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Showing posts from June, 2010

Cleaner Brushes Faster

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Warm Tones 16 x 12 I hate cleaning paint brushes, and yet I never manage to complete a painting with less than 20 brushes.  Mostly it's because I don't want to have my solvent open and evaporating beside me for hours, so I keep it closed until the end of the painting session.  In between, I just wipe the brushes briefly in a rag, or, unfortunately for me, grab another brush from my overly-large supply.  You really can't have too many brushes!
But clean your brushes you must if you're going to produce nice work.  I've looked at some of my students' brushes, and found them to be little more than sticks because of all of the old, dried up paint crusted in between the bristles.  There is no hope that those brushes will produce the sensitive, painterly layering that these painters are yearning for.
The good news is that even my 20-brush sessions don't take all that long to clean up.  I follow a simple order that minimizes open solvent time and keeps the brushes so…

Commit to your Art

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The Cast 2 14 x 11
As a painting instructor, I find that, though all of my students come to me with the desire to be painters, and an interest in art, not all of them are ready to commit to art.  And if they don't commit, they don't improve; at least not as they'd like to improve: dramatically.

To commit, a painter has to leave the old priorities behind - a clean house, mowed lawn, interesting and innovative meals - and put all of that reclaimed energy into painting, looking at paintings, and reading about painting.  Above all, to be a painter takes time.  Like playing the piano, you can't get better if you don't practice every day. Talent in painting is just a well-trained eye and the patience to create endless amounts of paintings that you will eventually throw away.

And to be a good painter, a person has to need to be one.  Simply wanting to be one isn't enough; it has to be an ache, a yearning, a deep ambition.  Because learning to paint has such moments of …

An Education

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Mermaid 12 x 16
An Education

I went to a Zhaoming Wu workshop in Edmonton this weekend at Pros Art School.  It was a fantastic experience.  Artist and school owner, Gene Prokov does a very nice job with weekend workshops, right down to the elegantly-presented, home-cooked food that we are served for lunch. 
On Friday evening there was a wine and hors d'oevres meet and greet, followed by a 3 hour demo by Zhaoming.  What impressed me was the absolute focus with which he moved the piece steadily to completion.  There was never a moment when he seemed uncertain about which direction to take in the painting, and it progressed cleanly and clearly from the first sketch of the model to the final, sumptuous painting.  That's experience!
On Saturday, we broke into two groups, each with a draped model, and spent the day trying to recreate the precision painting that we'd seen the night before.  Not as effortless as it looked! 
I backtracked, waffled, fudged and fiddled the day away. …

Practise Non Attachment

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Old Soul 16 x 12 A gallery owner once told me that some works didn't sell because, he believed, the artist was too attached to them.  That clinginess lingered in the finished work and turned off potential buyers.
Flaky?  Maybe.  But it's pretty easy to get attached to a work. 
I put my in-progress paintings up on the wall so that I can study them throughout the day and figure out my next move.  Seeing them every day can  make them feel like part of the decor: an indispensable part, and that does make letting go pretty tough.
But letting go is easier if I concentrate on the process of painting, rather than on the product.  If the thrill is in the problem solving and paint application, then, once those are done, the finished painting feels like a piece of history.  The experience will stay with me even after the painting has found a new home.
So I practice non attachment, and send my works out into the world with my blessings, hoping that they never return.

Paintings of Nothing

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One of my students remarked that I paint pictures of nothing.  She didn't mean this as an insult; she said that I make nothing look good.

What she did mean was that I don't bring in reference photos of scenic lakes and mountains for the demos on landscape, instead, I bring images of  - well - nothing, really.

One week it was a picture of a dried out marshy landscape with a line of dusty, winter-weary evergreens in the background.  But it did have a point to it: there were some low, scrubby willows in the mid-ground which were beginning to come to life.  The branches were an unusual lime-green that I'd never seen in willows before.  That was the focal point for me and what I emphasized in the demo.  Everything else was just the stage on which this main character could be dropped.

If you really look at what's around you, there are paintings everywhere: in the shadow that a tree casts on the ground, in a puddle in the dirt, or in a cranky child on a couch.  …