art_irl v1.0.0

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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."

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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%.