The Creative Block

Wicki's Top Ten Ways to Put the Fun Back in Painting

2012-01-03T14:50:00.000-08:00

Really great ideas to start the new year off from the wonderful Vicki Ross at MyArtTutor.com

10. Select a few books from your art library and then stack by your favorite relaxing chair. When TV drones through endless advertisements, pick one book to absorb. Try to read it all the way through and understand what the author is telling you...remember why you bought it in the first place. Use little post-it notes on pages you want to review later...or to actually PRACTICE :)

9. Avoid social media for a day...the world won't spin off its axis. Unless you are using your computer as photo reference for a painting, don't allow it in your studio area. Even turn off email. 'Oh, no, say it ain't so, Wicki'!

8. Try a new medium...even if you are 'known for your oils', nothing says you can't try soft pastel or watercolor. OR encaustics, acrylics, charcoal. You don't have to show anyone, and you will learn new skills that will help freshen your chosen medium. Mastering two mediums is very common for artists.

7. If you paint tight, paint ten small (8x10) with the largest brush you own. If you paint loose, paint ten pictures detailed. If you paint fast, execute a few paintings slowly and enjoy the process. Too slow? Set a timer for 30 minutes and do ten 8x10's, ten 11x14's, ten 16x20's (Lyn Diefenbach's suggestion). You'll learn how to capture the essence of your subject and your work will have a painterly quality.

6. Buy something totally out of the ordinary for YOU, the artist. A new pochade box, a few new tubes of pigment or brushes, or some new equipment...easel, roll of canvas, or an out-of-print coffee table art book!

5. Browse your art books for artwork you love. Copy it as closely as you can...pretend you are Anders Zorn or John Singer Sargent, duplicate the color, the brush strokes, the composition. Be sure to sign it 'after Zorn' so there will be no confusion in the future ... :)

4. Put together a mini-painting kit for 5x7, 3x4-ish. Make or buy a pochade box (my new fav is the 5x7 Pocket Box by Guerrilla Painter), with a lid that works as a support. A small jar can rest in the bottom of the box for turps or medium or water. Go all the way and get some short handled brushes that will live in your box. A small palette can rest on top of your mini-supplies (pigments, board, etc.). NOW, sit in your favorite chair and PAINT...PLAY. I have a small 7x8 Masterson Sta-Wet palette, cut a lightweight piece of acrylic for the bottom for easy cleanup...it had been in the freezer for months and the pigment was still usable! It fit perfectly in my box...in my chair!

3. Canvas by the Roll (or Wallis for pastel or watercolor paper roll) is an excellent investment. You can pre-cut your favorite sizes (leaving 3" border for stretching/framing). Now tape the canvas to a support board. If it turns out to be a 'keeper', you can stretch or mount on a panel. Gives you permission to 'play' because you are not using up expensive supports!

2. Electronic devices (smartphones, tablets) have drawing apps for a few dollars (or free)! Learn to fingerpaint again...if you don't like it, just erase it. If you do like it, forward it to your computer. Work out compositions, make quick sketches. Digital art is still ART!

AND THE NUMBER ONE WAY TO PUT THE FUN BACK IN PAINTING...

1. Treat yourself to one of MyArtTutor's workshops...select a new medium, style, or tutor. (Computer allowed in studio for this purpose :) Study in Scotland, France, Australia, or the US. Meet other students and participate...everyone is learning new techniques for the first time, so the playing field is even! Start NOW, and complete at your leisure...your class is always available on your schedule. (You can be anonymous if you are afraid your collectors will find out!)

15 Scientific Facts About Creativity

2012-01-03T14:24:00.000-08:00

-- from Robin

A fan sent me this interesting article from the Online Universities blog.

Fact no. 1 - Stress Kills Creativity - is so very true for me. And I let the artwork itself become a stressor. That is the one thing I resolve this year to change. I can't let outside forces influence why or when I paint. And I can't let studio time become a chore.
The information is very sciencey... but its intriguing. Honest. ;-)

***

Although creativity keeps human society flourishing, science honestly offers few answers to how the intricate, infinitely complex concept actually works. No matter how much research pours into measuring and grasping the essential phenomenon, it seems as if more questions pop up than receive tangible answers. Theories and findings sometimes conflict with one another as well, meaning every "fact" presented here might very well end up discarded in due time. But that’s par for the course when exploring what seems almost entirely inexplicable.

Stress kills creativity

Just like it kills mental health, the heart, and pretty much everything else. Stress negatively impacts creative expression, particularly when it involves rigid timeframes and criteria. According to psychologist Dr. Robert Epstein, no gene or any other factor predisposes some individuals toward creativity and others not (this perspective is, obviously, disputed). External factors such as stress play a much heavier role in determining innovation than anything intrinsic.
Those considered geniuses describe their creative processes as trancelike

Dr. Nancy Andreasen, who wrote The Creating Brain: The Neuroscience of Genius, may not be able to scientifically explain how creativity and genius emerge, but she does know how they inspire and impact the great thinkers. All people experience moments of "ordinary creativity," which permeates daily tasks. But the artist, composers, scientists, writers, and others qualifying as geniuses typically talk of oneiric "flashes" setting off their most notable, iconic works.
A connection between dopamine production and creativity might exist

Because dopamine increases along with positive reinforcement and other rewards, some neurobiologists (like Dr. David Sweatt) believe it easily correlates with creativity, too. Either receiving money or the simple satisfaction of a job well done might stimulate levels of innovation, and dopamine in kind. Such a link still exists as a theory, albeit one that does go a long way in explaining the sometimes inexplicable.
Perception is the first step to nurturing the creative spark

All creative pursuits start when the thinker perceives an external stimulus and processes it in his and/or her mind. More complex than merely seeing, the "engines of our ingenuity" hook up imagery with imagination. Personal differences in this inevitable linkage lead to creative output and adroitly explain why some people end up with the particular results they do and keep society pushing forward.
Creativity might correlate with brain chemistry and structure

Theories regarding creativity’s true origins abound, and some think one’s aptitude may be determined by his or her brain chemistry and structure. University of New Mexico’s Rex Jung believes that if you have less of certain neurological phenomena, you’re better off when it comes to creative pursuits. Specific chemicals froth about in smaller dosages, while white matter sits weaker and the frontal lobe’s cortical regions are thinner. Interestingly enough, brains testing higher on intelligence tests feature the exact opposite composition. Generally speaking, of course.

Creative thinkers have slower nerves

During creative moments, the left frontal cortex experiences comparatively more sluggish activity, which also correlates with the aforementioned decreased white matter and connecting axons. Unlike intelligence, creativity tends to thrive when thinking slows down, although "flashes" of inspiration and insight occur with the speed of flashes. Emotions and some cognitive processes happen in this particular region as well, which scientists such as Dr. Jung believe encourage abstract and novelty thought processes.
"Psychological distance" facilitates creativity

When hitting a creative snag, the best thing thinkers can do for themselves is step away and try to look at everything from a completely different point of view. Studies have shown that the most consistently creative individuals display a willingness to approach their challenges from a wide variety of angles beyond their initial inklings. Putting some space between original perspectives and newer ones encourages abstract thinking, a crucial component in the inventive process.
Early research into creativity divided it up into three separate subsections

Mel Rhodes’ inquiries into the creative mind — which required him to research around 50 takes on the subject — eventually led him to break everything down into the person, process, and environment components. The person element, as you can probably guess, involves one’s unique set of characteristics needed to think and perceive things in an innovative, abstract fashion. Actually understanding and formulating ideas and results is known as process, and environment means the internal and external milieu in which the creative individual works.
Aerobic exercise increases one’s creative potential

When brain fog starts rolling in, try a moderate amount of aerobic exercise to try and clear it up. Rhode Island College scientists noted that the two hours after engaging in such rigorous physical activity proved some of the most mentally fertile in a 2005 study. They used the Torrance Test of Creative Thinking to measure how well the participating thinkers performed with and without exercise.
Creativity might plummet if it becomes a means to a rewarding end

Although from 1987, this study’s findings showcase just how largely unknowable creativity’s true face is these days, as it conflicts with some more contemporary theories despite making just as much sense. Tests conducted on Brandeis University creative writing students noted a dive in their motivation and thoughts regarding their work when receiving rewards for their efforts. They approached poetry with a lessened sense of intrinsic interest, a finding which ended up applying to situations beyond the creative.

Improvisation stimulates the brain’s language centers

fMRIs and improvised jazz form the crux of surgeon Charles Limb’s pioneering maps of the creative process. His TEDxMidAtlantic lecture discussed his fascinating findings regarding the physiology behind musical improvisation, specifically, how it makes the Broca’s Area light up like the Fourth of July. Brain scientists think this part is responsible for language development and cognition, implying that one of the body’s most essential organs might recognize music (and maybe even other expressive pursuits) as akin to speech.
Bilingualism and multilingualism might improve one’s creative skills

Researchers "may not have had [their] EUREKA moment" when it comes to proving a link between bi- and multilingualism, but compelling evidence certainly exists. Individuals capable of speaking more than one language generally display more competent multitasking skills and improved cognition, both usually labeled key ingredients to creative thinking. Most telling, however, is that they seem better able to analyze situations and stimuli from multiple angles, which nearly everyone attempting to define creativity considers essential.
Creative people are more likely to be dishonest

That doesn’t mean all creative folks ought not be trusted, nor that their opposites are always the most honest sorts, of course. But individuals capable of more novel and abstract thoughts — and possessing more flexible moral fibers — "enjoy" a higher risk of less-than-trustworthy behaviors. Multiple studies show that the ability to concoct more solid, viable stories and view scenarios and stimuli from many angles dull the chances of getting caught.
High IQ and creativity might correlate with one another

Harvard, like many other institutions of higher learning, hopes to try and unlock creativity’s beautiful and bizarre secrets. Dr. Shelley Carson, notable for developing a new standard to measure the mysterious phenomenon, wants to try and find a definitive relationship between intelligence and creative thinking. Some of her earlier studies note that both increase together at the 120, 130, and 150 IQ levels, but more research is needed to prove any sort of solid correlation.
So yeah. Creativity and mental illness might very well coincide

Painting all creative types as insane — particularly the influential and genius — always has been and probably always will be a rather tired cliché, albeit a cliché that might actually hold some cachet. Their brains have been proven to open up more to external sources and possess greater memory capacity than others, but such a perk does come burdened with some unfortunate side effects. Overstimulation might very well result, which can pique (or worsen) anxiety and depressive disorders.

The Art World at Your Fingertips

2011-12-18T19:04:00.000-08:00

I recently discovered the Virtual Art Academy site and have subscribed to Barry John Raybould's free newsletter.

I can't stress enough how important it is to keep learning and trying new things. Perhaps when we get stuck in a rut or have a block its because we're bored. I forget to try other things - new methods, new ways to start, other materials, etc. I tend to think that any and all my time at the easel must be focused on a gallery worthy painting. In essence, I forget to play and enjoy the process as much as the outcome.

Going "back to school" is excellent way to revive your creative spirit, to push yourself to grow and to try new things just for the sake of play and experimentation. Even if you don't have teachers locally, there is a world of quality mentoring and lessons online. Check out the list we've begun in the right column and treat yourself in the new year.

120 Bad Paintings

2011-10-17T07:14:00.000-07:00

from Jeff Mahorney - 120 Paintings

Excerpt from Jeff's blog post Oct.14th -- I'd like to thank artist and instructor Larry Seiler for featuring some of my work (and blog) in a recent Wetcanvas live Webinar (and soon to be DVD). Larry's work and wisdom have always been an inspiration to me. In fact, the name of this blog is taken from his oft quoted mantra that it takes around 120 bad paintings before you know something about painting. Larry's beautiful work, advice, wisdom etc. are part what influenced me to commit to this little experiment in learning to paint. I can't really describe what it's meant to me (which is everything). So, I wanted to say thanks to Larry. Thank you for sharing your experience, strength and hope over these many years. Thank you for passing it on to the rest of us. :)

Webinar Session #2 "120 paintings" is where Larry describes this idea that no matter what you are learning, the path to success is built on failure. You have to put in your time and show up. The bad paintings that you make on the way aren't unfortunate mistakes, they are equally necessary parts of the journey. The bad paintings are the foundational bricks on which the good paintings stand. It's all connected, the pain and the joy, the bad and the good, even if we can't see it at the time. Have faith that these seemingly random dots will connect and trust that the universe will take you were you need to be. So, relax, take a breath and pick up the brush again. You can't control or predict what will happen, but that's not your job anyway. Your job is just to show up and head in the direction of what you love.

Just Keep Painting

2011-10-14T08:42:00.001-07:00

from Robin Cheers

The advice my husband gave me last night. And my "mantra" akin to Dory's "just keep swimming" - JUST KEEP PAINTING.

The past two weeks have been a struggle. But I keep trying at least. I have granted myself permission to waste materials. To just try and if it doesn't work, I can wipe off or paint over later. Or wait and see if its got hidden potential.

I noticed my palette got stuck in a certain range and I painted 3 paintings with that same color scheme without even realizing it. So, I altered that. I've tried different compositions, going larger, then going smaller, but just keep going! I do tend to quit too soon. I think a lot of artists stop when it gets ugly. There is an ugly moment in many paintings, but we have to work past that and bring things together. I've been giving up and haven't believed in the painting.

I had the good fortune to attend an artist talk and demo with Quang Ho and Scott Christensen last weekend and they shared some wonderful thoughts which really made me stop and think.

Scott joked that artists have to "enjoy suffering" and need to be willing to have paintings fail. Fail not for lack of trying, but because you push yourself in order to learn and grow. And if you are making decisions as you paint, then you will have a positive outcome, but if you aren't making conscious choices as you work, then you are painting in fear.

Quang said you can't get attached, rather ask, "What if?"

Shea Hembrey: How I became 100 artists

2011-10-04T11:56:00.000-07:00

If you are out of ideas - try this!

* * * *

How do you stage an international art show with work from 100 different artists? If you're Shea Hembrey, you invent all of the artists and artwork yourself -- from large-scale outdoor installations to tiny paintings drawn with a single-haired brush. Watch this funny, mind-bending talk to see the explosion of creativity and diversity of skills a single artist is capable of.

If You Want to Be An Artist

2011-10-04T11:34:00.000-07:00

from Robin

My friend Tess shared this with me from Stapleton Kearns... he has a great blog btw. You will find a wealth of business and painting advice, lessons, Q&A, etc.

* * * *

IF YOU WANT TO BE AN ARTIST, HERE IS THE SECRET. GET UP EVERY DAY, AND DO IT ALL DAY.

I am not well organized, forget to write stuff down and would rather paint than do all of the the things that those creepy books written by career counselors recommend. But I guess I can come up with a few things.

Find Earl Nightingale and study his material. Here is a link to a post I have written on that. I am not a devotee of self improvement literature. Earl is different.
I often carry an index card in my left pocket with five things that I want to get done during the day. I check them off as I go.
I avoid making appointments. I want to paint, not meet with people so I try to keep my schedule freed up. I will obsess about the damage to my work schedule caused by an hour long appointment sometime next week. If I have an appointment during an upcoming day, I look at that day as lost. I try to get as many things done after the light fails as I can, grocery shopping, laundry, family etc.
I have no hobbies, I don't play or watch those sport things. I don't play video games or Farmville (whatever that is).
I don't have a television. If you watch two hours of TV a day and wonder why you are not making it as an artist, you are kidding yourself about the size of what it takes to do this.
I don't seek to earn money from other sources than my art. I don't own a rental unit nor do I buy stock, I am afraid it will divert my attention from my work, part of which is to make a living. If a dollar comes into this house it has to be from the art. I don't do jobs or employment.
I have a a mental list of my contacts the people who are my dealers and fellow artist travelers. I call them routinely and check in. Speaking with my friends who are professional artists who are also at their easels helps. I have about a half dozen of those, and talking to them helps me build a model for my own efforts. We are working together, separately. Their lives are very like mine. We provide emotional support for one another. You need to have a network of people who you want to be like. I have that in spades, very important to me. These are successful painters, you would know their names. We become like the people we hang out with.
I keep mental track of my time at the easel. Doing business things, talking on the phone, etc is all essential but it is not time spent on your art. You have to account for it separately.There is a lot of advice for artists out there on business management, most of it written by people from the business world who want to help us spaced out artists. I know a few artists who do all that stuff too. Often their work takes on the same quality though. It is real important to put your art first. ALWAYS THE ART COMES FIRST. Then worry about marketing it. Good art will sell. I don't mean to say that you don't have to do all of that phone calling a list keeping, but it is not as important as the art. I know a very successful artist who has no e-mail, no web site and no business card. He does do the phone a lot though.
I use Google calender it is on G-mail. It notifies me before appointments and I can look in there and see what is coming up. Many computers are sold with calender and event programs and you probably have one.
Once a month or sometimes more often, I call all of my dealers. I don't do it to ask if they have sold my work. I do it just to talk, I need to work with friends. If I can't be friends with a dealer usually things don't work out.

I will think about this some more and see what else I can come up with. I will do a post aimed at the serious amateur who has to have a life outside of the studio, which I don't.

-- Stapleton Kearns

Where Does the Time Go?

2011-09-23T10:20:00.001-07:00

from Robin Cheers

This week has really gotten away from me. Here it is, Friday afternoon, and I have one incomplete small painting to show for my week. Last week, I painted 5 larger paintings.

What changed?

Well, last week I was determined and focused. I took my daughter to school and came directly to my studio to get to work. I didn't schedule interruptions and luckily didn't have any crop up.
This week, I had several appointments, met friends for lunch, took the car in for service, etc. As a result, when I had art time, I was too tired and distracted to focus on it.

The results are a feeling of annoyance with myself for letting so many things distract me from my work. I think the most successful artists clear their schedule for art. They schedule appointments later or on weekends, they treat it as a job where a boss is checking your timeclock. Sometimes its not feasible, but its important to try so the other distractions don't end up being your work.

Do you admire another artist - to distraction?

2011-09-13T18:02:00.000-07:00

from Robin Cheers

There is so much eye candy out there that you could easily spend hours poring over other artist's work every day. From magazines and books to online galleries, websites and blogs, the access to art is amazing. And overwhelming.

This can be too much of a good thing. Its quite natural for artists to admire and want to learn from others, but if you spend too much time allowing all those images clutter your mind, you will not be able to express your own vision. I think its great to look to others to see how a problem was solved, or to inspire a unique approach in your own work, but only as a springboard. Sometimes copying a master's work is a great lesson in color mixing and design. And if you are very careful, you might distinguish how the paint was applied, which layers were first, how the paint varies from transparent to opaque. But trying to paint like someone else in all your paintings will only lead to disappointment. You will inevitably see your work as a failure, because you aren't giving voice to your own creativity.

Learning to express ourselves is a bit like a treasure hunt. Through honest expression and the belief that we have something important to share in our work, we create work that not only pleases us, but inspires others.

Working Through It

2011-09-08T14:35:00.000-07:00

Reader Leslie recently sent the following - Thanks Leslie!

When I was first learning to paint, my biggest block was finding something inspiring that wasn't too overwhelming a challenge to face. Boy! That was a small universe to choose from! One day I scoured the net for the secret key to finding the perfect inspiring subject... knowing it was out there somewhere, because so many other artists were finding endless inspiration. When I hit on this, the search ended. The truth of what this person says just resonated and stuck in my bones.

Unfortunately, it was an anonymous post in response to an anonymous question on some message board I could never find again, so I don't know to whom it could be attributed. But truth is truth, and I can't help but believe the original poster wouldn't mind it being passed along. -- Leslie

***

How do you find your artistic inspiration?
anonymous

What a wonderful question. I know this is true because I drift in and out of disillusionment and inspiration on nearly a daily basis. I think after all these years I have discovered what works for me. And apparently from reading about the struggles of people with similar difficulties, what works for others as well.

Ready?

Wait for it….

It’s the WORK! Yes that’s right, it’s the work. It is not some muse which guides me here and there within my artistic self and then abandons me. It is the understanding that if I do the work within my own heart and soul, and head, and actually produce a product based upon that effort, then whatever I am artistically is seen by me and others. Thereby my art is produced. And often when I am so blocked by all those named and unnamed things which I consider to be in my way (and they number in the thousands) which can stop me writing, or photographing or painting, or doing whatever it is I can do artistically at that moment, I know that if I just DO IT – write word upon word (nonsensically if necessary), or photograph a bug, or sketch a subject, or whatever, anything, my ability will all of a sudden reemerge. I know HOW to take pictures. I KNOW how to write. When I feel blocked and unable to create I have a thousand excuses why I cannot create. I can set a thousand barriers in front of me to disallow progress. And I have gone years using those impediments as excuse.

But the truth is that no one cares if I write or take pictures or draw or paint. I mean they say they do, but in the scheme of things, in comparison to world hunger, war, illness, poverty my artistic output is of little import. It is only in the RESULT of whatever art I can actually produce that people can find something to feel about my work. I can talk about my art. I can boast about it and promise it and lament its incompleteness. But only if I actually produce something can it be called art. And even then it may be bad art and I may find eventually, and sooner rather than later, that I suck as an artist. But if I don’t produce something, anything, if I only remain one of those who TALKS art, well then I am just another sap who let the barriers and blockage get in the way of that which I must do to be an artist. Actually make art.

So with all that said, my suggestion to you is just do the work. Put word to paper, pen to ink, brush to canvas. Eventually the blocks will fall and the breaks will unsieze. If you are really an artist, your art will get you going again.

***

Wow - powerful stuff indeed. A good dose of plain speaking too. And I have to agree - in my own experiences I fight it, blame outside events, claim my muse is MIA, but when I just get the brush wet and start pushing the paint around, I find that I can paint still. And the more I work, the more easily it comes. Like a river being undammed. -- Robin

High Tech Bookmarks

2011-08-25T14:51:00.000-07:00

I might be behind the curve here - I know Kate has been using Pinterest for awhile now - but I read this today from My Modern Metropolis and thought the concept quite clever.

Top 6 Bookmarking Sites for Visual Inspiration

-- Robin

Online Gesture Drawing Sessions

2011-08-09T12:00:00.000-07:00

Reader Matthew shared a blog post he wrote about a great concept for in-studio gesture drawing sessions. Work from the comfort of your monitor if you can't get out to do this from life, or if you need to bust through some blocks!

Here is his post copied from his blog:

Wednesday, July 20, 2011

Gesture Session
I recently discovered a site with a figure drawing script. You can choose from a short list of subjects and set a timer on how long the 'pose' lasts. Other nice features are keeping all the photos in grayscale and scaling the image to fill the entire browser window. It's not the same as doing these types of exercises from a live model, but when it comes to subjects like big cats and horses, this may be more convenient.

Discretion is advised on the site with this notice: Every single picture in every category is potentially NSFW due to costumed and uncostumed models. The horses and big cats are uncostumed which is my guess as to how every picture in every category is potentially NSFW

Here's the link: http://lovecastle.org/draw/

I am definitely going to make use of this - I just wish I knew what NSFW means. :-)

-- Robin

Blocks and Barriers Interrupt Even the Masters

2011-08-08T17:42:00.000-07:00

Reader Jena Ellis shared this article with me recently:

10 Most Famous Unfinished Pieces of Art

-- Robin

Charcoal Drawing

2011-08-05T13:17:00.000-07:00

from Terri Wells

Sometimes it takes several months to gain enough distance from a project to change direction. My artist friend, Elwood Howell, reminded me of the value of drawing in charcoal to conceptualize and it was so freeing to work this way again. The wall sculpture enlargement of “In God’s Paint Box” has been on hold while Ampersand tweaked production of the boards, but I waited beyond that to start the work. Knowing that there were changes to make in the shapes and support structure, but unsure of what to do, charcoal drawing opened up creative doors. I’ll be cutting wood soon!

Click Here to see Elwood Howell’s work.

Beyond Networking

2011-06-16T09:54:00.001-07:00

from Robin Cheers

I think one of the best investments an artist can make is in artistic friendships. Not the kind that help you build professional relationships and get your work out there, but the kind of friend you can sit and have a cup of tea with and talk about what inspires you, or the lack of inspiration.

I have such a group of friends and they can understand me better than my spouse even. Its very personal when our art fails us and its hard to separate failure at the easel from the rest of our day.

We've all been through this and its nice to have another artist commiserate and remind us of our better days.

As a woman, mother, wife, etc. its also important to have a friend who is also juggling all those roles while trying to nurture the artistic self. Its a challenge and the artist can easily be overwhelmed by other commitments.

Don't lock yourself away from the world, whether things are going well or you're struggling. Online forums are great, too but there is nothing like chatting face to face. ;)

Rose Frantzen video on her creative process

2011-04-14T12:59:00.000-07:00

From Kate Merriman

I am a devoted reader of the "Making a Mark" blog by Katherine Tyrrell, who is not only a talented artist but a wise and eclectic writer on the world of artists.

So it is through her that I discovered this very inspirational video of painter Rose Frantzen who describes her creative process and most recent project. It is absolutely worth the 57 minutes if you are an artist.

http://makingamark.blogspot.com/2011/04/how-do-you-share-what-you-do-as-painter.html?utm_source=feedburner&utm_medium=feed&utm_campaign=Feed%3A+MakingAMark+%28Making+a+Mark%29

It made me ask myself all kinds of good questions. Also reminded me that life is short and that I want to spend more hours of each day (week, month) creating art than watching television or strolling around a mall.
Enjoy!

Working in Series

2011-02-28T10:48:00.000-08:00

Lazy titles or great motivation? There’s a lot of artwork titled I, II, III from the 1960s. Working on “errors and fixing” has its merits, but if you find yourself always beating yourself up into a creative block, consider working in series. Going with the positives and the intriguing may motivate you more. It’s kind of the half full vs. half empty thing.

Loving what was happening in the movement and color in work from a trip out west, I started a series called “Western Movement.” Being aware of what I’d successfully done in the western work, I applied it to another geography and found new inspiration. Working in series can be a great motivator and causes focus in your work. I, II, III, give it a try! Let us know how you do.

The blessing of constraints

2011-01-26T13:09:00.000-08:00

by Kate Merriman

So, you can hear me spouting off to friends about how God/ the universe /higher power always knows better than we do ourselves about what's best for us. But I don't always act as if that's true. So when this theory seems to come blazing to life, I am surprised and happy. And sort of embarrassed for myself.

If you'd have asked me, in order to create a group of 8 to 10 paintings that I really love all on the same theme, I'd need a nice month-long Artist-in-Residence program with meals a la Tassajara and foot massages each evening. If you'd have asked me to create a nice logical project plan for "Kate puts on her first solo show", it would have have a Gantt chart with a fat red critical path line extending to sometime in June 2011.

But, instead, just 15 days before I was to move house from Bolinas to San Anselmo, a very trusting and generous new artist friend invited me to be the solo artist at a popular coffee house for the month of February. Which was also in just 15 days. I looked around my little Bolinas house. Hmm, no paintings. All sold or given away. But I had to say yes, so suddenly the universe conspired with me to meet the limitation and soon I was creating new works that I'm totally stoked about. (See link via image above.)

A former painting teacher gave me some great encouragement that might also help you sometime:

"Working fast is an honest and integral part of your process," he said.

Wow! Permisssion to just go ahead and be me. No reason to put my work down just because it happens quickly. Revelation!

And just arbitrarily, I set the constraint of a theme of "wet dogs at the beach" which, strangely, further fueled the creative fires rather than the opposite.

With just a week left before I hang the show, I'm nearly ready. Ha! Life certainly is full of surprises. Good ones.

I'm very encouraged to set more challenges and limits and see what comes of that.

"Instructions for living a life. Pay attention. Be astonished. Tell about it." -- Mary Oliver

What have your experiences been with creation and constraints?

Daily or Not To Daily - That Is the Question

2011-01-26T12:11:00.001-08:00

from Robin Cheers

This morning I gave myself a stern talking to and I think it worked. I had to remind myself to stop trying to paint a masterpiece and paint because I love to paint. To enjoy the process. I think I almost get stage fright thinking that I have an audience watching and waiting. Like I have to perform.
I think that is a drawback of the online art community. We created a wonderful network for artists, but we also created a daily drama that requires constant upkeep and checking in lest we be forgotten.
I have to think in terms of "painting daily" not "(a) daily painting."
Painting daily means keeping my eyes open, working my creative muscles, seeing beyond the obvious and looking for beauty. And letting it come to me. It doesn't mean I am required to paint a painting every single day and offer it for sale. Right?

Best Practices

2011-01-20T10:39:00.000-08:00

from Robin Cheers

After a couple of weeks off, I head back to my studio and face my easel and suddenly can't remember how to hold a brush! It takes a few days and a few canvases before I get back into the groove.

If you've been to a workshop you know that we students are always curious to know what colors, what brush, what medium, etc. the instructor uses. As if there is a certain way to do things that will make our work soar.

Unfortunately, there isn't a magic brush and the nature of art is that there isn't a set of practices to guarantee our work will succeed. But I think there are certain things that will set one on the right path. Rather than jumping right in on a large canvas, I should have taken some time to warm up, to do a loose sketch, or value study. To aim a little lower. I also thought I'd try to paint from my monitor rather than printing a photo. The monitor is nice and large, but its a good 6 feet away from me. Even a different choice of music would have helped! I realized too late that the commercial radio was really bothering me.

So by picturing myself working, by picturing what I wanted to do, and by sketching, doing a study, or warming up, I could have had better luck and felt better about my efforts.

Other things to help get yourself in the groove again might be to set up a fresh palette and select the best brushes and have them ready (something I didn't do either and there is nothing worse than trying to make old paint flow). Maybe start simple. If you paint still lifes, paint a single piece of fruit before tackling 10 items in a single painting. Loosen up your arm as well, sketch some large circles and loops to waken those muscles.

So maybe with a couple of deep breaths and remembering my own best practices, I will have more success today.

Alla Prima or else!

2010-12-11T21:04:00.000-08:00

from Robin Cheers and The Artist's Magazine

I have this problem with coming back to a painting that is unfinished. I generally don't and my studio is littered with unfinished paintings. I really have to be in the moment with the work or I totally lose the inspiration and motivation. I try to time things so I don't have to leave a work unfinished, but I just read this little tip that might help me get back in the groove if I do have to stop work mid-painting.

Tip File: Taking Note
The following is an excerpt from the December 2010 issue of The Artist's Magazine, in an article titled "32 Insider Tips."

Pauline Roche, two-time finalist in our Annual Art Competition, has this tip to share: "Sometimes when I step into my studio to continue working on a piece from the previous day, getting my thoughts back to where they were the day before can take a while. To help me get to work faster, at the end of a painting session I jot down a few notes about things I might be thinking about doing next ("soften edge of left arm" or "make background a bit more opaque"). Somehow, having a specific task or two gives me a kick start toward getting back into the flow of things." —Pauline Roche

To read the entire article, click here and order The Artist's Magazine's December 2010 issue.

Finding Something to Paint

2010-12-07T09:29:00.000-08:00

from the blogpost of Mike Rooney

A lot of times during a workshop, students ask me what my thinking is when i'm looking for something to paint. so i decided to give you some of my mental processes when i'm out trying to find something to paint. these are in no particular order-

stay in particular areas that you've found lots of things to paint, on a consistent basis, in the past. sort of like a fisherman tends to go to the same places or "honey holes" because he knows that fish hang out there. He knows he's caught fish there more times than not

you have certain things you like. say a backlit boat, or a cottage with late afternoon light on it, etc. so go out looking for things you know have worked out for you before

squint at the potential scene you're contemplating. make a square out of your fingers to frame the composition to see if the arrangement of fuzzy shapes is interesting.

i have places i go when i don't mind being around curious bystanders, and places i go if i really want to paint alone. have a few places of your own depending on how you feel that day

when you find a place you like, "crawl" every inch of it, trying to get to know the place. the longer you paint there the more things you'll consistently find.

times of day and seasons can change familiar places and give you many more opportunities. go back to old haunts. boats get moved, new buildings get built, old trucks get put out to pasture in a field that didn't have one in it last time you were there.

you can drive by a scene a hundred times and all of a sudden its as if you're seeing it for the first time and it needs to be painted. keep your eyes open at all times. you never know when you'll see something that just needs to be painted. and it may be on your own block or on the other side of town. you don't have to go far to find things to paint

i get an "ahaaa" moment when i see something that needs to be painted. its the contrast, or the color, or the shapes. something makes you want to paint it. go with it when that happens to you too.

Perfectionism versus Impatience

2010-12-03T19:46:00.000-08:00

From Kate Merriman

I subscribe to the email newsletter of a very talented sculptor named Steve Worthington. On his blog, he recently shared some great insight about his creative process, particularly about the wrestling match between impatience and perfectionism. I thought you'd enjoy it!

http://steveworthingtonart.blogspot.com/2010/11/impatience-vs-perfectionism.html

Back to my pet portrait commissions now! Cheerio!

Museum browsing

2010-11-18T13:28:00.000-08:00

by Terri M Wells

You'd be amazed at how much you can see on-line from museums. I have picked an artist or museum I'm interested in for a google search and found complete exhibitions to be viewed with close ups of the brush strokes that I would never have been able to experience standing behind a velvet rope. I heard this site is great to view European museum’s work without traveling. I have yet to check it out myself. Perhaps you will see something there to inspire you. www.europeana.eu/portal

Everyone Needs Encouragement

2010-11-11T11:38:00.000-08:00

By Terri M Wells

I can’t agree more with Kate about the importance of being a part of an affirming and encouraging group. Some artists get together and the competitive tensions fill the air, the angst pins people to the floor, and the jealousies bring out the worst in people. Other groups affirm, encourage, enlighten, and challenge their members. Life can be hard.

Perhaps you need a little encouragement yourself….well read on.

Recently, a PAA member was on our yahoo group, and unlike most of the tips and paint out attendance posts, she posted about going through a rough time and needing the encouragement of seeing the lovely paintings from our group show that she was going to miss. Having heard from many people that my reply post was encouraging, I would like to share it with you.

Nov 05, 2010

"Returned to Davidson Ranch today to paint for the Hill Country Conservancy show. It hit me when I got on the property, memories of visiting the first time right after mom and Irene's deaths. I remember looking at the burnt grassland restoration areas and being drawn to them. David's (my son's) near death at Basic training and then his finishing extra training while hiding a broken leg, Mom's death from a long fight from cancer, and Irene's release from life at 98 years .... it was a kind of life-burning and yet out of the difficult experiences a kind of sweetness...a promise, a hope, remained. The burnt areas had promising spring green seedlings and flowers interspersed among the rock and charred remains. Promise and hope were visibly here on the ranch that day.

So today I returned to the ranch restoration area. All the turmoil of emotions tied to the last year flooded in with the realization that the year plus has matured me into a new place. A peace has returned like the beautiful grasses that have covered the burnt areas in silver blue, tans, and burnt siennas. Tall and waving in the wind, the grassy fronds move in the soothing momentum, covering the harshness of the burnt land. My faith is stronger. My view of life is different. Rooted in God and moving with the motions of life, there is promise and hope fulfilled.

I'll post my paintings from the show. All I have to offer is a long distance hug. – Terri

Susan Hall article

2010-11-11T09:46:00.000-08:00

by Kate Merriman

One of my favorite artists is Susan Hall, who lives out here in my new home of West Marin. I'm sharing a link to an article that gives some interesting insight into her creative process. Hope it inspires!

Looks like her new memoir, River Flowing Home: A Creative Journey, will be quite inspirational too. It goes on my wish list right away, that's for sure.

http://www.marinij.com/lifestyles/ci_16569233

Go Artists!
Kate

Encourage each other and build each other up!

2010-10-29T12:59:00.000-07:00

Very encouraging teacher, Timothy Horn.

by Kate Merriman

OK, since I just posted about a Zen experience, let's mix it up! (And don't worry, no particular religious view is required here, just finding these inputs inspiring my thoughts about art and creativity.) This was a verse that I got from the Salvation Army (somehow) and that I had taped to my car's dashboard for years.
From Thessalonians: "Encourage one another and build each other up, just as in fact you are doing."

Simple, eh? Yet, not so common in real life.

But when that uncommon spirit of encouragement and generosity happen with a group of artists, sparks fly, courage grows, art expands!

When I moved to Texas, I knew just about no one except a few coworkers. Luckily, I did a little Googling and found the Plein Air Austin group. At that point, I didn't really consider plein air or landscape really "my thing" but I did know that I wanted to meet some fellow painters and that plein air practice always honed my painting skill overall. So I signed up and put a paint-out on my calendar.

Well, I stumbled into just that uncommon and delightful kind of group that does share, does encourage and has a thriving, contributing membership as a result. On my first paint-out, it was the very simplest things that made a big difference: Laurel Daniel made time to come over and introduce herself, having spotted me as someone new. Huge! Others were welcoming and happy to talk about how and what they were painting. The vibe was "come on down, no matter your skill level, and let's learn and enjoy together."

Groups where the opposite attitude prevails tend, in my experience, to wither away. I've been reading "Linchpin" by Seth Godin and am loving his emphasis on how a generous-hearted, fearless attitude gets you everything but a poverty mentality (can't give you anything because then there will be less for me) shuts you down. Same thing as Paul was saying (I think) to his buddies in Thessaloniki.

So, my points are these:

1 - take the time to find a group that has this generous spirit, even if the discipline or focus isn't what you thought you needed or wanted.
2 - if you are part of a group, reach out to newcomers, be generous with your encouragement. Don't think of inspiration or knowledge as something that will diminish if shared. Think the opposite. Especially if you are in a leadership spot, your attitude will make an enormous impact on all the group's activity; trust me!
3 - give yourself a job with the group so you are more likely to show up. I know when I have a commitment to bring something or help out in some way, my obligation to others will stand strong where my duty to my own artistic self might be floudering. Regularly scheduled art activity keeps me from sinking into too long a spell of creative blockage when I do have a spell.

Ideas for finding a group that might keep that creative juice flowing:

1 - Sign up for a workshop or class. Introduce yourself to the people whose spirit and art attract you. Ask them what groups they enjoy or recommend.
2 - Google around for local plein air and sketching (or sketch crawl) groups. Read their blogs or community posts. You can often see a lot about the group that way, but go check it out in person too.
3 - Don't put up with energy vampires and wet blankets. Just walk away.
4 - Start your own group! My mother saw me posting about some sketch-crawl stuff we were doing in Austin and was bummed that there wasn't a group like that near her. But just a few days later, she turned that around and created her own little group who still meet regularly and seem to be having a blast. Go Mom!
5 - Check out "Meetup". I haven't tried this myself yet, but might soon! http://painting.meetup.com/
6 - Look at "Links". Often, when I find an artist who has a great energy and passion for sharing about creativity and art, I can find a 'links' page on their blog or website. Those links can be a good source for ways to connect with others.

Go artists!
-- Kate Merriman

Your Uniqueness: or, Why You Don't Have to Try So Hard

2010-10-27T12:13:00.000-07:00

by Kate Merriman

On a wonderful plein air weekend trip to the Pedernales River area of Texas with my wonderful painter buddy Robin Cheers, I relayed a story to her that she asked I try to write up for this blog.

I'm not sure I can relay this so that it can be understood, but I will give it a try.

I think Robin and I were talking about that funny block we sometimes get when we see a subject we want to paint but the little inner gremlin says, "Well, why paint that? You know that Penny Painter does paintings of (seashells / bank buildings / matchbooks) really well and all the time. She's known for those. The world doesn't need another painting of that same thing. It's been DONE."

Sometimes, I have that gremlin try to convince me out of painting in that situation. And often, remembering an experience I had at the Tassajara Zen Monastery on a beautiful meditation retreat can help me past it. What's tricky is trying to put that experience into words, but again, I'm giving it a go.

So!

We meditators were practicing some sitting and some paying attention in the zendo with teacher Ed Brown. His wonderful sense of humor and lightness of spirit was lifting me all week. Toward the end of our time of sitting quietly, one of the monks-in-training could be heard walking along the boardwalk just outside the zendo building and then ringing the gong that let all the kitchen helpers know it was time to start cooking dinner.

Ed mentioned this in the talk he gave us just after meditation. He laughed and explained that although (and probably BECAUSE) the students ringing that gong were consciously stripping away personality and attempting to ring the bell with ultimate adherence to form, he could always tell exactly which student was ringing that gong. Their true energy, absent the neurotic flourish of "personal form" that they might want to put into the gong ringing, remained. Maybe I should not say "remained" but say "was made more apparent."

Shortly afterward, I was in a painting class led by the wonderful Gary Stutler at Napa Community College and the memory of the gong-ringer story resurfaced and suddenly made sense with art-making. It was a thought perfectly aligned with some teaching that Gary was giving about how the energy of the artist shows up in every stroke - part of why he was recommending, for example, that we stand up and really move when we painted if we wanted a dynamic piece.

So back to the painting of a seashell. Let's say Penny Painter really does create wonderful paintings of seashells. If you and Penny tried to paint the same shell with the same formal approach, same palette, same perspective, and if you and Penny let go of all clinging about inserting your "personalities" into that painting, it is clear that the true energy and essence of each of you would cause there to be two authentically interesting, unique paintings.

Is that interesting enough to you to proceed with your painting? If not, what else is motivating you to paint?

Can you think of paintings you've seen where it seems the output of pure unique energy of a person, but seems also not muddied by "personality"? Can you think of artworks where all you see is "personality"? Are you drawn to one over the other?

Something to think about!

And hopefully, a story that can help nudge you over that "gremlin block" about uniqueness next time it comes up.

Go artists!
-- Kate Merriman

Transitions

2010-10-13T06:46:00.000-07:00

Feeling uninspired? Has the joy of creating disappeared? You could be resisting a transition. You may fear losing collectors, fear rejections, or fear the unknown and the unfamiliar. More fearful than any of these is the truth that blocking yourself from experiencing the transition can drag you into lethargy and methodically dull work.

Consider transition an adventure. If you allow yourself to experiment with a new idea or direction, an “aha” moment can lead you into exciting creativity. Remember, it’s the ideas that the great artists were considering that inspired them to do great work. Artists can not live on technique alone. Be open to not just what you see with your eyes, but read about everything. Get out and talk with people. Travel to a new location. Hear some new music. Go to museums…and not just art museums. And when something hits you powerfully, allow yourself to sketch, paint, and ponder your way through to a new level of creativity. Consider transitions adventure; the possibilities are exciting!

-- Terri M Wells

Challenge Yourself

2010-10-07T07:18:00.000-07:00

I mentioned painting challenges in a previous post and have discovered a couple of open, online challenge groups that look pretty cool. Sometimes we just need an idea or a seed to spark our creative spirit. Seeing or trying something different is a good trick to get yourself back to work.
Check these out -

Virtual Paint Out
Monthly Painting Challenge
100 Paintings Challenge
Street View PaintOFF

-- Robin

Where Good Ideas Come From

2010-10-01T15:12:00.000-07:00

Pretty cool promotion for a new book by Steven Johnson -

Enjoy your weekend and may your ideas flow and connect.

Finding the Time

2010-09-30T18:08:00.000-07:00

External blocks to creativity come in many, many forms. Especially for those of us who are parents and have young ones at home. I try very hard to be an involved parent. I believe its the best foundation for my daughter's future success and I believe that family is of paramount importance.

I've pretty much always kept my weekends and evenings unscheduled and dedicated to family time. I actually can paint with my daughter around, but not when my husband is home. Not sure why, but he feels more high maintenance maybe.

So, I keep family time sacred and meet all my other obligations, but I am not nearly so protective about my art. Why is that? And how do we nurture our creative selves when the schedule is as full as it can get? How do we make time for art?

I carry a sketchbook with me and at least practice my observation skills with quick gestures during tae kwon do or at a Brownie meeting. Those don't really contribute to paintings, but they keep my eye and hand alert. And are a fun chronicle of my days. And I mustn't discount them because they aren't a gallery quality painting.

I have found that one of the best tools for my studio is a timer. When I have a little bit of time, I set a digital kitchen timer for 30 minutes and do a paint sketch (if I haven't wasted all the time trying to find a subject.) Its a great way to start a painting too. Give yourself a short time to mass in the whole scene.

A wonderful book I found at a used book store is Craig Nelson's 60 Minutes to Better Painting. Its all about the advantages of quick studies. I highly recommend it if you can find it.

How do you carve out time to create? Share your ideas in comments below!

-- Robin

Education at Home

2010-09-21T18:20:00.000-07:00

I've noticed recently that a number of artists are offering online classes, workshops and even mentoring online. It seems like a logical next step in our computer savvy world.

Today, I had a note from Vicki Ross who has been working very hard with some very talented people to offer just such an educational outlet. What better way to stretch yourself when you are in a rut!? Work at your own studio, in your jammies if you like, and save on travel expenses. I think its brilliant.

Check out MyArtTutor.com and also see our growing list of instructors who offer online classes and videos in the right column.

-- Robin

TED Talks for Artists and Designers

2010-09-20T11:48:00.000-07:00

A friendly reader, Emma, shared a link to her recently published article listing some of the best art/creative focused talks from TED.
See her list here - “20 Awe-Inspiring TED Talks for Artists & Designers”

For those who don't know, TED is a group devoted to "sharing ideas worth spreading" and they host speakers from many different fields. I've enjoyed listening to some of these in the background while I paint. They have really excellent presentations from some of today's best authors as well as scientists, engineers, business leaders and innovators.

Creating Challenges

2010-09-17T11:19:00.000-07:00

Today I wanted to talk about the idea of the monthly challenge group I am involved in. The very creative Diana Moses Botkin decided to get a group of artists together to focus on a certain challenging theme each month. She can tell us later about the particulars of her choices and such, but I wanted to just talk about how good the challenges have been for me personally.
For one thing, I find that every time I approach my easel I feel this pressure to create a masterpiece. I treat every start as "precious" and I don't allow myself to play or experiment enough. The challenges have been that for me - a chance to paint a subject I wouldn't normally do, or use a palette I haven't tried. It helps to loosen me up and relax and get the creative juices flowing. I've really enjoyed it and I've found that those experiments influence my "precious" pieces and give them new life.
So I encourage anyone to try the same thing - sometimes a small group is necessary to get yourself motivated and committed! Team up with an artistic friend or small group, pick something obscure and different to do and loosen up.
-- Robin Cheers

Moving On

2010-09-16T06:02:00.000-07:00

Well I did finish the book. And I was certainly inspired by much of the wisdom it contained though like I've said before, it seemed geared towards those "closet" artists who have ignored or hidden their creativity and want to start to explore it again.
When I began the reading and exercises, it was after going through another of those blocks where just nothing sparked for me and I needed help working through the block. Those blocks come and go for all of us creative types and we all need some inspiration, ideas and support to get through them.
That brings me to my point here. I am going to make this blog more geared towards just that. A forum for many artists to share some ideas, be they specific to working through or accepting a block, or ideas for managing time, business tips, and other things to get our creative juices flowing. I have asked some and will approach more artists to join me here and share with us.
So join me and your fellow creatives and share any ideas you care to contribute! I will post things with links back to the contributors and certainly give all due credit. And look for it us Facebook, I will create a page for us there.
Keep in touch!
-- Robin

Matisse vs. Picasso

2010-06-01T20:21:00.000-07:00

I found a link to an article about the show I mentioned in the previous post. The show was mounted in 1999 - quite awhile ago. I liked this article which went well beyond the museum show and delved more into philosophy of Friedrich Nietzsche. I fall very much on the "Matisse" (or Apollonion) side it seems.
Interesting. Check it out - http://www.slate.com/id/20781

Jealousy

2010-06-01T12:30:00.000-07:00

Well here we are into summer now.
I've recently had some mental ups and downs. Went through another week or more of creative blocks. Struggled with a couple paintings that I couldn't figure out and had to mull over them for probably a week. I sometimes feel like my brain is ahead of my hand in its ability to express. Its very frustrating. Almost a feeling of impotence I suppose.

Then I've also had some bouts of that evil green-eyed monster -- jealousy! I wonder if Ms. Cameron addresses this? I will be honest. I haven't picked up the book since Chapter 8 or 9. Definitely found things of merit in those chapters as well and meant to blog about them. I have just been lazy I guess. And have too many things going on. Such is the life of a working mother, right?

But back to jealousy. It can certainly undermine you if you let it. I know its not just me too - I suppose everyone has someone that they feel some competition with. And I suspect that we all keep it a dirty little secret. I, for one, don't want anyone to know my private insanity. ;-)

For me, its someone in a similar place in life, but a whole lot more like King Midas. So their success feels like a failure for me. And I know its totally irrational. We don't even paint the same subjects. Anyway - it turned out to work in my favor two weeks ago when I decided I was going to "show them!" and finally got that painting out of my head and on canvas. I suppose jealousy or competition can be a motivation.

I recall an interesting exhibit at the Kimbell Art Museum (Fort Worth) quite a few years ago - "Picasso & Matisse - A Gentle Rivalry." It focused on the relationship between the two painters and how they sometimes motivated and alternately competed with one another. Its been so long now that I don't remember much of the relationship but now that I am reminded of it, I think I will explore it some more.

enthusiasm is grounded in play, not work

2010-04-19T07:41:00.000-07:00

I recently decided that I would drop off the Daily Painter's Gallery blog. My work has been appearing on there for many years and I would have to say that much of my early success in the blogsphere was due to exposure there. So it was hard to decide to not participate. Its probably not that big a deal, but I have felt pressure to "perform" because of the expectation the online gallery creates. I haven't been painting those small paintings though I do paint daily. Most of my work is focused on gallery pieces. And sometimes, too much on that.

When reading chapters 8 and 9 the last couple of weeks, I was struck by this -
"The discipline itself, not the creative outflow, becomes the point."
I know some artists, especially since this "daily painting" phenomenon, believe they cannot stop, that they have to paint/produce something every day - especially in order to sell on their blogs.

I think that some artists who do the "daily paintings" can get stuck in a rut, or put out work that is not the best just for the sake of being seen... I don't want to do that. I do not want to judge a work by whether its "good enough for the blog" or "good enough for $100."

Since the new year, and beginning this book, I've relaxed a lot in my work and allowed myself to change gears, to experiment a little more, and to focus on what I love. So it seems logical to remove the pressure to create something to meet other's expectations.

"That part of us that creates best is not a driven, disciplined automation, functioning from willpower, with a booster of pride to back it up. Over any extended period of time, being an artist requires enthusiasm more than discipline."

- Robin

remember when...

2010-04-12T12:17:00.000-07:00

I was reading and posting?
I've been implementing more than reading. The book really did help me immensely and I am reminding myself as I begin each new day at the easel to think about those comments about perfectionism. I've relaxed so much more and am enjoying my work. Its interesting to me what an impact reading that section had on me. I suppose others might have a similar response to some other parts. Its nice that she covers so many possible blocks to the creative spirit and offers so much in the way of overcoming those blocks.

My days are so full this month that I have a hard time working in anything else, so my reading is on hold. My hope to do this in 12 to 16 weeks has stretched out further and further. But I am still picking it up and underlining key ideas for me. Just not writing about them much.

-- Robin

pefectionism

2010-03-12T11:14:00.000-08:00

So I'm reading along through Week 7: Recovering a Sense of Connection and read the section on "Perfectionism" and BAM! a lightning bolt hits me. This is me. This describes my problem exactly!

"Instead of creating freely and allowing errors to reveal themselves later as insights, we often get mired in getting the details right. We correct our originality into a uniformity that lacks passion and spontaneity."

My husband thought this was particularly apropos:

"For the perfectionist, there are no first drafts, rough sketches, warm-up exercises. Every draft is meant to be final, perfect, set in stone."

And finally, what I've not been able to explain to others:

"In this way, artists who do not appear blocked to the outside eye experience themselves as blocked internally, unable to take the risk of moving into new and more satisfying artistic territory."

THAT has been my problem. Once in awhile lately, I've been able to paint with some "verve" but rarely. Everything has felt calculated and bogged down. Nothing is coming easily or freely, because I am not letting it. So today, ah... today. I blocked in and I played with paint and I mushed things here and there and I didn't paint an apple, but I painted red and green shapes with shadows and highlights. And it felt so good.

This section reminded me to reread this article I have torn out of an old magazine... a piece by Kevin Macpherson entitled, "Passionate Painting: It Takes More Than Just Technical Mastery to Create a Great Painting." (Southwest Art, Sept. 2000)

"If art is only a laborious mechanical re-creation of reality without any emotional direction or purpose, it is only a technical exercise. If as artists we can reveal our emotions in a well-crafted statement, we are nearing excellence in art."

Amen.

-- Robin

halfway mark

2010-03-02T06:23:00.001-08:00

We are supposedly halfway through the book. Week 6. I am very curious to have some comments left by those that have worked through the book. I hear a lot of people say its "the best book," but I don't know how it helped or changed their creative situations.
Was it like a bolt of lightening? Was it more a subtle shift? Did the exercises develop into a new way of approaching your art?
Do you remember the path and implement them regularly, or do you need a refresher course every few years?
Comment here and share your experiences. Thanks!
-- Robin

recovering a sense of possiblity

2010-02-23T20:00:00.000-08:00

A line in chapter 5 -
"We startle ourselves by saying yes instead of no to opportunities."

I must say, I did rather startle myself by accepting new representation - bringing my gallery count to 7. What was I thinking? Especially right now, when I am having a difficult time finding inspiration and struggling to create enough work. It was a leap of faith. I had such a great summer and fall and was really in a rhythm - like a well oiled machine. Then... well we all know that from time to time, other things get in the way and I was derailed for awhile.
Now I am hoping that I will get that groove back and be able to create enough good work for my galleries, for my blog and for a group show, which I also agreed to. Another yes.

Kate too took a big leap which will open up a plethora of new possibilities in both her creative and computer careers.

The idea is to embrace those possibilities, believe that you can live into them and have faith that because you are open to the new, that synchronicity will be your partner and guide the way. I have lived long enough to experience God working to open those other doors when you think all has been shut to you.

I guess I believe deep down that I can and will succeed in getting back on track. My dry spell is not permanent. The flip side it knowing when to say no. And knowing what to cut out. I have long debated about the wedding/live event paintings. Sure, its neat. Its a cool thing for people to watch art being created from life. Its a good exercise for me. BUT... its so hard. Traveling (via air) is the worst. It wreaks havoc at home. Its exhausting. Lonely. And I worry that its a novelty and not really furthering my career. I have been declining any events out of state. I am still doing events that are within driving distance. And I've managed to work fast enough on recent ones to finish at the event so I do not need to continue work at my studio. Obviously, I can't decide if its worth it or not. I could really focus on it, and promote myself and do quite a few events but I don't think this is my time of life for it. Not while I have a young child at home. Now I feel like I am disappointing others! Where is the chapter on guilt?

-- Robin

Catching up again! (from Kate)

2010-02-21T12:03:00.000-08:00

Well, despite my early warning that I may not be able to devote much time to this blog, I feel guilty about neglecting it. I haven't done much reading in the book, but as Robin alluded to, just pivoting around the book has been a good catalyst. I haven't been able to write much about what's been keeping me so insanely busy and distracted over the last few weeks, but now I can!

I had been interviewing for a job in San Francisco with a very interesting company called Linden Lab. The artist part of me was quite intrigued because they make a platform for a virtual world called "Second Life" in which everything, essentially, is artwork created by 'residents'. And I was drawn to their very generous and creative team too. Part of me wanted to get back to the bay area to be near to family and friends there, and to also be more connected to the plein air and other art stuff in Marin - a rich community and very friendly.

Then, just after a first round of in-person interviews in January, I spotted a job posting within my current company here in Austin and thought it sounded good, so applied. The more I learned about the team and the projects, the more I liked this option. Then, the capper came when the hiring manager offered to allow me to work out of the Berkeley office if I wanted to after six months or so - whenever I'd have ramped up sufficiently on the job and connected well with all the team in Austin.

So I accepted that job on Friday and then felt this surge of relief about staying in Austin, which surprised me. I think I'd been holding everyone at a remove because I didn't know if I was staying or not. Now I have at least six months and that justifies reconnecting, so suddenly I feel open to people again - and it feels a bit like waking up from a restless sleep. I happily signed up for a painting weekend with Plein Air Austin in April and joined a few gals from my new team for a "drink" (grapefruit juice for me, margaritas for them) at 5 on Friday. It was lovely and I thought, hey, it's like I'm a real person again!

I'm curious to see how all of this will play out, of course. And it will be a direct impact to my art life - one of less disruption, I think. So seems to be I got the best of all worlds really. Imagine that? :)

A couple of other thoughts here. I don't know if readers will understand how they are connected to my creative process and artwork, except that everything that I get really interested in becomes material in some way or another. So, recently read Temple Grandin's latest book called "Animals Make Us Human: Creating the Best life for Animals" and was totally absorbed and motivated to think more deeply about what goes on for non-human animals and how they are thinking and feeling. I've always been an animal lover and interested in what makes them tick, what is ethical with our stewardship or relationship. And the book really takes on a lot of that. What would it be like to be a prey animal? What can we do for dogs if they can't be roaming around with us all day for miles and miles?

So, having that on my mind, I attended an equestrian competition in Waco yesterday. Where normally, I'd have been focused on whether I understood what made for good riding or not and whether I looked as though I fit in, I found that at first I was captivated by the shapes and gestures of the horse and rider, but then, after being there for a bit, I was really bugged by a few things. One, they were blasting rock music into the arena. (I asked my friend why, and she thought it was because it kept the audience from being bored.) I feel like the riding is completely interesting without the cacophony. And started thinking about how the horses probably were unnerved by it too. Then, as the women did their various riding exercises (reining), their teammates on the bleachers yelled out whoops and "yeah girl" and the like. Again, wouldn't that be totally nerve-wracking for the horse? Thirdly, the Baylor mascot being a bear, there were huge yellow bear eyes painted in several places along the railing of the ring. Now, if I'm a prey animal like a horse, I would find that disturbing too.

I'd love to see how the horses might perform in a nice quiet arena with no bear eyes glaring at them.

Since I have no budget or expertise to do that kind of experiment, how do I address that concern? Write a letter to Baylor? Do a painting? Seems rather impotent. Hmmm. Something to ponder.

--- Kate

hip and happenin'

2010-02-18T11:24:00.000-08:00

Welcome back. I found this cool template and changed our blog! I even managed to remember enough html to edit some of the template. I liked that this had a journal feel and isn't the standard, out of the box blog. We are, after all creative types!
Check out some of the fun designs available at btemplates.com

off track

2010-02-18T08:11:00.000-08:00

We both seemed to have slipped off the path to higher creativity this past couple of weeks. I think for me, I began painting through the block and stopped just thinking about it. I am still not satisfied with my work, but I am at least learning, creating and experimenting. I have begun to get excited about each new day's attempts and that in itself is an accomplishment. I feel like I am on the cusp of something new and improved.

Kate and I had our coffee house meeting this morning and are back on track to read and live Chapter 5. Now... back to the easel!

-- Robin

ebb and flow and the pas de deux

2010-02-03T19:44:00.000-08:00

I'm quiet for a week and then suddenly have all kinds of things to write about.
Today I had an artist's date of sorts and went to a Studio Spotlight at Ballet Austin. Dancers performed some pieces from the new production, The Bach Project. It was quite interesting and a nice "teaser" for the real thing. I would like to go more regularly to the ballet, and symphony, and so on, but ticket prices are so high!
But that is another topic. What I am thinking of tonight is one of Stephen Mills (artistic director) comments at the end when asked by an audience member about his creative process. It was quite interesting to learn about how another artist might develop something so complicated as a dance.
To me it seems impossible. As does writing music. But many elements are based on classical ballet, or classical music. They are modified and tried in new ways. And it is a process to develop, just like in painting.
I was somewhat surprised too to learn that some days Mills said he might work until 2 a.m. when things are flowing... and on other days, he wanders around with nothing to do because he cannot force creativity.
Quang Ho, famously talented painter, even had a post on his Facebook page about the time and struggle even he experiences in the creation process.
So, it seems that in all genres creativity can ebb and flow. Its nice to know that I am not alone, not in the visual art world or among the larger pool of creatives working to express themselves and beautify our world.

-- Robin

ps - talk about bumping up against deadlines... Stephen Mills said he'd just finished the ballet last week! And only got the music for one piece very recently too.

critique

2010-02-03T06:33:00.000-08:00

Something I read in the previous chapter talked about criticism. Ms. Cameron meant unsolicited comments or reviews, but it made me think of critiques we artists often seek out.
I think its important for artists to get feedback, but its equally important that the feedback be from safe sources.
I have a small group of other artists and family who I can count on to give me encouraging, thoughtful critiques. My advice to other artists is to have select group also and not get into group situations in a studio or class where the abilities and communication skills of the other critics might be questionable.
You want feedback that you can work with. Not just praise either. If you are questioning a work and don't like it, then its good to get someone else's perspective. They can maybe lead you to what is wrong. We see the painting for so long that we might miss the fact that one color is distracting or that a hand looks like a rack of beef.
So choose your critics wisely and in turn, offer genuine critiques yourself.

-- Robin

chapter 4: recovering sense of integrity

2010-02-03T06:25:00.000-08:00

This week I am struggling to get my ideas onto canvas. I have worked through whole paintings only to be disappointed with the results. Then I start over. Its as if I forgot how to put the paint down. And then I start thinking "what is the right way to do this?"
As artists, we all know there isn't a "right way" - I mean beyond the technical specs of the paint and surface, there isn't a single correct way to create a painting. People use anything from a size 1 brush to slinging paint to express themselves. So why am I thinking there is a method that I am missing. I keep looking at other artists I admire and wonder, how did they do that? Where did they start? What was on their palette?
I don't think this is a sense of recovering integrity. Though I am dedicating more time to my artwork and creativity. I am trying to focus and work even though I feel like a beginner.
And why do I feel that way? Is it because of my long break? Or am I on the cusp of something new and improved?
Lets hope for the latter. I want to improve and grow.

-- Robin

so many visions, only one lifetime!

2010-01-27T11:08:00.000-08:00

Well, one of the happy results of getting into this Artist's Way process has been that I've got all kinds of ideas bubbling away and not enough time to do them all. But that's a good kind of problem to have, at least if you're my kind of temperament.

As I'm looking at a couple of different options, I am getting a really attractive picture of a couple alternatives. Of course, life throws surprises at us, but I would like to have more of a goal-setting structure for myself too, so here are my thoughts.

Option one looks like this: stay in Austin, find more ways to enjoy my current work and potentially decrease the hours of the job without reducing too much of the income while bolstering the good networking and art opportunities that have started already here. Take part in EAST, do more figure painting, get even better connected to the dog rescue organizations in town and do more art-and-craft based fundraising for them. Plan for trips out to California for family time but also fit in some "just for me and my dog" travel.

Option two looks like this: take the interesting new job in San Francisco (which has a lot to do with art - it's all about a product where people create virtual worlds), rent a storefront live/work space in Vallejo (which is incredibly cheap and about to undergo some exciting growth) where I can do my own art and also host events, workshops and fundraisers on the weekends as well as have a bookshop / coffee shop set up if I want to! I could take the lovely ferry boat right to within a 1/2 mile of the SF office and on the weekends, I'd be smack dab between Marin and Napa, two of my fave places. Plus, when I checked out AA meetings in Vallejo, I really enjoyed them. Good peeps. Plus, my wonderful former painting teacher and artist Gary Stutler lives in Vallejo.

So, it's fun to think about these things. Wonder what will happen?! I am supposed to hear from the San Fran people today to set up a time to go back out there for round 2 interviews.

awakening

2010-01-25T06:54:00.000-08:00

Yesterday, while my daughter was in Sunday school, I went to Buckies (Starbucks - conveniently close to church) and read and wrote my morning pages. I was struck by a part in chapter 2 where the author talks about being awake to the now - to being open and observant. I think it might help me explain my work. I sometimes struggle with statements because I am not trying to depict things that are great causes, solutions, drama, etc. - I don't have some deep and meaningful reason to paint what I do. The only thing I can offer is that I like to paint what I see, what I enjoy and what gives me comfort. I am just sharing my observations. And in reading this bit, I felt that its a good thing and it is who I am. So while the world might be in chaos, and at home we might be struggling with job, illness, angst, confusion and loss, I can be awake to the simple things, the now, which is all we can really control.

At any rate, I felt that it was something of a vindication for my dislike of artist statements! And it helped me figure out how to explain myself. Having finished there, I went back to church and got my daughter for services at 11. The text was about baptism and it was very interesting... another form of awakening / rebirth.
-- Robin

at long last

2010-01-24T18:24:00.000-08:00

Well, I'm finally back here on this blog at long last. This last few weeks has been full of crazy surprises and my notion of how much time I'd have for Artist's Way work really was thrown. In any case, this little dog is the latest in a series and they are my creative joy at the moment. The colors and fabrics are totally energizing me right now - once I get an idea of how things might go together I get a little obsessive about finishing so I can SEE!

Despite my neglect of the book, the best thing about setting out on this little journey has been connecting with Robin on a regular basis - what a stellar and inspiring and kind person. I think the regularity is, hopefully, training my subconscious that I am taking my artist self seriously enough to nurture and invest in her.

The biggest quandary in mind for me is whether to stay in Austin or head back to San Francisco Bay Area. There are so many things to weigh, including family, cost, jobs, weather, and my artist life. And although I do love my family, the artistic things happening for me in Austin are the kind of things I've always wanted to have happen. Perhaps it's the artsy grassroots nature of Austin itself, helped along by a much lower cost of living. But I think it's also a personality that is drawn to living here - everyone I meet doing art seems to have a proclivity toward collaboration and generosity.

This is the issue I'm doing my best to put in the "God box" and not worry to death. In the meantime, I need to get back to morning pages starting tomorrow.

As for artist dates, I have had some great "camera safaris" with Lulu at various parks as well as great outings to Goodwill stores to look for fabrics and things.

artist's date

2010-01-19T08:29:00.000-08:00

Can a pedicure count as an artist's date? I confess to being rather blocked on this book. I think my creative blocks are all external truthfully. So not only am I having a hard time finding the time to read and do the exercises, but when I do read, I feel like its not relevant.
I don't have the negative voice inside telling me that I can't succeed, but I have plenty of interference and indifferent support externally.
My six year old has been really difficult and I am not sure if its the age or the something else going on. My husband tends to see the glass half empty when I have ideas to promote my work or invitations to do things. I feel deflated. I am surprised actually that things are so emotionally trying at home now and that I haven't been able to paint for so long. Those of us with family, kids, significant others, pets, parents, etc. that require lots of support know how draining it can be to creative energy.
The positive side of this is that we caretakers have such influence on the lives of those around us. And nothing is more important (and sometimes creative!) than training my child to be healthy, happy, productive adult. So while the art languishes, I see my daughter making strides in her development. And I can try to help my husband see that glass as more full than empty if I remain positive, right?

-- Robin

week 2

2010-01-14T15:55:00.000-08:00

Kate and I met this morning and had a nice visit. My feelings on this early section of the book is that it seems very geared towards those who might have had artistic/creative leanings but went into something completely different and are maybe now trying to open that door. Not exactly the creative blocks I've had lately.
This week - chapter 2 and "recovering a sense of identity."

Kate? Any thoughts?

-- Robin

the censor vs. the critic

2010-01-09T07:49:00.000-08:00

In the introduction I read about our inner Censor, the voice that says you can't do something, that its a waste of time or energy. Basically the voice that tells us we will fail. But that got me thinking about a possibly similar voice - one that might have negative things to say, but things that will help us grow and improve. The Critic. As a representational painter, I have to be able to look at my work and see those things that don't work or detract from the painting. Compositional problems, bad drawing, perspective problems, color disharmony, etc. Sometimes the Critic might be harsh and find nothing redeeming... but isn't that good too? It challenges me to paint better. To be selective about what I put out there - to create quality and not rest on my laurels. I think as artists we are constantly learning and growing because the Critic is there to push us to improve.

-- Robin

week 1

2010-01-08T09:21:00.004-08:00

Kate and I met this morning to get going on this. We’ve both begun the morning pages, but not much else. This week we begin in earnest, and decided we’d go ahead and meet weekly, and do the chapters weekly, though maybe not in as much depth as Ms. Cameron proposes.

This might be irrelevant, but I had an epiphany that I need to BALANCE my life/art better. And I need to not take any of it too seriously. Even if I am a serious artist… I don’t need to be too serious about painting. Make sense?

Starbucks was VERY inspirational though and I sketched quite a bit when our meeting ended. Now will work up a painting. Maybe my hibernation, as Kate so sagely christened it, is at an end?

-- Robin

the workbook

2010-01-08T09:21:00.003-08:00

I’m wondering if we should have or use the workbook? Me being the Cliff Notes sort of reader, might benefit from a more obvious path to discovery. At the moment I feel like I am going at this rather blind as I’ve read only the first pages. Kate has worked through the book in the past and we’re to get together later in the week. I will let her guide me!

–- Robin

morning pages

2010-01-08T09:21:00.001-08:00

I too have begun my morning “purge”. Its totally stream-of-consciousness sort of things. I am not certain yet how this is to influence or awaken my creativity, but I’m just beginning to read the book for the first time so will give it my best shot. Every night I write a day’s summary in my diary as my memory is so bad. So this will be an interesting contrast to that one day.

–- Robin

framing

2010-01-08T09:20:00.001-08:00

My Artist’s Way book should be arriving here to my house tomorrow & I started doing morning pages today. Until I start reading my book, I am fishing from my memory of working in the AW years ago. What I remember is that these morning pages are just free-form, not literature, not even necessarily insightful – they just are whatever they need to be. They can be three pages of “this is stupid”!
So, to make sure I give myself that freedom, I’m definitely NOT going to post those morning pages here. In fact, the main point will be to work through the book and see what I learn, make some positive changes for myself. This blog is just a fun adjunct to that. So just want to set expectations with anyone reading this.

-- Kate

artist's way in 2010

2010-01-08T09:19:00.001-08:00

Welcome to the fledgling blog for the journey a couple of artist friends are about to take through the exercises in Julia Cameron’s “The Artist’s Way.”