Painting the Faces of Misery – Capturing Emotional Pain

Many years ago, I was shopping for groceries. My gut felt raw as I floated around the store in an “out-of-body” trance. I was going through a difficult divorce, and felt empty and forlorn.

There were no relatives nearby where I could seek comfort. I was completely alone. My heart was broken. A clerk, seeing only the superficial face I put forward remarked, “My god, can’t you at least smile?”

I must have looked pretty bad. My first thought was that he had no idea what I was going through. I was certainly in no condition to smile or talk. I tried to fake a smile, but it was impossible. I was in misery and I couldn’t hide it. His remarks had made me feel even worse.

My crooked smile, lopsided eyes, and fun-house features were simply revealing my inner emptiness and utter brokenness.

Later when I became an artist, I realized that you can’t paint misery and hurt unless you understand the underlying emotions that caused the pain in the first place.

For example, grief after a loved one’s death is different from the shattered grief of divorce. 

In a good marriage there are fond memories and the loss can be shared with friends and loved ones who knew well our partner or spouse. After a divorce, you don’t want to share the failure and the tragic details with anyone.

"Brokenhearted" 9 x 12 Pastel on Bristol; matted and ready to frame

Anger between loved ones is different from that between strangers or friends. The emotions cut deeper. The fragility of ego and insecurity add to the exploding feelings. There is often far more to lose. The relationship hangs by a thread unless you can get past anger’s unpredictable course. Forgiveness is almost mandatory. The anger with others is sometimes quickly forgotten. There is no intimacy or long-held expectations that stretch the ties that bind.

Try to create studies of people’s emotional reactions. Distinguish the simple breakdown between different kinds of anger and pain.

These subtle differences may slightly change the tilt of the mouth or a wrinkle in the nose. Emotions may be altered only by pushing one eyebrow upward to change an expression. Glassy eyes may add to the sadness. Body language and the way the hand is used to cover up what others see adds another dimension.

Practice will make these changes better over time. Be observant and find out what happens when slight movement gives your markings life and nuance. Your scenes will have more energy and drama; your story on canvas will become more dramatic, more interesting, and definitely more real.

"Serena Shines" Pastel on Bristol, matted

A person’s face is like a road map of the life they’ve lived and the things they’ve experienced. Once you have mastered unhappy faces, go on to those of joy and passion.

The decisions you make about “center of interest” must be made before you put one brush or pencil to canvas; where the face goes so goes the body. Every emotion portrayed must agree with the body language expressed.

"A Joyful Heart" 9 x 12 Patel on Bristol; matted and ready to frame

What are you waiting for? Just Begin!

"Ibis on a Perch" (looking forward) 11x14 matted/ready to frame

Sometimes the hardest part is starting; applying paint to canvas, words to paper, or bringing to life what only you can see. So you stall. You wait until you are in the mood. You procrastinate by savoring that perfect cup of coffee. Instead of eliciting your muse or the God of creation, you fiddle and fudge the morning away, waiting for inspiration. Not.

In case you haven’t heard, it doesn’t work that way! Action creates energy, energy spawns creativity, and creativity opens you up to receive inspiration. Get those fingers moving! Take those notes. Scribble that quick sketch. Don’t wait until everything is perfect. Imperfection creates “happy accidents” that happen when you're not uptight. Be loose. Quit worrying. Just get started.

"Moonlight Magic" 11x14 acrylic on canvas (my "happy accident!")

One day I was ready for an appointment, but had about 20 minutes to kill. I grabbed my kindle and started reading. Because I was worried about being late, I kept looking at the clock. Believe you me, when I glanced up to see what time it was, the minute hand had barely moved. It was like watching and waiting for a pot to boil. I was amazed at how many pages I was able to read in that short a time.

Progress comes in small increments. You don’t take a giant leap and reach “Go” (as in Monopoly). You take one square, one step at a time. The secret is to keep moving forward. It matters not how far you get in one day. Tiny units of precious time add up. Like the saying, “How do you eat an elephant?” Answer: “One bite at a time;” and in your case, one byte or one brush stroke at a time.

This week, I’m training in a new girl to take over my part time job. The company decided to hire a full time person rather than pay for two part time people. Throughout the day, she kept saying “I’m overwhelmed” right now. She was trying to eat the whole elephant in one or two days. I remember the feeling well. But she’s sharp, she’s tech savvy, and she will learn the ropes, one step at a time.

"First Daffodil" 16x20 acrylic on canvas @ http://carol.allen.anfinsen.artistwebsites.com

Why do we get so impatient with ourselves during the inevitable “learning curve?” As certain as night follows day, what initially takes extreme effort and energy to perform will soon be done by rote. Actions that are difficult in the beginning will become mechanical within a few weeks or months.

Anxiety attacks are commonplace in the beginning. But if you stick with the job and just “do it” rather than stressing out over it, “This, too, shall pass.” The job, the project eventually gets easier. Remember the adage: “Of all sad words of tongue or pen, the saddest are these, 'It might have been.” ― John Greenleaf Whittier

"Dregs of Winter" matted and ready to frame (There will be a spring)

We had a dear artist pass away last week. She lived fully, taught art for many years, and established her own reputation. I don’t think she ever looked back with regret. She lived for today. When you reach the end of your life, never feel that you “missed out.” For better or for worse, “just do it!” Start each day with a dare. Challenge yourself to begin, even if you use baby steps at first. Don’t get left in the dust. When you reach the end of your life, never feel that you lost “what might have been.”

Success is a Lonely Walk we must take by Ourselves

"Siesta"  8 x 10 original drawing (reminds me of Key West!)

Being an artist is a lonely pursuit. Remembering what you know and putting it into practice requires self-motivation, skill and continued study. I’ve known artists who are professional students. They constantly take classes, but never quite get beyond the stage of exploration. They think that the next great class will surely make the difference between success and failure and in their ability to paint that perfect painting. Sadly, it never happens.

Only you can develop your brush strokes and style. You may learn value and color, you may understand another person’s technique and recommendations, but unless you continually practice your brush strokes and develop your own process for painting, you’ll be stuck.

"The Neptunes -- Octoband"   http://etsy.com/shop/anfinsenart

Plugging away and working while everyone else is at play is difficult. In order to climb, you must put in the time. It is by doing that we learn. We can read every book on the planet, and take all the classes available to us, but if we don’t put into practice what we have learned, our dreams of success remain in limbo.

"The Neptunes -- Trumpeteers" http://etsy.com/shop/anfinsenart

The biggest hurdle for most artists is finding time and space. Don’t wait until all your ducks are in a row. Don’t put off painting until you have the ideal space or allocated chunks of time. Delays are excuses. They keep us from making commitments.

Robert Genn’s twice-weekly newsletter is being done by his daughter, Sara, in his absence. Sara shared this gem a few days ago:

“Here's my version of English author and illustrator Neil Gaiman's Eight Rules for Writing. I've modified them for painters:

1. Paint.

2. Put your first stroke down and move on with another stroke. Work your strokes and let your strokes work you.
 

3. Stop the painting before you think you should.
 

4. Put your painting aside and start another painting.

5. Always keep in mind that you are your own best critic.

6. Perfection in painting is probably not possible. Excellence in painting is for people who appreciate the poetry of your soul.
 

7. Your style is what you're doing academically wrong. Radicalize yourself -- you only have one life to show you've got style.

8. You need to paint with enough assurance and confidence to know you can do whatever you like. So paint your story and make painting your life. Be honest with yourself about your progress. Always try to do a better job than you did the day before. I'm not sure there are any other rules. Not ones that matter.”

And finally another quote from Gaiman’s book: "I hope that in this year to come, you make mistakes," says Gaiman, "Because if you're making mistakes... you're Doing Something."

That’s all we can really do, friends. We can keep on making mistakes, and sometimes we may get lucky. (Below: work in progress "Fuchsia Fantastic #1, #2)

Hunters actually shoot these adorable Partridges

"Northern Bobwhite" Drawing; prints available

When I spotted the two birds, they were running alongside the chicken wire fence, hidden beneath the Brazilian pepper, the hedgerow, and the Spanish moss which draped from their lower branches.

The birds saw me and a soft chortle started up in their throats as they ran for a hole under the fence to escape. They were so fast on their feet that I failed to capture the details necessary for identification.

Checking my Audubon Field Guide later, I tried to piece together my impressions: stocky round bird, reddish brown feathers, unique head markings or Mohawk haircut; a chipping or swamp sparrow I wondered? Naw! Too small.

It was a year later in March before I saw another pair scurrying along the fence line. This time I got a good look before they slipped under the fence and disappeared in the dry pasture stubble. 

Turns out, they were northern bobwhites; members of the quail or partridge family and indigenous to Florida.

When the mating season begins each spring, coveys break up and mates build their own covered nests in the grass. In late summer, families join others to form a new covey until the next breeding season.

My husband and I saw the bobwhites almost every day for several weeks. One lusty fellow searching for a potential mate flew to the upper branches of a live oak and serenaded us with a “bob bob white.”

On days when we didn’t see the quails, my husband would whistle his own rendition of the song and we waited. Sure enough, an answering whistle told us where the bobwhites were located that day.

When the spring rains came early that year and flooded the grasslands, our bobwhites disappeared. My husband whistled to see if they had returned, but so far, there has 

been no answering call. We have waited four long years for their return. I miss those bobwhites!

Mike Barr has one of the most helpful videos on painting a rainy day scene:  

The Unleashed Mind in an Untamed World

"Popeye on trinket dish, with lid" http://www.etsy.com/shop/AnfinsenArt

Someone once said: “The basis of good art is drawing. If you don’t know how to draw, you’ll never become an artist.”

The question is do you believe that? And if you don’t, what is the basis for your opinion? 

Throughout the years there have been many artists and creators who have won the test of time and their work still charms audiences today; artists that could not only draw, but were masters of illustration and animation.

"Olive Oyl" hand puppet http://www.etsy.com/shop/AnfinsenArt 

Popeye was launched in 1929 debuting in a minor role in the comic strip “Thimble Theater.” Within two years, Popeye was the star of the strip. In 1933, Popeye became such an instant icon that spinach consumption in the US went up 33 percent during the 1930s. I became hooked on Popeye through my father who loved to read comic books after a long day at work.

In 2004, Popeye celebrated 75 years of being loved and adored and is still going strong. I discovered Popeye collectibles in the early 90s, and by then there were others who had purchased and stashed away their favorite King Features characters. Today my collection sells on Etsy: http://www.etsy.com/shop/AnfinsenArt

Other illustrations, comic books and cartoons I loved as a kid were created by Walter Lantz: Woody Woodpecker, Andy Panda, and Wally Walrus to name only a few of the characters that danced across the movie screen and cavorted through the pages of my personal stack of comic books.

Here is a Link to one of my favorites: Walter Lantz 1947, Frederic Chopin – “Musical Moments” with Woody Woodpecker and Andy Panda.



In those days, kids traded comic books. Those with the largest horde were envied. Horror comics and movies were also adored. On Saturday morning at the movie theater we screamed and shuddered through the horror flicks. Frankenstein, Zombie mania, and Abbott and Lou Costello kept us wide-eyed and glued to our seats.

As an illustrator, Walter Lantz was way ahead of his time. Before Political Correctness came along to modify and tame, Lantz created without inhibitions or guilt which was typical for the age. Today, some of his early cartoons are banned for their racial content and stereotyping. But even this cannot take away from the magnificent characters and stories he created. Taken in its totality, the career of Walter Lantz proves that the man was a genius, way ahead of his time.

Walter Lantz 1947 Overture to William Tell on YouTube

http://youtu.be/VKKR4JJMqoQ

The creator of Raggedy Ann and Andy, illustrator Johnny Gruelle, endeared earlier generations to the magic of toys coming to life while their owners slumbered. Even today, many parents have introduced their children to these red-headed rag dolls. 

In 1970 at the height of their popularity, an animated film called “A Musical Adventure” enchanted children everywhere. A short YouTube clip highlights a scene where the toys awaken from their slumber. http://youtu.be/vQXlAi_-nW4

Artist’s and Writer’s Block (Repeat of a blog from 3+ years ago)

(Photo from a friend in Uganda)

If you're a creative person, it's inevitable that at some point in your career or avocation you're going to bump up against a blank wall. The feeling can be frightening, even devastating, but it doesn't have to keep you down.

Over the years I've discovered a few things that may trigger these events. I'll share some of my thoughts with you, knowing that your trigger's may also be different from mine. For whatever it's worth, here are my top four:

(Putting the drawing in place)

1. Fatigue and lack of sleep. I know, it sounds simplistic, but you can't create in a sleepless fog. When your tail is draggin' so is your mind. Your perspective gets out of whack, and life seems sadder, badder, and meaner. When you wake up refreshed, you're ready to tackle almost anything. Get your Zzz's.
   
   
2. Depression. This is a real deep-down feeling of helplessness and worthlessness. This baby will pull you into a downward spiral that has no end. Mild depression is a part of life's ups and downs, but clinical depression can drag you into a dark abyss where life has no meaning. Get help!  If the cause is a bad marriage or an abusive relationship, get out!
   
   
3. Low self-esteem. A few negative words or harsh criticism can throw you for a loop. We can say "sticks and stones," and believe that words can never hurt us, but they do. Bullies can knock the wind out of your creative sails. Personal failure can push you flat on your back. The only answer is to grab hold of a power bigger than yourself and get up again. Quit worrying about what other people think. Your opinion of yourself is the only one that matters.
   
   
4. Lack of exposure. Sometimes we need to shake things up a little. Get out and experience life. Change the scene. Surprise yourself -- do something new. Try something you've never done before. I'm not suggesting going overboard and getting yourself into trouble. I'm only saying get out of the house. Go somewhere different. Try to see the world with a new perspective. Get some fresh air!

"Hey, Coconut Man" mixed media on canvas

I remember my first art show after letting my skills and brushes lie dormant for many years. I was terrified. How would people react to my artwork? How would they view my lame attempts to restore those lost years when my own self-esteem was slumping?

I muttered a prayer, something like "Oh, Lord what am I doing? What if I look like a fool?" A warm feeling and an encouraging thought came to me: "Give it a try--you might be surprised."

On that simple note, I displayed my paintings. I know some of them were pretty awful, but not all. Two women, I swear they were angels in disguise, bought one of my paintings right off. That sale gave me the confidence and the courage I needed to keep on keeping on.

"Twirling" Charcoal sketch (Drawing quick sketches releases my imagination.)

And there you have it: my secret formula for getting out of a "funk."  Next time you can't think and your mind's a blank, start writing, start painting anyway; anything--anything at all. Pretty soon the blood will get moving and you'll push right past that blank wall. Of course, a little prayer never hurts!

(Below is my favorite sketch "Siesta" done purely from imagination)

Shadow-Ghosting -- A Technique that Helps to Create Flawless Line Drawings

"India Rising -- the Found" mixed media on canvas (50% off)

I like to put people in my paintings. When a canvas or landscape doesn't include people, something is missing in my book.  I find that peoples' expressions and body language not only contribute to a scene but “round out" a painting's story.

The more I paint, the more this holds true for me. I find I’m more engaged in the painting and have more passion for doing it when a few lines and shapes form a character and become real before my eyes.

"Fish Market" 18 x 24 acrylic on canvas

Design also fascinates me, although, I’m not very good at it. I like to incorporate unusual background designs that have a subtle impact on the story I’m trying to create. The secret is to make them compliment the subject or center of interest without dominating it. Sometimes I succeed and sometimes I fail.

A painting should also have magnetism; a component that draws the viewer’s eye into the scene and around the composition. Once, I got so carried away with this principle that I led the viewer right off the canvas and into LaLa Land. I didn’t recognize my mistake until someone pointed it out to me.

"Serena Shines" 9 x 12 Pastel on Bristol

I recently took a class on “letting go.” The purpose was to encourage “loose” brush strokes and to allow your imagination to fly. My imagination flew, all right. Right off the page! There’s something to be said for “control,” and knowing what you want to see on canvas.

Portraits especially require a steady hand and even strokes of brush or pencil. Scratchy, broken lines make a drawing look weak and tentative. Lines that give the appearance that they know where they’re going and where they’ve been, are strong and definitive.

"Does this hat make me look fat?"  11 x 14 pencil on bristol

If you’re not sure if a line is accurate, don’t put it down on paper. Wait until you’re sure the placement is correct. Wave or draw a shadow line over the paper to test the distance and the dimensions without making a mark. If your shadow or “ghost” line seems accurate, place your unbroken line with confidence and freedom.

 Learning a new technique or genre takes time and patience. Making mistakes and recognizing them is just as important as being perfect. Sometimes we get lucky the first time, but continued practice is certain to improve your work over time.

"First Daffodil" 16 x 20 acrylic on canvas

Featured Artist:  Dorina Costras is an artist who seems to have mastered the art of drawing and color. Please enjoy her work and explore her web site at the following link:

http://kasturinic.wordpress.com/2013/07/12/wings-of-fire/ 

Creating the Illusion of Reality

Ingres, a great French painter, said “How you paint depends on how you draw.”

He was so right! Drawing is the basis of every good painting. However, today artists must close the time required to paint in order to make any headway on profits. Most artists have developed sophisticated means to shorten the gap between conception, implementation, and development. Many use projectors to duplicate quickly their image to the exact size of the canvas, even from original drawings. Some enlarge their image and print it out in tiles on their home computers.

The grid method still remains a popular tool to enlarge and transfer photo images to canvas. Still you can’t ignore the fact that knowing the elements of drawing and being able to use them well enhances any painting. Consider the drawing as the framework upon which all other components hang: composition, center of interest, color, line, form, and shape, both positive and negative.

Knowing how values work and where to shade to create form is vital. Creating a story, a portrait or a scene on canvas requires the knowledge of how to model to create the illusion of reality. If done well, the viewer fills in the missing pieces automatically with his brain.

The finished painting doesn’t have to be a direct copy of the original photo or drawing, and every line and shape doesn’t have to be filled in, only suggested. Creating a masterpiece is a balancing act of knowledge, skill, imagination, and risk. Doing something daring or risky is sometimes the only difference between the mundane and the magical.

Share your time saving ideas here! Carol’s finished paintings are @ http://carol-allen-anfinsen.artistwebsites.com