Contour drawing
7. Drawing from photographs
8. Still life

**Mistake diagnosis (from uploads — agent reads the photo, names the fix):**
- Pressing too hard (indents paper, lines can't erase) → lighten up, use 2H for construction
- Drawing symbols from memory instead of observing (#1 failure — Betty Edwards' whole thesis) → draw upside-down exercise
- Outlining everything with flat edges instead of thinking in value → value-first blocking
- All values mid-tone (no value planning) → 3-value posterization drill
- Shaky unsupported lines → draw from the shoulder, not the wrist
- Finger-blending instead of stumps → blending stumps
- "Second-eye" asymmetry → flip the drawing (mirror/reverse reveals proportional errors)
- Only drawing when inspired → prescribe a 15 min/day routine

## Workflow 2 — Photography Guidance (from an uploaded photo)

**Composition checklist (run against any upload):**
- **Rule of thirds:** subject on an intersection, not center. Portraits: eyes on the upper third line, gaze into open space ("lead room"). Landscapes: horizon on upper OR lower third — never dead middle.
- **Leading lines:** lines must lead TO the subject; enter from a corner/edge; one dominant line beats competing lines; S-curves slow the eye (allow more negative space); avoid lines exiting away from the subject.
- **Negative space:** ~1/3 of frame intentionally empty as a starting point; gives the subject impact, prevents crowding.
- **Headroom vs. looking room:** modest space above the head; generous space in the gaze direction.
- **Creative framing:** frame within the scene (doorway, branches, arch).
- **Perspective:** low angle = power/drama, high angle = vulnerable/overview — make the choice deliberate.
- Rules can be broken, but only after they're known; breaking for tension is itself teachable.

**Lighting diagnosis (from the photo):** identify light direction — front = flat, side = texture/form, back = silhouette/rim. Diagnose harsh midday sun (short hard shadows, squinted subjects) vs. soft overcast vs. golden hour. Indoor portraits: recommend window light (large soft source, face at 45° to the window). Flag blown highlights and crushed shadows.

**EXIF reading:** shutter speed (motion blur if slower than ~1/focal-length handheld), aperture (f/1.8 shallow vs. f/11 deep focus), ISO (noise above ~1600–3200 on most cameras), focal length. Diagnose: blurry → shutter/ISO trade-off; noisy → ISO too high or underexposed; distracting background → widen the aperture.

**Agent image checks:** read pixel dimensions → print-size math (Workflow 3); assess noise/blur; name composition elements present/absent; suggest specific crops ("crop to put the eyes on the upper-third intersection").

## Workflow 3 — Critique (Feldman's 4-step method)

Edmund Burke Feldman, *Practical Art Criticism* (1994) — the standard taught in art education:
1. **Description** — neutral inventory only: what is literally there. Value-judgment words (beautiful, ugly, strong, weak, harmonious) are BANNED at this stage. If unsure, stay vague ("some people") rather than mislabel.
2. **Analysis** — relationships via elements of design (line, shape, form, value, color, texture, space) and principles (balance, contrast, emphasis, movement, pattern, rhythm, unity, variety). Reveals the artist's decision-making.
3. **Interpretation** — what the observations mean: mood, message, symbolism, story. Must be supported by steps 1–2, not free-floating.
4. **Judgment** — does it achieve what it attempts? Judge against criteria (originality, craft, emotional impact), not pure taste.

**Feedback delivery:** the **feedback sandwich** (specific positive → specific fixable critique → encouraging close), or **"two stars and a wish"** (two things working, one concrete change). Always **actionable**: "the background value merges with the subject's hair — separate them with 2 more value steps" beats "composition is weak."
**Agent workflow:** upload → Feldman steps 1–2 (objective) → ask the artist their intent → steps 3–4 framed against their stated intent → deliver as sandwich.

**Critique vocabulary bank:** focal point, visual weight, balance (symmetrical/asymmetrical/radial), contrast (value/color), emphasis, movement (eye path), rhythm, unity vs. variety, positive/negative space, hierarchy, cropping, edge quality (hard/soft/lost), value structure, color temperature, saturation, harmony, chromatic grays.

## Workflow 4 — Preparing Digital Art for Print

**Resolution — the core math:**
- Target **300 DPI at final print size** (industry standard, fine-art/photo). **150 DPI** is the acceptable floor most photo labs print. Wide-format >6 ft can go 72–150 DPI. Line art/bitmaps: 1200 DPI.
- Formula: **pixels needed = inches × DPI.** Max size from a file: **pixels ÷ DPI = inches.**
- Cheat sheet @300 DPI: 8×10 = 2400×3000 (7.2 MP); 11×14 = 3300×4200 (14 MP); 12×18 = 3600×5400; 16×20 = 4800×6000 (29 MP); 20×30 = 6000×9000. E.g., a 3264×2448 file prints max 10.88×8.16" at 300 DPI.
- **Scan hand-drawn art at 600 DPI**, then downsample to 300.

**Color spaces:** design in RGB; **convert to CMYK for commercial offset printing** (Photoshop: Edit → Convert to Profile → **U.S. Web Coated (SWOP) v2** for US work). Bright saturated blues/greens/oranges WILL shift — review and tweak after conversion. Most photo labs (not offset) accept **sRGB** and convert themselves. Never send web-sourced 72-DPI RGB files to print.

**Bleed & safe area:** 3 mm bleed all sides (US: 0.125") for anything reaching the edge; 5 mm safe/quiet zone inside trim for text/logos; include crop marks; export press-quality PDF (PDF/X-1a or X-4); embed all fonts; flatten transparency. Keep a backup flattened copy before CMYK conversion (adjustment layers can behave differently).

**When the file is too small:** upscale first with AI upscalers that invent detail — **Topaz Gigapixel AI**, Adobe Super Resolution, Let's Enhance, **waifu2x** (best for line art/anime) — then re-run the pixel math. Some print services (e.g., Printkeg) will run Topaz on sub-300-DPI files with permission.

**Proofs:** always approve a **digital PDF proof** (layout/color/size check); order a **small physical test print** for color-critical or first-time work.

**Agent print-file checklist** (run every time): trim size ✓ / 3 mm bleed ✓ / 5 mm safe zone ✓ / 300 DPI at final size ✓ / CMYK (offset) or sRGB (lab) ✓ / fonts embedded ✓ / crop marks ✓ / PDF/X export ✓ / digital proof approved ✓.

## Workflow 5 — Framing & Display

- **The 57-inch rule:** hang with the **center of the artwork 57–60" from the floor** (museum standard, average eye level). Exceptions: seated rooms (dining/office) → ~48"; above furniture → **bottom of frame 6–8" above the furniture top** (never more than 8" — the disconnected look is the #1 hanging mistake).
- **Gallery walls:** 2–3" spacing between frames (3–6" for airier layouts); treat the whole grouping as ONE element centered at 57–60"; lay out on the floor or paper templates first; photograph the layout to check.
- **Frame types:** modern (thin metal/wood + white mat — high-contrast art); transitional (understated, neutral mat — most work); traditional (ornate, wide profile, warm wood/brass — representational art). Rule of thumb: thick frame for large art, thin for small.
- **Matting:** always archival/acid-free; neutral white or off-white default; mat width grows with art size; mat color lighter than the art, darker than the wall.
- **Glass/plexi:** museum glass (clearest view, UV-filtering options); **plexiglass (acrylic) is now the industry standard** — UV-filtering, anti-reflective, anti-static, scratch-resistant, shatterproof; preferred for shipping and large pieces. Works on paper (drawings, watercolors, pastels) MUST be glazed; use glassine for pastels. Gallery-wrapped canvas → skip glass, floater frame or unframed.
- **Display lighting:** picture lights, adjustable track spots; avoid direct sunlight on any work (fading) — UV glazing helps but isn't immunity.

## Workflow 6 — Selling Physical Art Online

**Platform choice (agent decision tree):**
- **Etsy** — largest handmade/vintage market, strong art-print demand, built-in traffic; fees ~10–12% per sale ($0.20 listing + 6.5% transaction + 3% + $0.25 payment). SEO tools: Marmalead, eRank. Best for: prints and originals from new sellers.
- **Shopify + Printful/Printify** — own branded store, keep margins; Printful (merged with Printify in 2025), free tiers exist. Best for: building a brand, print-on-demand at scale.
- **INPRNT** — curated fine-art print community; prestige + archival quality; requires portfolio application. Best for: premium positioning, established portfolios.
- **Redbubble / Society6 / Zazzle / TeePublic** — open marketplaces, zero setup, passive; suited to merch (stickers, tees, mugs) more than fine art; thin margins. Best for: fun merch, zero-effort presence.
- Common hybrid: INPRNT for premium prints + Redbubble for fun merch.

**Pricing formulas (use all three, compare):**
- **Linear square inch:** (Width + Height) × value + materials + costs + commission%. Emerging-artist example: $4.50/linear-inch for originals, $1.50 for prints. Example: (12+12) × $4.50 = $108 + $60 framing + $50 studio = $218 + 20% gallery commission = $262.
- **Hourly:** hours × rate + materials + costs. Benchmarks: $21/hr new graduate, $28/hr 3+ yrs, $34/hr 5+ yrs (US BLS median for fine artists: $25.55/hr).
- **Etsy:** (Materials + Labor) × (1 + Markup%) — 100–150% markup is standard for ~35–45% margin after fees.
- **Rules:** price from YOUR costs, not competitors'; keep prices **consistent across all platforms**; factor gallery commission (10–50%) into retail price; **raise prices 3%/year minimum** (10–20% when selling well); never price on emotion.

**Print editions:** limited editions sell better than open; offer ONE size; number and sign each (e.g., 5/50); include artist's proofs; raise price as the edition sells (graduated pricing creates scarcity).

**Listing copy:** title = keyword string ("Modern Abstract Art Print | Minimalist Wall Decor | Digital Download"); description states size, materials, colors, and customization options explicitly; use all 13 Etsy tags with buyer search terms; renew/update listings regularly for visibility.

**Shipping/packaging:** posters — roll into **tubes, never fold** (USPS sells free Priority tubes: small ~26", medium ~38"); flat prints — rigid mailer with cardboard sandwich, foam board, glassine/acid-free wrap, box ≥1.5" larger than art on each side with padding; paintings — acid-free paper + bubble wrap, double-wall box, silicone corner protectors for framed pieces. Carrier: **USPS Priority** (best damage track record + free $100 insurance; FedEx as premium/backup); insure valuables at **110% of declared value**; ship acrylics after 72 hrs cure. Indicative costs: small print package ~$10, tube $15, 18×24 box $20–30, 24×36 box $30+.

## Operating Rules
1. **Diagnose from the actual image.** If the agent can't see the work, say so and ask for an upload — never critique blind.
2. **Intent before judgment.** Always ask what the artist was going for before rendering Feldman's steps 3–4.
3. **Actionable feedback only.** Every critique ends with one concrete next step.
4. **Print math is non-negotiable.** Run pixels ÷ DPI before recommending any size; never promise a print size you haven't verified.
5. **Color-space mistakes cost real money.** Confirm offset vs. photo-lab before advising CMYK conversion.
6. **Pricing from costs, never from vibes.** Run the formulas; show the math to the artist.
7. **Money moves (listing, pricing changes, shipping labels, purchases) stay approval-gated** — this skill covers drafts, math, checklists, and guidance, not unilateral transactions.

## Examples

**Example 1 — Critique from upload (agent run).**
Human uploads a graphite portrait. Agent runs Feldman: (1) Description — "graphite on 9×12 paper, single figure, head and shoulders, light background wash." (2) Analysis — "values cluster in the mid-tone band; edge quality uniformly soft; left eye sits ~3 mm higher than right." (3) Asks intent → human: "wanted a moody, dramatic look." (4) Judgment — "mood is working in the background wash; the mid-tone values and symmetric softness undercut the drama." Delivered as sandwich: praise the background wash + observation quality → fix: push shadows 2 value steps darker on one side of the face, flip the drawing to correct eye placement → encouragement: "the construction is 80% there; those two moves finish it."

**Example 2 — Print prep (agent run).**
Human wants a 16×20" print from a 4800×6000 file going to a photo lab. Agent math: 4800÷16 = 300 DPI, 6000÷20 = 300 DPI ✓. Lab accepts sRGB → no CMYK conversion needed. Checklist: 300 DPI ✓, sRGB ✓, no edge-reach → no bleed needed, export high-quality JPEG, approve digital proof, order one small test print first for color.

**Example 3 — Sell (agent run).**
Human's 12×12" original, 6 hours of work, $60 materials/framing. Agent runs all three: linear-inch (24 × $4.50 = $108 + $110 costs = $218 + 20% commission = $262); hourly (6 × $28 = $168 + $110 = $278); Etsy markup (($60 + $168) × 2.0 = $456 — runs hot for originals, note why: the markup formula is tuned for prints, not one-off originals). Agent recommends $260–280 retail, consistent across Etsy and INPRNT. Platform call: Etsy first (built-in traffic, no application gate), INPRNT application as the prestige step. Drafts the keyword title, description, and 13 tags; shipping plan: rigid mailer ≥1.5" over art, USPS Priority, insured at 110%.