Archive for the ‘The School of Oops’ Category

Limiting Options to Raise Productivity

Thursday, February 1st, 2018

Last time I wrote about combatting burnout by trying something new.  I love having many different media available to work with, and developing the confidence to use each one comfortably.  Each medium has its strengths as well as its drawbacks.  So it would seem counterintuitive to regularly limit my options in using them.

But the truth is that I have a tendency to spread myself too thin.  We used to call that being a Jack of All Trades, which, of course, can easily preclude becoming a master of any.  With too many options at my disposal, I find I actually accomplish less overall than when I concentrate on a single medium.

The first quarter of this year, I am teaching watercolor classes.  So during this period I’ve decided that the focus of my own work should also be on watercolor to explore a variety of techniques to broaden the repertoire of my skills.  When I attempt a variety of techniques in, say, oils and pastels, at the same time, can I gain enough practical experience in the multiple media to benefit me much in any of them in the long run?  Probably not as rapidly as if I focus on developing skills in one medium at a time.

Similarly, if I divide my practice time among landscapes, portraiture, and still life, my visual attention will be scattered.  Whereas, if I focus on landscapes alone, I can attune my eyes to notice perspective, value and saturation changes, atmospheric effects, shape differentiation, and so on.  If I focus on figurative work, I am more inclined to notice how the angles, planes, and variations from “the norm” reveal the identity and attitude of an individual, as well as consciously observing the hue and temperature changes in various skin tones.

Although I may select more than one subject to use as examples for my students, my own practice and production should reflect the focus of whichever studies (both subject matter and medium) that I’ve selected to concentrate on, for my own benefit, at any given time.  In this way my attention isn’t so scattered, and I’m less likely to become sidetracked into less productive directions.

Of Prudence and Preference

Friday, December 15th, 2017

In this month that too often turns into Frenetic-Shopping Season, it’s important to trust our own taste and judgment about what to choose.  We can be unconsciously and unduly influenced by the hype of advertising and salespeople, especially when shopping for merchandise with which we may feel insufficiently knowledgeable, such as artwork.

Art is one area in which uninformed buyers can easily be duped into “investing” in works of little intrinsic value or merit.  But how can you protect yourself?

While traveling earlier this month, I was reminded of how easily an uninformed shopper can be misled.  At a so-called “plein-air” gallery, the displayed paintings were, to my eye, obviously painted from photographic reference material rather than ala prima style, en plein air.

What’s the difference, and why does it matter, you may ask.   These are valid questions.  “En plein air” is the French term for painting outdoors, on location.  It involves contending with the natural elements:  heat, cold, humidity, rain, snow, wind, insects and other wildlife, and all their associated discomforts and inconveniences.  It also means that the light is continuously changing as the sun moves and alters the position of shadows.  So plein air work is often done comparatively quickly, without the refinements an artist is more likely to take time for in the studio.  Animals, human figures, and details are more often suggested with quick, minimal, but carefully considered brush strokes than with fine detailing and highly rendered brushwork.  So the overall appearance often tends to be rougher and more “painterly” than studio work.  But the immediacy of the ala-prima (all-in-one-go) approach also imbues it with a sense of liveliness and personality that is difficult to reproduce in the studio.

Whether or not it’s actually worked en plein air makes no difference to its intrinsic value; but some collectors prefer the smaller sizes and spur-of-the-moment quality that typifies plein air work.  If you like the painting, it shouldn’t matter in what manner or under what conditions it was painted, but don’t be misled by an inaccurate representation of the work.

Another gallery I visited sold beautifully executed watercolor images but didn’t openly specify that the merchandise were prints rather than original watercolors.  Typically, prints are priced considerably lower than original watercolors because any number of copies may be made from a single original image, and can be made in a variety of sizes.  This means that the same image may be sold to a number of different buyers for a variety of purposes.  For the artist, the sheer quantity of sales can make up for the lower price of the prints.  But the inks used may not precisely match the original colors and are often subject to more rapid fading than most professional-quality watercolor pigments would be.  And the buyer does not have the exclusivity of owning the original painting, which is what most fine-art collectors prefer.  If you see multiple copies of the same image, or notice it in more than one size, or if the price seems unusually low, you can be pretty sure that you’re looking at prints rather than originals.  And that’s fine if you don’t feel strongly about owning an original.  But you should be aware of the differences before you decide to buy.

Prints of oil paintings, of course, usually lack the impasto texture typical of oils.  Even these, though, may be reproduced on canvas and may be “enhanced” in key areas with an impasto gel to simulate the surface textures and brushwork of the original painting.  Look for inconsistent surface textures and for textures that do not align with the direction of the underlying brushwork, as shown below.  These prints have their place, but if you buy one, let it be a conscious, informed decision rather than a misguided mistake.

Inconsistent surface textures indicating gel enhancement over a print of an oil painting.

Inconsistent surface textures indicating gel enhancement over a print on canvas.

“Limited edition” prints usually show a number, such as 83/250, in a lower corner of the trim edge.  This means that it is print #83 out of a limited print run of only 250 total prints, after which no more would be made (traditionally, the metal plate used would be destroyed).  This designation used to be more important than it is now because it was used to indicate how comparatively crisp the manually pulled print was likely to be when taken from a metal plate.  This plate would wear down a bit with each print taken from it, gradually losing its crispness and clarity.  So the lower the first number, the higher the quality was likely to be.  This is still a valid designation for etchings and some other art forms, such as wood-block prints. But most reproductions of paintings today are not manually pulled from this kind of plate but are more often gicleés (sprayed ink) or other computer-type printouts, which make the size of print runs and the relative position within the run virtually meaningless.

So, especially if you lack confidence when shopping for artwork, whenever you choose art, don’t think in terms of its financial investment value (which is always a high risk, whatever salespeople might try to tell you about the demand for some high-profile artist’s work), but base your selection instead on what moves you and art that you truly like.

If you can, try to learn the motivation and story behind any specific artwork you are interested in purchasing.  Learn about the artist and what influences might be reflected in the work.  These stories will help you connect with it on an even deeper level than what originally drew you to the work, and will enhance your appreciation of it in the future.  It will also provide you additional information to share with people who admire it in your home or place of business.

In short, there’s no need to be afraid to shop for artwork.  It’s available to suit a broad range of tastes and in a wide range of prices.  Let any thought of “investment” be purely in your pleasure in the artwork, not in some “potential” (but unlikely) increase in monetary value.  So find what you like, and what suits your needs.  Whatever your budget and targeted price range, be discerning when it comes to quality to know what you’re getting.  As my grandmother used to say, “Trust your own good judgment.”

I hope you find exactly what you’re looking for, both in this joyous, if somewhat frenetic holiday season, and throughout 2018.

Please feel free to contact me if you’re interested in learning more about any of my work.  My paintings are currently all originals, not prints or gicleés.  I am always happy to divulge the stories behind my work when requested.

Winnowing the Yield

Friday, December 1st, 2017

One of the plights an artist faces is what to do with the vast amount of “product” that accumulates in the studio.  If we are skilled and in demand, much of what we create sells promptly and clears the way for further work.  Although I’m not quite at that point yet, I intend to keep working at it.

As we climb the stairway toward greater success, years’ worth of practice, studies, and still-immature work tends to accumulate, gradually encroaching on the working environment, consuming shelf, drawer, wall, floor, and other storage space until there’s scarcely room to move.  So sometimes we need to glance back down that stairwell to see that though what we achieved at each step succeeded in teaching us something to carry us a step further, that we had not yet reached our destination.  Just as I did in this depiction from several years ago of an unusual natural-wood stairwell configuration.

"Spiral Stair" 11"x15" watercolor (#130702w)

“Spiral Stair”
11″x15″ watercolor (#130702w)

Even knowing that my own work has not always lived up to my hopes or expectations, I often find it difficult to discard what amounts to ideas.  (Surely they could be useful to me sometime in the unforeseen future.)  The problem is that the material accumulation of unsuccessful or unfulfilled “ideas” can interfere with my continuing work in the present and even deter fresher ideas from coming to fruition!

So as we approach the end of another year, it’s time for me to winnow out the chaff—those earlier efforts that reaped no rewards beyond experience (a good enough reason in itself to have painted those pieces) to make room for more mature work.  Three stacks soon accumulated:  discards, salvageables, and keepers.

“Salvageables” fell into several categories—those that require only minor work to bring them up to acceptable standards; those from which I would like to make another attempt of the same subject, usually in a different medium (Oh dear, there are those ideas again!); and those from which I can reuse the canvas or framing materials, if nothing more.

The decisions aren’t easy.  (I can be ridiculously sentimental about some of my work.)  But as a professional, why would I want to waste space on pieces of much lower quality than I can currently produce?  I mustn’t!

Certainly, selling it might bring in a bit of immediate revenue, but it wouldn’t help reinforce the brand quality that I want to project.  So some “tough love” has had to come into play.  And some forthright frankness with myself about what lives up to, or at least approaches, my current level … and what simply doesn’t.

The job of culling the crop isn’t finished yet, and may not be before the end of the year … but hey, … I can already see a little open rack space again!


Tuesday, August 15th, 2017

Even small successes nurture confidence.

A month ago I had the delightful experience of watching my youngest grandchild learn to walk.  He’d already taken his first unsupported steps some time before I arrived for my visit, but on my first day there, he was still toddling only a few steps at a time before landing on his well-padded seat and having to cautiously resume his upright stance before making another attempt.

"Stepping Out," by Charlotte Mertz (7"x5" graphite pencil, #170801p)

“Stepping Out,” by Charlotte Mertz (7″x5″ graphite pencil, #170801p)

The second morning of our visit, he was able to walk for several additional steps at a time.  But if he swiveled his head or tried to turn, he lost his balance and would drop down onto his seat again.

By the third morning he had mastered his turns enough to make a game of pivoting, and by evening was able to not only cross the entire room but chase his brother halfway down the hallway.  His efforts weren’t perfect; he wobbled a lot and frequently lost his balance.  But he had developed enough confidence to prefer his upright mobility to his previous four-point method of locomotion.  And the more he drew on his confidence, the more adept he became.

The same is true when we practice any skill.  Our advancements may not be as apparent as those of a young child, but even our baby steps do improve with practice, and, despite minor setbacks, “wobbles,” and sometimes-less-than-stellar results, the more we succeed, the more confident we become.  That confidence becomes apparent in the results of our efforts, which, in turn, encourages us to stretch our skills even further.

So whether our practice is in walking, drawing, painting, playing a musical instrument, or some other skill, even small successes indicate progress.  And progress generates confidence that our efforts are worthwhile.  So let’s focus on our successes, however small.  We’re getting better all the time.  Let’s keep at it!

Preliminary Patterning

Monday, May 15th, 2017

Continuing along the road to breaking away further from my usual approach, I decided to try building a composition around loose color applications.  I tried various methods for painting the initial background layers.  In one trial, I spread several very wet colors on a sheet of plastic wrap, allowing the hues to intermingle haphazardly, then laid my watercolor paper upside-down on top of that to transfer the color.  The plastic wrap was carefully removed and set aside, while the paper was allowed to dry.  Needless to say, the stain now on the paper could only suggest an imaginary image, which I was now free to enhance and detail as I chose.

"Garden Ground" (#170401w)

“Garden Ground” (#170401w)

Although others might disagree, I would liken this method of development as more of a craft than fine art. The finished painting brought me little satisfaction, as I felt I had actually put very little of myself into it.  Rather than my having designed the project to satisfy a previously identified concept (which I feel should be the directing force behind fine art), the concept developed over the course of the project, derived from the haphazard distribution of color on the paper (placing the project itself rather than the artist’s concept in the driver’s seat).

Another method I tried relied on pre-planned preliminary patterning.  In this case, the background colors were used to suggest general masses that would be later enhanced with detail and calligraphic marks for suggestion of further detail within limited areas.

"Windowbox" (#170403)

“Windowbox” (#170403)

This last proved more satisfactory, so far as I was concerned, but even so, I felt that the finished work benefitted from cropping down from its original format, an indication that the overall dimensions of the composition had been left largely to chance rather than being integral to the original design plan.

Windowbox (cropped)

Windowbox (cropped)

These experiments helped me investigate and stretch my “toolbox” of approaches beyond my usual methodology.  They also called attention to some weaknesses I could address in subsequent work.  But they did nothing to alter my existing style.

I’ve come to the conclusion that other things play a more important role than specialized application techniques in establishing or identifying individuality of style.

Instead, I think real style is found through recognizing a typical combination of an artist’s color choices and blending methods, brush choices and manner of manipulation, use of notan (light/dark) design, density of paint, amount and treatment of white space, treatment of edges, degree of looseness or control of the paint, and typical cropping choices.  Besides these, painters may also show a marked personal preference for a certain subject matter, locale, point of view (either physical or emotional), perspective, or certain compositional structures.  All of these contribute more to the artist’s inherent style than any imposed technique possibly could.