My old website, and blog, was cumbersome to maintain. Recently I gave a presentation at the Essex Art League about websites for artists. In doing so I realized my own site had ground to a halt. I wasn’t posting. It was hard to navigate. Of all the things I said artists should do with their website I was only ticking off a few of the boxes.
So I rebuilt my website. It should now be easier for me to keep up to date. I have added artist comments to every painting I post. The blog should be easier to maintain.
So much has happened in the past year I want to start sharing and getting your input and feedback. So “Full Steam Ahead” to a new and improved www.creativewatersart.com. Look for me to share not only my journey as an artist and new work, but resources and ideas, and tips/things I have learned now that I am a “Gallery Manager” at the Bryan Memorial Gallery.
Thanks for sticking with me. If you have not subscribed to my blog, consider doing so. Between Facebook and my website/blog you will keep up with everything I am up to as an artist.
After a brief visit to a couple of galleries today my wife said to me “It must be hard as an artist to be surrounded by all that art and not compare yourself to other artists.”
I work in a gallery part-time and I am surrounded by some of the best artists around, many of whom I greatly admire; Eric Tobin, Stapleton Kearns, T.M. Nicholas, Andrew Orr, Kevin Fahey, Emile Gruppe and so many others. It is a blessing and a curse. I can admire and dissect the work of other artists to try to learn how they achieve an effect or render a passage. And, I can get frustrated and wonder if I just started to late to ever achieve the same level of proficiency, to ever be “good enough” to share the same space.
She is, of course, right. It is hard not to look at other artists work and mentally wonder if I’ll ever be “that” good. I doubt there are many artists that don’t, or haven’t at some point, suffered from the same affliction. I call it “The Comparison Trap”.
Like most artists, when I first started painting I grabbed a couple brushes and a few tubes of paint and gave it a go. It was great fun just trying to paint something and seeing how it came out. I had a vague idea of what I wanted to do, and through trial and error I was able to create something that made me happy. Other people responded well, so I kept at it.
As I continued to paint I started wanting to learn more, to overcome challenges I was having. So on to the internet, websites, blogs, artist pages, and YouTube.
Well. It didn’t take long before I started learning how to mix colors. Cool.
Then, I started learning that I should be paying attention to values. So, more videos, more blogs, more learning. And then, composition. I needed to plan my paintings better to have better composition. Then edges, and blending. Color temperature, brush handling, techniques, etc. etc. etc.
Soon enough I found myself with a dizzying list of things I needed to know, and practice, in order to be “good”. What was once a fun way to splash color on a canvas became a bit intimidating.
I was reminded of this today talking to another artist. He was saying how sometimes when he sits down to paint he starts worrying about the details and loses sight of the big picture. He, like me, would focus on one part of the painting trying to get it right.
Here is a breakdown of how I approached my latest painting. The painting itself was a request, and for guidance I had an idea of the color palette and that it should be calming. I also knew it should be fairly large, and in landscape orientation. So I first drew a number of sketches, to get a general idea of the composition. Then it was time to paint. I chose a 15″ x 30″ canvas and paint the edges (1 1/4 inch deep)
Step 1: Blocking in the background.
For the background the initial step was just to get color on the canvas. You can see in the photo below that first I blocked in a lot of color in the general color family I wanted for the final result, but without worrying at all how it looked. The photo below shows the end of that block in and the start of step 2.
Step 2: Working the background for atmospheric effect.
For this step I worked with the same color palette I used for the blocking in of the background, but now started applying final color in blotches using a 1″semi-soft synthetic brush that let me blend the splotches as I went. As I worked I would adjust the colors, lighten some areas, and go back over areas to soften or adjust the colors and values. I kept my sketch handy to inform me where I would be putting elements on the canvas so that the background would compliment the focal points. I keep the corners darker and light in the center to draw attention to the middle of the painting and keep attention from leaving at the edges. Continue reading “Bluebirds & Dogwood (in 12 steps)”
About a year ago I was slightly obsessed with figuring out what my “Style” was. I had read that to be successful it was important to develop a unique style. An artist that is recognizable by their style of painting is, so they say, worth more, since buyers know what they are buying and what they can expect from that artist in the future. At least I think that’s the theory. Wikipedia states it like this: “The identification of individual styles is especially important in the attribution of works to artists, which is a dominant factor in their valuation for the art market, above all for works in the Western tradition since the Renaissance.”
Regardless, I was struggling to figure out what my “Style” of painting was, or should be. Should I paint in an Impressionist style, like Monet? A realist, or photo-realisitic (or hyper-realistic) style? Something in between? And how would I stand out? What would set me apart from the thousands of others painting in the same artistic space? Continue reading “Finding Your “Style””