I don’t know a halyard from a square knot and I knew I’d better start “practicing” painting motorboats

February 04 [Mon], 2013, 23:05
You get the idea.It all began last fall as I was planning a trip with a few artist friends to Italy to paint where Edgar Payne captured those marvelous orange-sailed boats in the early Twentieth century. I was really nervous. I live in the leave. I don’t know a halyard from a square knot and I knew I’d better start “practicing” painting motorboats. Two months before the journey, at the OPA conference in Idaho, I went to a demo by Ned Mueller and he advised us to get up every day and, even before that first cup of coffee, head into the studio as well as paint a small study for exactly Fifteen minutes. No more, no less. So, I did just that, other than I had my coffee in hand, for 64 days before my personal trip to Italy. Most of the 64 little works of art were done in monochrome to help me with the ideals, but it also helped me in order to became familiar with the perspective and beautiful figure of the boat and also the sails. It helped me a lot that I still get it done. Oil Paintings, sometimes We miss a early morning, but it’s become such a habit that I feel guilty when I don’t get it done. What do I paint now that I’m back on solid sand? Something I want to paint. It’s simply practice, after all. Even though I can tell you those little, 15 moment studies have grown up to become some of my best paintings. Besides as being a great way to warm up my personal painting muscles (each physical and mental) this is a practice that really pays off.Her Barton - Boatmaker Value StudyAll of the brings me to begin this blog. As designers we never quit learning, but sometimes it feels like we’re just treading water, going nowhere fast. We tell my students not to throw away their old, rejected paintings, but to date all of them and keep them to compare to newer works of art. Sometimes we don’t feel like we’ve created any progress until we can actually see what we were doing 3 months ago. Then we see some movement, however little, that’s enough to encourage us to keep going. This year, I decided to create a conscious effort to take my work to an alternative level and began to think about how to do that.
The 15 moment sketches were the beginning, but I found additional ways to work on this particular that I’d like to share with you.I made an effort to find a skill “support group.”I appreciated reading Art as well as Fear, Observations on the Perils (and Benefits) of Artmaking, by David Bayles and Ted Orland which explains a study about individuals artists with/without support groups. They studied art college students for 20 years and discovered that the ones who had associated with other artists had been more likely to still be making art.Saturday Wash" by Jane BartonIt has usually struck me because odd that doctors “practice” medicine. Aren’t they ever done? Of course not–doctors are required to learn new things–they must keep up with the newest science and remedies. With this in mind, I decided to start or rather, renew, my very own art “practice”. My office is my facilities, my tools are the obvious ones, and I have begun to write personally prescriptions for regular examinations, Christianity oil paintings continuing education (workshops, 1x/year or as needed, constant study in my library and on the web), and booster shots (at museums and every week with my art friends). This connection was more important compared to talent in the long run.I believe that a good assistance group, with designers who you trust, is like a marriage that works: whenever you’re “up” you help them, whenever you’re down, they help a person. Not often in the same place simultaneously, but it works. Now I meet with designers at coffee or in one of our studios at least once and usually twice a week. We share display information, frame providers, etc., congratulate each other or commiserate and talk about something that we’re thinking about art-wise over coffee for about 2 hours. All of us artists, like authors, lead very one lives, so this is an incredible way to leave the actual studio and still feel like we’re “working” and, of course, understanding.I required a workshop along with Skip Whitcomb and he experienced us working with an extremely limited value palette–white, black and one gray very close to either the actual white or the grey. Wow. Talk about difficult you to simplify!Then I did some new colour charts with a 4 color palette I was thinking about trying. These exercises really helped me to find new ways of stating what I wanted to state with the paint as well as reminded me to just enjoy the process of painting, without always having a specific painting or even show deadline in your mind.I appreciated the importance of making mistakes–it’s the way you learn.“You make good work by (among other things) producing lots of work that isn’t very good and progressively weeding out the parts that aren’t good, the parts that aren’t yours.”I arranged some new goals with regard to myself–at least two works of art a week, good or bad!
The actual Boatmaker; by Wassily Kandinsky painting. We went back to my personal art library.We revisited old “friends”: some publications are more dog eared than others–you know which are your favorites. I also made myself reach for the actual books that I’d by no means really spent whenever with;I wanted to try new ideas on for dimension, taking the lessons of other artists and seeking them for myself.I started to usb through my aged workshop notes.We wondered, “Why do I maintain writing down the same things?” We paid to focus on that and decided to focus on those areas. In some cases when I revisited the lessons, lightbulbs went off! I was in a better place to understand a few of the ideas now and also put them to use in my work.The short version of this is actually: keep practicing and discover artist friends, even when they’re only in blogs! And, as my pal (and fellow designer) Joan Larue always says, “keep your brushes wet!” I’m advised of the old laugh, “How do you get to Carnegie Corridor? Practice, practice, practice!” Just substitute “How do you get to the Metropolitan Museum of Art” and you’ll obtain my point.Many thanks so much for listening and please tell me how it goes for a person!