THE CREATIVE PLACE-MAKING MAGAZINE
IDIR
ARTE
a-
THE ART’S ISSUE DARLINGTON PANTON, ETHELIND BELLE STYLING, NURRISA CHAIWUT, MADELEINE DAVIDSON, ISAAC WEST-COLDVENUS COLLECTION
IDIR Founder // Executive Director-chief photographer- DARLINGTON PANTON. idirmagazine.com Public Relation Manager- Sennami Goziem. idirmagazine.com Marketing Manager // Director-Beatrice Adenodi. idirmagazine.com Media // Web-Analyst-Barnabas Wamao. idirmagazine.com
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A-ARTE
THE ART’S ISSUE Model- Madeleine Davidson , Nurrisa Chaiwut Stylist-Ethelind Belle, Exclusive shoot//Photography Darlington Panton
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INSIDE THIS ISSUE
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THE CANVAS :Photographer Darlington Panton // Models, Nurrisa Chaiwu// A-ARTE /Cover shoot
AUTODIDACT
p10-13
p20-23
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FRENCH ARTIST: KYLISS
figuration and abstraction ARTIST // Stephen Godlieb
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pg 8-9 // AMBOZELI BRAND - LIFESTYLE CLOTHING Pg-14-17 //Marlissa Karpeh Abstract Expressionist artist Pg-24-27 // THE TRANFORMATION Artist Darlington Panton. Pg- 36-37 // COLDVENUS COLLECTION season.1 // Launched Runway
Pg - 38-43 // ETHELIND IN EGYPTExclusive editorial // IDIR- Model Nurrisa &Madeleine
pg44-45 // PLACE FOR ARTIST lists of organizations for emerging artists
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Why Use Gesso? By: Artists Network | July 8, 2016
One of the most frequently asked questions I receive from workshop participants and readers of my book, Abstract Explorations in Acrylic Painting, is, “Why do you use gesso?” Often there are a few words tacked on to the end of that question: “Why do you use gesso instead of white acrylic paint?” or, “If you’re going to coat the slick surface of Yupo with gesso, why not just coat watercolor paper instead?” The answer to these questions can be summed up by two words: Appearance and Absorbency. • Appearance. When I want to make a tint (white added to a color), I will add white gesso to it rather than adding white acrylic paint. While most acrylic paint dries to a glossy finish, gesso dries to a matte finish. When you add gesso to your acrylic paint you’ll achieve a matte or, depending on the ratio of acrylic paint to gesso, a satin finish. Often the first layers of my paintings, although painted with acrylic, are done in a very fluid and thin manner much like watercolor. Because this layer is thin and absorbs into the surface, it will not dry with the usual glossy appearance that we are accustomed to seeing with acrylic.
The answer comes back to the issue of absorbency, not of the gesso, but of the surface upon which it is being applied; and for my purposes, I don’t want that surface to be absorbent. As you may know about watercolor paper, if nothing else, it’s absorbent. When you coat watercolor paper with gesso you’re applying a slightly absorbent material on top of an absorbent surface. Some of the gesso will absorb into the paper’s surface and the resulting surface will still be somewhat absorbent. Imagine geology class and a picture that is a cross section showing layers of rock. Watercolor paper is like a layer of sand. Gesso is like a layer of packed dirt on top of it. When you apply diluted, watery paint, it will absorb through the packed dirt (the gesso) and once it gets to the sand (the watercolor paper) it will be sucked up.
I like to carry this same matte appearance throughout the painting, and adding gesso to my paint, rather than white acrylic, allows me to accomplish this. There’s nothing wrong with a glossy finish, and I do have paintings that I finish this way, but, if I’m after a final matte surface, and the painting requires opaque or translucent paint, gesso is the solution.
• Absorbency. Gesso gives tooth and a certain level of absorbency to a painting surface. Several of my abstract painting techniques involve the use of the synthetic, polypropylene material called “Yupo.” It has been adopted from the commercial sign printing industry and because it is essentially plastic, it’s non-absorbent. For certain purposes, like using it with alcohol inks, this is just what you want; but for my purposes, I find it a bit too slick. This is where gesso comes to the rescue with its ability to add both absorbency and tooth (surface texture) to the Yupo. Now this is where my students and readers start to cock their heads to the side and begin to ask the follow-up questions: • “Why don’t you just gesso regular watercolor paper instead of Yupo?” • “Won’t a gessoed piece of watercolor paper give you the same surface as a gessoed piece of Yupo since you are essentially sealing the surface below with gesso?” To answer this, I wish I was sharing a video rather than an article because I find this very hard to explain without my hands! But, for you, I will give it a try.
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Now consider Yupo. Yupo is like a hard compact layer of stone, and gesso is still our hard packed dirt on top. When you apply your diluted watery paint, it will absorb through the packed dirt but it will hit bedrock! This means that much of that watery paint is going to remain on the surface longer and take longer to dry because it is not being sucked up by the underlying layer. You still get the advantages of the non-absorbent surface along with the advantages of the slightly absorbent gesso. This combination allows you to have more control over your paint application than if you were working directly on Yupo, but the gessoed Yupo still allows much of the paint to remain on the surface where you can manipulate it, remove it, or add to it before it dries. In Arizona, where the paint dries as it’s leaving the bottle, this is very advantageous. So, why do I use gesso? One last reason. It’s much less expensive than white acrylic paint and I can buy great big bottles of it verses the little tiny bottles of acrylic that I can afford. But, I will always choose the product that helps me achieve my vision; I am just glad that gesso does the trick! Bio: Jo Toye is an experimental artist who finds great delight in bringing the intuitive nature of play together with the more formal elements of design. She lives in Scottsdale, Arizona where she joyously shares her evolving process through her popular art workshops and classes. To see some of Jo’s work or a video walk-through of her book, Abstract Explorations in Acrylic Painting, visit her website at: www.inspiredpalettestudio.com. source: http://www.artistsnetwork.com/articles
AMBOZELI BRAND
www.ambozeliclothing.com
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AMBOZELI BRAND LIFESTYLE CLOTHING SHOP ONLINE www.ambozeli.com
CONTRIBUTORS > Coldvenus Collection //production// Isaac West > Videographer-Bwamao Media > Madeleine // Model Nurrisa// Model/ fashion designer student Tamie Lawson // Model Ethelind Belle // Stylist Breanna Porter // MUA ManlyCollections- www.manlycollections.com Richard Moody -STUUDIYO23 MOH-Store Danayte Horsa // Contributing editor
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autodidact FRENCH ARTIST: KYLISS
Kyliss is a 22-year-old self-taught French artist. At age 17, Kyliss discovered drawing and find real passion and dedication in perfecting her craft and skill. Still attracted to art, especially drawing, she chose to study jewelry making during her four years in art school. Kyliss, never let go of her passion for drawing, despite her love for jewelry and now dedicated all of her free time to her art and techniques as an autodidact. From a glance of her drawings will blow your mind. The hyper-realism in her portraits of people and detail in the figures is out of this world stunning. According to Kyliss, the realism in her work in made on drawing paper mounted on canvas. She also added that most of her inspiration for her art comes from books, documentaries, exhibition of tattoos and tribes culture. To learn more about this amazing artist and her work, visit her on:
You can visit Kyliss on: Facebook: https://www.facebook.com/kyliss/ Instagram: @kyliss_art (https://www.instagram.com/kyliss_art/) IDIR VO.3
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autodidact FRENCH ARTIST: KYLISS
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MARLISSA
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KARPEH Abstract expressionist artist
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Malissa Karpeh Abstract Expressionist artist Malissa Karpeh, Liberian-American Abstract Expressionist painter, uses her struggle and passion to drive her creative process. She believes that everything is about understand “your environment”. Her work is deeply based on the struggle to comprehend, it’s never really a representation of anything but a representation of its self. “I believe that we must first think of what we want our work to say and then allow our work to present its self- And in order to that, you must stop erasing what we think doesn’t work.” Melissa - “I feel that as a viewer, if you see something and can’t take our eyes off it; we can question it all we want but... you should keep those questions to yourself and then go back to enjoying what is in front of you, despite a complicated mindset.” Because there is a uniqueness in failing, struggling and understanding things around us. Melissa is currently working on a new series of work called “THE IDEA”. Look out for her showcase, coming Spring of 2016.
Visit me: instagram : @MARLISSA_K
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talking back in
Their Element
April IDIR found young men riding high on the dreams, crafts, and passion for changing the world. This issue celebrated these educated young men in the career. Model Vii Washington and Khong Xiong graced the cover with styling by Ethelind Belle and Manly Collections.
“Never thought i would be on the front cover of a Magazine..one of my dream just came true” @xhongkiong
ALL about The Birth
The face and issue that start it all Evelyn Witherspoon graced her first ever cover for the birth of IDIR MAGAZINE, stunning everyone with her striking beauty and introducing IDIR to the world.
@phebe_krutsch
“this is fire” striking @morielwines
ARE YOU FOLLOWING IDIR................ START NOW........................................
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facebook @idirmagazine instagram @idir_magazine
A place for everyone..www.idirmagazine.com
“OH LOVE”
KEEP CALM and BE NOBLE
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MOVEMENT: figuration and abstraction A R T I S T:
S tephen G o dlieb
I Am Nobody : Oil on wood panel /// 16” X 16” Movement is essential in my artwork from the figures’ energy to the use of vigorous brush strokes. I use repeated and overlapping images as well as brush-making techniques to represent a movement. Most of my artwork focuses on the human figure. Abstraction and realism fused together to express the feeling of the freedom that I find in the creative process. Many of my ideas come from my surroundings combined with a process of working with the meaning of its words. I encourage my subjects to try to provoke thought and mood through gaze because I’m not interested in presenting the viewer with an ambivalent or pleasant painting but I prefer emotive strength. I’m interested in abstract concepts; the paint as a medium and how my medium operates on the paper with the figure as the scaffold for my ideas. I tend to treat color within the medium quite aggressively showing highlight realism of the figure while also adding paint marks that blend into the background so some spaces become abstract. I believe my pursuit as a painter is to straddle the line between figuration and abstraction.
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Nillz Mixed media on paper
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Numb, Oil on wood panel, 16” X 16”
Websites: www.sweetgraphik.weebly.com Instagram: @sweetgraphik
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Cesqeaux Oil on canvas
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THE
TRANSFORMATION THE MACHINE &MAN
Ar tist:DARLINGTON PANTON
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Darlington - “I am a painter and photographer, making artworks that explore the human body as a mechanism. I am examining the ways in which we are like machines or are being transformed by our machines. In this sense, my work has much in common with surrealism but its dream-like quality is informed by contemporary technological realities�. Does technology influence human anatomy? What are the limits of technology-when it starts to involve experiments on human subjects? These are thesis questions Willie work poses. Through distortion or reconfiguring the human body, [His work explores questions about the mechanics of the body. Darlington work also explores what our technological society feels like to the sentient body. His work depicts the figure intersected by lines, circles, geometric diagrams, architectural plans and gears. The images imply that we share a relationship with technology and that we are machines of a sort. While Willie work addresses the idea of beauty in the design of both the body and the machine, it also highlights and suggests an unnerving fear that is posed by a world that blurs the boundary between what is human and what is machine.
VISIT: Instagram @darlingtonart
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VISIT: Instagram @darlingtonart
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CANVAS Model // NURRISA CHAIWUT
photographer : Darlington panton
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CANVAS - MODEL// NURRISA Chaiwu Photographer, Darlington Panton
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CANVAS- MODEL// NURRISA Chaiwu Photographer, Darlington Panton
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The Value of Paintings vs Drawings | Art Business By: Lee Hammond | June 3, 2016
As an author, I’m contacted by my readers quite often. I love their questions, for they really make me think. I found the following one regarding art business very interesting. In this email my reader asked about the value of art. His question was a good one, and it made me ponder. He wanted to know why some forms of art are deemed more valuable than others. Why are oil paintings for instance, valued higher than drawings. This is what I came up with as as answer; maybe you have a few more ideas that we can add to the list. When it comes to the value and pricing of artwork, there are a few things to factor in. Much of it has to do with the difficulty of the piece, and the experience of the artist. An accomplished artist with a lot of time invested in their talent is deserving of a high price. You’re paying or admiring years of hard work and learning. Also to consider is the cost of the supplies and the skill required. Oil paintings will alway demand higher pricing because oil is a very difficult medium to become proficient with, and usually it will take the artist much longer to complete a piece. Also, the cost of paints, brushes and canvas is quite an investment. Brushes for oil can run into the hundreds of dollars. Some tubes of paint that are of high quality and pure pigment can cost over $100 per tube. But the longevity of oil is unsurpassed, for it’s a medium that will endure and not deteriorate much over time. Watercolor, along with pastel, can also be deemed more expensive and valuable due to the products used. These pigments can be very expensive to produce and to purchase. Yes, manmade, synthetic pigments are more affordable, but pure pigments from the earth are quite expensive. This becomes a true investment. The artist must have a lot of time invested to learn the techniques for using these products as well. All three of these mediums have been used by artists since the beginning of art. Historically, the materials were all handmade using earth’s pigments, and that’s why they have lasted the test of time. When you get into the drawing mediums, the price will go down. The materials cost less, and the time investment often goes down as well. Colored pencil is still considered a relatively new medium, as it wasn’t used for fine art until the last 75 years or so. It gets more attention and recognition Preliminary drawing by Michelangelo every year, thank goodness, and is now allowed in art galleries and shows where it wasn’t allowed before.
Detail of the Sistine Chapel’s ceiling, by Michelangelo. A lot of preliminary work preceded this famous painting done in oil. Of course, today it’s invaluable.
A lot of the attitude about different mediums stems from the Old Masters. Back in the 15th century, drawings were often looked at as a preliminary study for future paintings. The drawings were where the artist sketched out the ideas, worked out the problems, and then moved on to paint. They were just concept pieces. This gave drawings a stigma of being “less” than paintings, because they were looked at as mere stepping stones to the real art coming up. Wealthy people wanted the expensively done oils because they were so highly regarded. Their value was always much higher due to the demand, and the fact that it was a purchase made only by the richer class. Today, little has changed in the perceptions. Remember, as artists, we tell people the value of our work by what we charge. A cheap price makes the buyer less attached to the piece. Don’t be surprised to see it in a garage sale some day. A higher price makes it an investment and a proud heirloom. People value their things by the amount they sacrifice to have it. Don’t undersell yourself. Your time and talent is worth being compensated for.
As an artist myself, I charge a lot for my colored pencil works due to the time I put into them. It’s a difficult medium to master, and it took me a long time to become good at it. I still charge a lot more for my oil paintings, though, due to the difficulty and the costs associated with them. source: http://www.artistsnetwork.com/articles
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COLDVENUS
Model Nurrisa editing her selfie for posting why model Jamie watch, backstage of COLDVENUS Season 1 Runway lanuch...
SEASON NO.1 LAUNCHED RUNWAY DESIGNER: ISAAC WEST BACKSTAGE PHOTOS
Designer Isaac West launched season one of Coldvenus collection this June in Minneapolis, Minnesota. IDIR was there in full to see all his hard work and dedication come to life. The show was very conceptual and filled with beautiful models wearing Coldvenus elegant dresses as they walk the runway. One of the diverse line-ups of models we have seen in a fashion designer runway here in the big Twin cities. IDIR - 36
Model Bijoux & Fernanda post for a backstage photo at the Coldvenus collection season 1 runway...
Founded by fashion student designer Isaac West,
COLDVENUS
is a fashion brand, specializing in women and men’s wear. Coldvenus clothing is hand tailore, establishing the brand. Exuding sophistication and classical fashion wear and looks, COLDVENUS has the recipe for longevity. COLDVENUS was founded July 2010 and has been trending for both men and women to enjoy. COLDVENUS also specializes in artistic visuals and styling music video. COLDVENUS aims to launch a new line in 2016 find them on social media// instagram @coldvenuscollections
OMG!! TOO MUCH CUTENESS IN ONE PLACE...
“I’m a aspired fashion designer, looking to one day make my vision seen by the world.” Designer Isaac West
“too much beauty “ models line up for a quick photo snap before the runway..season no.1 // COLDVENUS
Model Hongman Li backstage
backstage up
close //season. no.1 IDIR - 37
ETHELIND
EGYPT IN
PHOTOGRAPHER // DARLINGTON PANTON
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Ethelind in EGYPT // Exclusive E ditorial
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Model, Madeleine Davidson, Nurrisa Chaiwut, Stylist- Ethelind Belle photographer-Darlington panton “EGYPT”
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Model, Madeleine Davidson, Nurrisa Chaiwut, Stylist- Ethelind Belle photographer-Darlington panton “EGYPT�
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How To Get Your Art Noticed | Art Business Advice By: Cherie Dawn Haas, Senior Online Editor Being a creative entrepreneur can have bipolar effects–it takes a balancing effort worthy of the Wallendas to stay humble and yet simultaneously broadcast to the world that you’re talented and your art is worth buying. But I’m here to tell you that you must promote your work! Doing so is the best way to market yourself as an artist and ultimately sell your art. Call it boldness, call it audacity, call it what you want, but when it comes to art business, you cannot wait for someone to stumble across your work if it’s stacked up in your studio. No matter what your art is–sculpture, painting or photography–get it into the buyers’ hands. In the 2016 Photographer’s Market, you’ll find articles on how to sell your art, keep your files organized, protect your copyright and much more. The following excerpt is on how to get your art noticed by using self-promotion mailers. Art Business: Self-Promotion Mailers from the 2016 Photographer’s Market There are basically three ways to acquaint photo buyers with your work: through the mail, over the Internet or in person. No one way is better or more effective than another. They each serve an individual function and should be used in concert to increase your visibility and, with a little luck, your sales. When you are just starting to get your name out there and want to begin generating assignments and stock sales, it’s time to design a self-promotion campaign. This is your chance to do your best, most creative work and package it in an unforgettable way to get the attention of busy photo buyers. Self-promotions traditionally are sample images printed on card stock and sent through the mail to potential clients. If the image you choose is strong and you carefully target your mailing, a traditional self-promotion can work. But don’t be afraid to go out on a limb here. You want to show just how amazing and creative you are, and you want the photo buyer to hang on to your sample for as long as possible. Why not make it impossible to throw away? Instead of a simple postcard, maybe you could send a small, usable notepad with one of your images at the top, or a calendar the photo buyer can hang up and use all year. If you target your mailing carefully, this kind of special promotion needn’t be
If you’re worried that a single image can’t do justice to your unique style, you have two options. One way to get multiple images in front of photo buyers without sending an overwhelming package is to design a campaign of promotions that builds from a single image to a small group of related photos. Make the images tell a story and indicate that there are more to follow. If you are computer savvy, the other way to showcase a sampling of your work is to point photo buyers to an online portfolio of your best work. Send a single sample that includes your Internet address, and ask buyers to take a look. ~2016 Photographer’s Market North Light Shop has a new collection available that, although specifically for photographers, will be appreciated by anyone interested in art business or learning about professional photography: The Photographer’s “Create-and-Show” kit includes the 2016 Photographer’s Market, Art of Everyday Photography book and eCompanion by Susan Tuttle, and a “Create and Show” professional art board and Matboard kit from Crescent. Use these resources to learn how to break into photography. Remember, don’t hold back when it comes to promoting yourself and your art. No one else is going to do it for you. Stay amazing and creative, Cherie
expensive.
Visit: www. artistsnetwork.com IDIR - 44
PLACES FOR
ARTIST
ArtSlant.com
Mnartists.org is an online database of Minnesota artists and organizations from all disciplines. It offers to Minnesota-based artists a central gathering place on the Web, and will grow to become a marketplace and community hub. It offers the public a new way to explore art and get to know artists
MNArtists.org
, the #1 contemporary art network, opened in Los Angeles in February 2007. Since then our city-based editions have grown to cover many of the world’s great art spots, from the US to Europe to India and China. ArtSlant is a rich resource for the artist, the collector, the curator and the art lover. Featuring a vibrant community of contemporary artists, comprehensive art calendars of openings and exhibitions, and ground breaking arts writing, we invite you to enjoy our special slant on the art world.
Since 1987, Artist Trust has provided Washington State artists of all creative disciplines the support to launch and sustain successful careers-through financial grants, career training and professional resources. Artist Trust is one of the few organizations in the U.S. that supports artists directly.
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TOP MUSEUM TO VISIT IN MINNESOTA for all you art culture lovers...
MIA
http://www.walkerart.org/
MINNEAPOLIS INSTITUE OF ART Mia inspires wonder with extraordinary exhibitions and one of the finest wide-ranging art collections in the country. From Monet to Matisse, Asian to African, 40,000-year-old artifacts to world-famous masterpieces, Mia links the past to the present and enables global conversations.
WALKER ART CENTER
Internationally recognized as a leading arts venue, the Walker Art Center presents contemporary visual arts and design exhibitions; dance, theater, and music performances; and film screenings. The Walker hosts lectures, classes, and events for visitors of all ages with many of today’s leading figuresfrom the worlds of art and culture. The building’s elegant brick tower, designed by Edward Larrabee Barnes, opened in 1971 and is complemented by a dynamic aluminum mesh and glass expansion by Pritzker Prize–winning Swiss architects Herzog & de Meuron, completed in 2005. Overall, the campus has 11 exhibition galleries, a cinema, the McGuire Theater, a series of indoor lounges and outdoor terraces, and a café, bar, and restaurant.
ince 2002, The Museum of Russian Art (TMORA) has served as the Twin Cities’ window to Russian art, history, and culture. Our mission: Education, Enlightenment and Engagement through the Art of Russia. It is a member-supported 501(c)3 non-profit since 2005, we are dedicated to introducing museum goers to various Russian art, history, and culture.
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NEWS. Economics
Everything you need to know about Aerial Photography is here Jul 14, 2016 • By enventdigitaltechnologies Aerial Photography is considered to be one of the best methods of capturing shots. However, a large number of people still aren’t as aware of this method as they should be, and if you are one of them, you should continue reading. Aerial Photography in India and many other parts of the world is yet to become as popular as it is in a few parts of the world since the cost of availing Aerial Photography services in such places isn’t affordable. However, things in this regard have taken a pleasant turn during the course of the last few years, and the concerned cost has witnessed a decline, but it is something that needs to continue happening. The very first successful session of Aerial Photography dates back to 1858 when Gaspard-Félix Tournachon captured an aerial shot in France with the help of a balloon tethered at a height of 80 meters. Initially, carrying out Aerial Photography wasn’t as easy as it now is because back then, barring pigeons, balloons, and kites, there was nothing that the people had at their disposal to mount the camera for capturing aerial footage.
If you opt for a drone for capturing aerial shots, you need to ensure that it stays airborne for the desired length of time. The duration for which a can stay in the air on a single charge varies from model to model. You also need to choose between a drone that comes with a built-in camera and the one that come without it. The quality of shots captured through drone photography in India and the rest of the world depends on things like the lighting conditions in the concerned area and the quality of the concerned lens. In order to be effective, drones need to be controlled well by the concerned ground-based professional. Envent Digital Technologies is serving clients across India by capturing beautiful shots through drone photography at the most affordable cost in the market.
These days, however, most of the professionals capture aerial shots either through a manned or an unmanned aircraft. Pigeons are no more used for the same purpose but kites, in this regard, have been able to retain their charm among a few professionals. There are a few things that must be taken good care of to ensure the desired results through Aerial Photography. The very first choice that the concerned person needs to make is between a manned aircraft and a drone. Equally good results are possible either way, but the former involves more money than the latter.
• enventdigitaltechnologies
http://www.articlesbase.com/economics-articles IDIR - 48
NewsUSA: Financial, General Know Your Money: What to Do With Your Old 401(k) Congrats on landing that new job! Or maybe you’ve “moved on to other opportunities.” One thing you need to consider: what to do with your old 401(k). It is estimated there are approximately 15 million “orphan” accounts left behind when employees leave an old job, because of either inertia or plain confusion over strict rules for moving the money. And since the Internal Revenue Service (IRS) doesn’t allow any dawdling over a key decision—you’ve got 60 days to relocate the money into a different account if you withdraw even a dime—here’s a rundown of your options to avoid what could be a costly mistake: Option No. 1: Cash Out. Unless you absolutely need the money, the general idea is that this is a bad idea. Aside from ceding potential gains in your portfolio, notes Sara Walsh, vice president of retirement solutions at Fidelity Investments, “you will have just given the IRS a huge chunk of the money you’ve been saving for years. That’s money you won’t have for retirement.” How so? Twenty percent is withheld to pay federal income taxes—the state taxman may want a cut, too—with another 10 percent taken out for “early-withdrawal penalty” if you’re under age 59 1/2. Or, to use an example from Fidelity’s website (www.fidelity.com), say you’re a 36-year-old who raids her $50,000 account. After federal taxes and penalties, you’d be down more than $17,000, for a sum total to you of $32,500.
Option No. 4: Leave It With Your Ex-Employer. Penalty-free withdrawals are allowed for those who leave their jobs at age 55 or older (unlike 59 1/2 for IRAs), and unique investment options might warrant just letting things ride. But some people forget the account exists—yes, really—and further contributions are verboten. Whatever you decide, remember the clock is ticking for you to contact your old 401(k) administrator.
Option No. 2: Roll the Money Over to Your New Employer’s Plan. Double congrats if your boss is willing or going to match all or part of your new 401(k) contributions. That could be a good sign, but know that not all firms accept rollovers. If yours does, one big question is this: Are the plan’s investment picks to your liking? • Option No. 3: Roll the Money Into an IRA. As with the above option, you can avoid the tax bite of cashing out. The difference, though, is that not only do IRAs offer more investment choices than the typical 401(k), but you’re also able to make penalty-free withdrawals for qualified education expenses or up to $10,000 for a first-time home purchase. “The rollover process is relatively easy,” says Walsh. “And if you already have other accounts elsewhere, it may be simpler and more effective to consolidate under one roof.”
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