Pros and Cons of Control – when Enough is Enough

(A good example of "controlled" looseness)

We all like to feel in control of our lives, but some things are simply unpredictable. This year, travel and medical problems and procedures made it difficult to keep my blogs up to date on a regular basis. The interruption into my routine of writing and painting brought to mind the catch-all phrase emphasized in the movie Forrest Gump “Shit Happens.”

When this chaos affects. me and you, our projects and paintings may get messed up; and sometimes they turn into mud.  Almost every aspect of artwork must be supervised and controlled meaning that you should have some idea what you want to say, how you’re going to say it, and a visual image of how you want your composition to look.

(Yes, the artist knew what he or she wanted, but left room for creativity)

Even when you loosen up and release your tight grip on the brush, you are still in control. Taking a feathery fan brush and holding it loosely doesn’t mean you don’t know what you’re doing. I watched Lynne Pittard expertly push her oil paint with the tip of a fan brush softly and lightly; lifting as she finished each stroke. Lynne left behind perfectly separated sea grass in her wake. When she wanted to indicate seed, she simply pushed slightly downward (See YouTube video below).

The brush dangled loosely in her fingers as she moved the creamy oils with gentle persuasion. Although her touch was light, she remained completely in control because she knew what she was doing.

(Expressive Control -- A vision and a plan without rigidity)

Clouds can be made in much the same way making them look wispy and fluffy. Control comes in when you understand the feeling you wish to create and exactly where the clouds are needed. Keeping the paint smooth and flowing assists in the process. But if you get too carried away, the clouds may take center stage rather than settle into the background. Let’s face it. There is fun and pleasure in applying paint to canvas. But if you get lost in the process, you lose your overall vision and focus.

Certain techniques such as glazing require a soft touch. Waves that rise and fall spilling frothy foam over translucent layers must be executed with a gentle hand; but in every case, the artist is still in control.

The secret to a successful painting is to make it look effortless, as if the paint has been laid down with a feather rather than labored over or overworked. In order to do this your vision must be clear. On the other hand, you don’t want to be so rigid that unexpected splashes of color or shape are withheld because they weren’t part of your original plan.

Style dictates how brush strokes are laid down. Bold colors and broad swashes of paint help tell a different story. I have a new painting in mind that will require this approach. I personally believe the diversity in our world is beautiful and the people in it have unique individual stories to tell. Cultural differences may also require a bolder brighter touch.

Somewhere I heard the expression: “Let it happen.” If that’s a bit too unstructured for you, then have at least a concept or a story that must be told. Sometimes simple is enough.


Lynne Pittard's "sea grass" tutorial:

Are you Uninhibited or Style Conscious?

"Prayer Circles" Acrylic on 24 x 18 canvas

We always wonder if our personal artwork presents a style that is unique and recognizable by others. The answer is yes. Even though your style may be imperfect and perhaps full of “beginner’s” mistakes or careless errors, your style is evident in almost every painting.

Art Biz Coach, Alyson Stanfield, describes it this way: “Style is a characteristic or group of characteristics that we can identify as constant, recurring, coherent, etc. that is identified with an individual.”

And from the late Robert Genn: “Each artist’s uniqueness and individualism brings endless variations. The dynamism invites the “keeping-in-mind-God” to play a part in the work’s evolution, enriching the process. The job becomes an intellectual as well as a technical and emotional exercise. The idea is to stretch your brain so your act of art is your very own.

There are also designated types of art that differentiate themselves, one from another. For instance, impressionism, realism, surrealism, expressionism, painterly, folksy, primitive, abstraction, etc. Most of us learned about these different genres in school. But within each category, there are definitive components such as the compositional elements, the brush strokes; are they flamboyant and wide, or detailed and soft?

"#hopeful in India" Acrylic, 24 x 18 canvas

And what about color? The hues and values chosen and the way they have been applied are all recognizable; even the lines and shapes and how they’re rendered are unique to each artist. Your style is a combination of the mediums, techniques, and subject matter you choose. It’s the extra things you do to distinguish your work from other artists.

As you gain experience, your work evolves. Your colors become more sophisticated. The composition more interesting and leading. Increased subtleties and innuendo begin to tone down the brasher elements and enhance the message. The painting becomes a soft-spoken message from your heart that is both appealing and convincing.

You the artist become an expert at playful seduction and illusion. There are often multiple messages that beckon and coalesce into one cohesive center of interest. You begin to sense where and when intensity is needed to mirror your own passion. You triumph when this melding of heart and soul on canvas are transfixed in the viewer’s mind long after they have left the scene.

Some may be riveted in place, studying the twists and turns of your color and vision. This may not happen overnight. This evolution of style is like giving birth. The process may be long and hard, but you know it will eventually happen. The struggle to overcome and to achieve has been done before by all those who profess to be artists.

"Fish Market" Acrylic on 24 x 18 canvas

Is it worth the intensity of emotion and the grief of failure? Is climbing to the top of Mount Everest ever worth the risks? Only those who reach the top may feel exultation. The building blocks you leave behind (those crass unfinished canvases, those embarrassing compositions and tacky mistakes) litter the highways and byways of your history and become the building blocks of your destiny. It is not over until you lay down the brush and either give up or give in to the overwhelming hold artistry has on you.

What Every Woman Wants: Baubles, Bangles and Beads -- or is it?

"A Joyful Heart" pastel on bristol board, matted and ready to frame

I may be the odd woman out, but jewelry is not my cup of tea. Topping an outfit off with a smashing pair of handmade earrings is more my style. Gaudy and expensive jewelry is not.

I prefer an understated look. I was never into ruffles which make me feel silly. I prefer simple classic lines that enhance my comfort and put me more in touch with the person I am.

We all have different tastes, likes and dislikes. We are each uniquely created. In the same way that our fingerprints and eyes are not alike, so our preferences in food, music and clothing vary. The same goes for artwork. None of us will ever see the same thing. One painting may draw us, the other may repel. That’s how the “power of the purse” works, and why certain things appeal to a broad spectrum of people while another is less popular.

"Tansy's Pride" pastel on bristol board; matted and ready to frame

The buying public is also fickle. Discrimination is often based on current trends and popular opinion. Someone once said “We are a nation of sheep.” In most instances we are.

Still, there are ways for an artist to move past that shallowness. We can acquire a “universal” appeal that extends beyond the bounds of personality, culture, and tradition. Certain subjects have broad appeal such as family, love, hope, fun, dancing, merriment, shared experiences, and familiar landmarks. I’m sure there are many many more.

A mother and child will usually arouse warm sentiments. A child learning or experiencing something new for the very first time is another appealing delight. Animals and especially pets touch a soft spot within almost everyone. Suffering, pain and sorrow strike a chord that vibrates the very soul. Any action whether joy, hate or anger that captures the human condition can be related to by many people.

"Broken" mixed media on canvas SOLD, but prints available

The skill of an artist in relating these universal truths to others in a way that is visually exciting and moving can make the experience have even more impact. Familiar shapes and hues arranged in such a way as to lead the viewer on an eye-opening or emotional journey is another way of revealing our shared humanity.

When the common things that surround us are portrayed, others can relate. Illustrate the simple beauties of the earth and in the eyes of the viewer their value is elevated and appreciated. Patterns and textures that replicate nature’s vast chromatic surface add another layer of “simpatico” that reaches out to others.

Wise use of space or sparseness of color may also emphasize loneliness, emptiness, or baroness in a way that detail and color could not; emotions that most of us associate with loss, devastation, and tragedy which we all experience at some point in our lives.

The more universal appeal your artwork contains, the greater the chances that you’ll be successful.

"With these Hands -- Hope" oil over acrylic under painting

You ain’t seen nothing ‘til you’ve seen murrine

A glass dish using the murrine technique.

Glass Artwork has been around for centuries. But murrine is a 4000-year-old glass technique that dates back to the ancient Middle East. 

According to Visual News: “Using long rods of glass cane, intricate patterns can be built into a loaf like form, only revealing the hidden details when a slice is cut off. While you’ve probably seen the technique used in patterned glass work at your local art gallery, you’ve never seen the astounding level of detail achieved in these reinterpreted paintings from Loren Stump."

I was so impressed with his work; I decided to feature him in my blog. Amazing was my first reaction. When I finally saw the incredible detail in each piece, I could only say “Wow!” Stump’s work truly has that wow factor.

Read more on the Visual News site:  http://www.visualnews.com/2014/06/10/slice-incredible-glass-artworks/#QozWlcJfC8DtTPWe.99

As a native of Sacramento, California, Loren Stump’s career began over 41 years ago as a stained glass artist. In 1993 Loren discovered his natural talents with glass in molten form. Self-taught, he quickly mastered advanced shaded murrine, intricate sculpture, and paperweight encasement. One innovative technique Loren is known for is the manipulation of a two dimensional murrine sliced into a three dimensional form.

Mr. Stump is also showcased for his large scale lamp work, sculptures made of soft glass, and masks. Loren’s progressive methods and expertise, along with the use of his own inventive tools, keep him in demand as a remarkable glass artist and instructor. Traveling throughout the United States and abroad, Loren is known for sharing his wisdom openly as an entertaining, patient, and tireless instructor and demonstrator.

Loren’s incredible artwork has been displayed or is currently on display at the Corning Museum of Glass, The Ertz Israel Museum, and the Kyokei Fujita Glass Museum.

Link to view Loren Stump’s incredible glass artwork:

Loren Stump

Another master glass blower Davide Salvadore can be seen at work here:

The Corning Glass Museum has a series of videos not only on murrine, but on glass blowing in general that are both interesting and educational. Here is their link:

http://www.youtube.com/watch?

v=iG1LnlccCmM&list=PL05E3768228E2B5C4&feature=share&index=36

Victorian Art Has a Message and so much More

After reviewing Russian Lacquer art, Victorian art seems like child’s play. When the Pilgrims made their trip to America and cut off ties with their European forefathers, they also cut themselves off from the depth of culture and training that had inspired previous generations. Except for memories, many of them had no books or paintings until later immigrants brought them.

There is an innocence about their first efforts at duplicating what they saw; although, drawings from the Lewis and Clark expeditions are fairly detailed and accurate.

Children's books were not only written to entertain, but to teach values and principles.

During the Victorian era, the drawings appear playful and somewhat unskilled. Many scenes are detailed, but the characters seem misshapen or top heavy. Perhaps this was part of their naivety and charm.

At a garage sale a few years back, I purchased an old book titled: “Little Wide Awake, an anthology of Victorian Children’s Books and Periodicals,” by Leonard De Vries. Printed in 1967, the description states: "an authentic and fascinating panorama of the world of the children of a bygone era.”

“Little Wide-Awake” was one of the most popular children’s periodicals of the 19^th century. It reveals shocking details of life in the Victorian world. The stories contain surprising grimness and more stark realism than many of the children’s stories of today.

These black silhouette drawings were a favorite!

In contrast, there is also a cloying sweetness in many stories and poems that many may find “sappy” and sentimental. To quote from the cover: “The religious ideas of the period are expressed in selections from publications of the Religious Tract Society. Also included are fine examples of books of instruction, alphabets, and forerunners of the comic strips.”

Nevertheless, there is humor and lightness in rhyme, as well as superb examples of poetry and “early art nouveau illustrations.”

Young women were taught to mend. Imagine having to darn socks, but it was economical.

The author, Leonard De Vries would be worth one blog on his own. While studying physics and chemistry in Amsterdam, his education was brought to an end when the Nazis overran Holland. De Vries was born in 1919 in Semarang, Indonesia, and considered life a voyage; a discovery full of adventures and surprises. This attitude helped him get through the war and inspired him to write children’s books.

I loved the composition of this drawing.

In 1957, when looking in the attic of a children’s library in Amsterdam for pre-war juvenile books  on science experiments, Leonard found some 18^th century children’s books. These were the basis for this anthology and for many of the over two dozen children’s books that he wrote.

His experiences during the Nazi persecution, and a stay in Israel in 1953 helped him write “The Land is Bright.” In 1960, De Vries made a trip around the world, wandering many months through Thailand and Ceylon, to write a book about the inspiring work of UNICEF. 

Whether you like Victorian art or not, the appealing characters and stories of the period give us a glimpse into the past.

The last painting below is my favorite in the book for its overlapping elements.

Beware! The Seagulls have Landed

In my last blog; I discussed the positives and negatives of different leadership styles. I’m going to continue that discussion. When running a business no matter how large or small, leadership is key to success. Whether your employees are relatives or part time helpers, your leadership provides direction, policy, and consistency.

Small business owners and entrepreneurs develop their own leadership styles. Several years ago, the term “Seagull management” became jargon for a boss who rarely made an appearance, but when he or she did, they “flew in, shit all over everyone, and then flew out.”

I’m sure we’ve all had bosses who fit that description. Rather than being helpful and open to suggestions, they dominate, make an appearance, and criticize and complain about what’s going on, even though they are never around to supervise and keep things on track.

We can laugh at this and appreciate the humor, but we must make sure that this isn’t us. The people we work with deserve to know that they are appreciated and needed for their efforts. It is far better to create a team that works together for the good of the business than an isolated group of people who feel at odds with one another.

Several years ago, I had a boss who was abrasive, domineering, and critical. No matter how hard I tried to be a good employee, he found fault with everything I did. He’d bark if I walked into his office while he was on the telephone, even though the message I quietly laid on his desk was important. He’d question my decisions and my work. I was constantly berated in front of others.

I must admit, I wasn’t singled out by any means. He barked and grumbled at everyone. He was absolutely the most disagreeable and bombastic person for which I had ever worked. After a year, I found another more suitable job. The poor man couldn’t keep employees, and he couldn’t seem to change.

Creative professionals require isolation in order to produce. They become team players in order to further their own self interests knowing that networking is paramount to their success. Even though creatives compete on some level, they also need each other to stay abreast of changing trends, to research information and interview people, to learn about new venues and opportunities, and to retain objectivity in their introverted profession.

We are all leaders. Whenever you represent your business, your product or your style, you become a leader. The traits of good leadership will build lasting relationships, increase sales, and validate your professionalism. Good leaders are also good followers. Flowing easily between the two roles is vital in building a network of friends, clients, and mentors.

What is your Style of Leadership and how does it affect others?

"Strangler fig" climbing up a cabbage palm.

Parasites prey upon other living things. They feed upon the life-giving properties of their host in order to sustain their own life. Some people imitate this behavior by sponging off their friends and relatives or by eating up their precious time.

This can be done overtly through wireless media or in subtle ways that may subvert our efforts to succeed. In either case, we may find our plans sabotaged, our designated time devoured, and our energy sapped.

In my neighborhood, a parasitic plant called a strangler fig can destroy grown trees if allowed to grow unattended. One of their favorite victims is the palm tree, especially cabbage palms. Of course, palms are not really trees at all, but members of the grass family. They are hollow inside, and flexible. When hurricane winds blow, the palms bend and sway. I’ve seen a few palm tops lopped off in a gale, but this rarely happens.

The danger in strangler figs is that they wrap tightly around the trunk and steal nutrients from the host. At the top, they grow a thicket of leaves that hinders the palms flexibility. Instead of weathering hurricane winds, they end up snapping off or being uprooted from the weight of the fig leaves.

Negative thinking is a lot like this. It wraps its pitiful arms around us; makes us feel sorry for ourselves, and then breaks us when we’re most vulnerable.  Like strangler figs, negative thinking chokes off optimism and confidence. If we allow it to get a stronghold on us, we become weak and needy. Not a good position for success.

Sometimes we allow others to do our negative thinking for us in the form of criticism or by allowing them to take over our creative thought processes. Our own ideas are belittled, crushed and blown away by their bombastic arrogance.

Recognizing our friends from our enemies is vital for survival. Having positive influences in our life can curtail the strangling effects of people who use their power to put others down. Positive criticism, on the other hand, focuses on our strengths and encourages growth while minimizing error. It motivates rather than negates.

Recognizing the difference between the two styles of leadership can help us overcome any negative effects, whether we’re on the giving or receiving side of the equation.

Below is the church where my husband and I were married almost 10 years ago.

Awash in Color; Electric with Energy

'Greeters instruct artists on the procedures"

My blog title perfectly describes “change-out” time at the Art Council of Southwest Florida Cooperative Art Gallery at Coconut Point. On the first Monday of each month, new paintings are brought in and paintings which have not sold are changed out. There is always excitement in the air and congeniality as artists chit chat, get caught up on the new art scene and the latest gossip.

ACSWF is a juried gallery, and each piece must be judged by a reviewing board who determines which paintings will stay and which must go. The criteria are strict and demanding.

Some artists “play it safe” with predictable scenes and styles. Others take risks to see how far they can push the envelope sometimes ending up on the losing side. The disheartened take their heavy burdens home and hope that next month will be different.

"Registration -- in with the old, out with the new"

I am one of those risk takers. I like to experiment. Sometimes I get lucky, and sometimes I’m disappointed. I stretch myself and challenge myself as much as possible. I like to try different techniques and enliven my palette. There is a certain light or glow I seek that emanates from my paintings. Until I have achieved that look and feel, I am not satisfied.

Every artist that submits artwork in any form is hopeful that theirs will qualify. The gallery is filled with amazing pieces awaiting the thumbs up from the judges. It is a learning process. The judging is a combination of objective analysis, based on the skill and knowledge of the judges, and their subjective opinions of style and taste.

I have sold several pieces online that were rejected by a judge at one point or another in my career. Beauty truly is in “the eye of the beholder.”

Critics are everywhere from the “man on the street” to your favorite aunt Mildred. Everyone has an opinion and they’re all too eager to share it with you. “Why did you do this?” someone once asked me. When I said, “I felt like it.” They didn’t know what to say?

Those little stabs hurt just the same. After all, each painting, each creation is your new baby. You’ve conceived it, nurtured it, and given it life. Who are they to question your motives or your creative license? Still we must be willing to learn from those who have more experience than us. It is a slow and painful process.

How does an artist or any professional deal with "the slings and arrows of outrageous fortune?” We must develop thick skin. We must turn our hurts and sensitivities into tools for learning. This is part of the proverbial “learning curve.” We brush off our hurts and try again. Each time we do this, we become a little tougher, a little less sensitive. We weather the storms of life and we forge on. Not because we have to, but because to stop would be to die. Not literally, of course, but spiritually. If we allow others to deter us from doing what we love, we die a little each day.

Believing in yourself and your ability to learn is the biggest hurdle you will overcome. The Cartoonist for Shoe said it so well: “We have met the enemy and he/she is us.”

Our enemy is not the critics, the judges, or our family and friends, it is us. When we give into fear and disappointment, we are the losers. When we face our enemy and the challenges that come to us, we become strong, weathered, and fierce.

Developing a Unique Style and Vision

"Moonshines" 18x24 abstract acrylic on canvas

Are you guilty of comparing yourself to someone else and then thinking you’re not as talented or as skilled? Do you try to copy others work; not just to learn, but because you fear your ideas are not good enough?

Welcome to the world of self-defeat where you beat yourself up with the disapproving eye of a parent until you feel so inadequate that fear reigns free; where the unique perspective that lives within you disappears little by little: death by drowning.

"India Rising -- The Lost"  18x24 acrylic on canvas

When you drown out your own voice by dumping negative thoughts and distorted impressions over your psych you end up retreating in shame, embarrassment and disappointment.

In order to defeat “self-defeat,” you need to eliminate the following thoughts and words from your vocabulary:

"Americana" 16x20 acrylic on canvas

1.    What will other people think?
Who cares what they think? There are as many opinions in the world as there are people. Since no two people think alike and seldom agree, your opinion is likely to be different. Embrace that difference! It is what makes you stand out in a world of sheep. Be bold. Be courageous. Be yourself! Listen and evaluate what others have to say, but give your own voice equal value.

"Star Billing" mixed media on canvas

2.    I’ll never be as good as Joe or Joan Blow?
Why would you want to be Joe or Joan Blow in the first place? Their unique style belongs to them. Your unique style is embedded in your DNA. Your fingerprints, your eyes, your experiences belong only to you. They have made their mark upon you. Don’t regret your past. Bring it forward. Remember it, use it, bring it into your work and allow it to effect what you do. Show your stuff!

3.    Success is out of reach – I’m not good enough!  Baloney!  Perhaps the problem is “failure to drive.” What are you willing to give up for success? Are you putting in your time? Many less talented people achieve success because they are willing to work for it. Skills require dedication and practice. When you’re ready to give something up in order to achieve something greater, you’re on your way to achieving success.

Sometimes we must be willing to fail in order to succeed. We must make a fool of ourselves and face the music of stepping forward in order to develop courage and stamina. Failures are stepping stones that can propel us forward and lead us upward. Don’t allow failures or mistakes to defeat you. Instead, defeat your fears. Don’t be afraid to put your unique stamp on everything you do. Eventually it will pay off.

"Beach Buddies" mixed media on canvas

What is Style and how do you develop it?

I have a pair of old worn out slippers that I wear when the weather turns cold. They are ugly as sin, but they keep my feet warm and shield my ankles from drafts. I could throw them away and get another pair; but, hey, it doesn’t get that cold in Florida.

Like old ruts, my slippers are so comfortable it’s easy to forget how unsightly they’ve become. Like routines that become habits, old ruts are familiar and predictable. We sink into them easily without even noticing.

(Work in Progress) -- "Kindred Spirits"

Some people paint this way. I reviewed the portfolio of a young artist who was trying to develop a unique abstract style. Each painting looked much the same as the last. All of them used variations of red, green and blue on white. By the time I’d perused his portfolio, I was b-o-r-e-d! His theme became monotonous. 

Even the swipe of each brush stroke was similar in width and length, and no unusual center of interest emerged. The colors were all the same intensity; shouting for attention with no place for my eyes to rest.

We all fall into this trap at some time or another. We think style has something to do with similarity and recognition when style really gives us a larger picture of an artist’s capabilities and skill.

When you study the works of renowned artists, it is clear there are similarities in the way the brushwork is applied and in the colors used, but there is a greater principle at work. Style comprises the artist’s “world view” and how he connects to his or her audience. If a painting does not communicate, it remains stagnant and unremembered. Here are a few of my favorite artists and their unique styles:

Thomas Hart Benton

Benton was a “regionalist,” a painter who recorded the people and the places that he lived in and loved. I lived in Kansas City, Mo. when I first became acquainted with his work. His murals were in the capitol building and other public places. He painted the rural farmers, the railroad men, and the people in the city. His love was evident in the unique and swirling landscapes and in the curves and forms of the men and women who built the city from the ground up. The variety and the places he painted were so varied in content that even though his unique style is evident, each painting tells a distinct and original story.

Edouard Manet
Manet enjoyed surprising his audience. He preferred a loose and sketchy style, without fussy detail unless he chose to emphasize a certain area of the painting. He often used nudity to expose the foibles in the human condition.

Winslow Homer
Homer dappled in many mediums. He enjoyed watercolor as much as oil. He became skilled at both. You can almost see the growth in his style and skill with each painting. 


When he moved to Maine he began painting the sea in its wildest and most unpredictable forms. He became a master of the elements. The people he included in his paintings were often seafaring men and women, robust and hardworking.