An Artist must have "True Grit" and Know how to Use It!

My husband and I were searching for a movie on Xfinity; a cheap vintage one.  We settled for a 1969 John Wayne movie “True Grit” because my husband had never seen it. We were delighted and pleased with our choice. Good old fashioned values, humor, and the simplicity and perfection of John Wayne. What more could you want?

Curious afterward about the meaning of “grit” I discovered that it referred to courage, resolve, and strength of character; a perfect description of the main character who was determined to do something important for her family and for her dead father. Her quest was difficult and unpleasant, but she met each obstacle unafraid and with true grit.

That word grit stuck in my craw for days afterward. Another definition was “loose particles of sand, stone, salt, etc.” Things I had already used in some of my paintings along with paste and fiber. My purpose was to add texture and interest.

In my mixed-media painting “Broken” I used a fibrous paste to create the texture of a cement wall, and added shapes and symbols popular in the Sixties to look like graffiti. In addition I dipped a torn newspaper article of recent disaster into liquid paste and applied it in appropriate places. 

My drawing of mother and child was left untouched until acrylic color had been added over the background and then wiped off to reveal the symbols. The figures were then painted in oil.

“Moonlight Magic” began as an experiment in texture and various colors that were mixed with fibrous paste. When it was dry I began applying various shades of blue, wiping off raised parts with a cloth to allow some of the under painting to show through. 

I had no idea what the finished canvas would look like, but I kept moving and adding paint until I had the look I wanted. Raised areas defined the final color and design.

“Auburn Nights” (shown in my last blog) was the re-purposing of an old oil canvas I was dissatisfied with and had put aside. 

Wanting to engage in frugality and needing a rough surface to define the windy unpredictability of fall weather, I painted over the canvas in reds and browns. This is a simple canvas and didn’t take long to finish. 

I did most of this painting free-hand with brush and paint. I decided that if it wasn’t perfect, I would not go back over it, but let the canvas speak for itself. I think the texture beneath the surface added to the feeling I was trying to create.

“Queen of Diamonds” is a statement in textures, shapes, and angles mixed with a bit of realism. I knew from the first that I wanted a Harlequin theme to highlight and accent the figure as center of interest. Whether I was successful or not remains in the eyes of the beholder.

A Studio Silver Creek artist shows you step by step how to create a textured background using paste and shapes: 

Watching Michael Lang paint is a religious experience. When he starts slapping on simple inexpensive acrylics you’re never sure what it’s going to look like, but he does. His technique is hypnotizing. Using a combination of brushes, cloths, fingers, a squeeze bottle of white paint and a spray bottle of water, he dips and dabs until his masterpiece is finished.

Tools and Technology are an Artist’s Best Friends

FINAL "Stir Fry" 16 x 20 Oil on Canvas -- framed.

I am a risk taker. I like to experiment. Sometimes I get lucky, and sometimes I’m disappointed. I stretch my skills and challenge myself to try different techniques and colors that 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.

Using tools to build-up texture that ends up showing through may give you an unusual under painting over which you can layer, wipe off, or touch up with soft color, highlights or added lines.

(Underpainting; notice plastic rake tracks, swirls of color, mounds, etc.)

An artist from Australia, Robert Bosler, suggests that “how you apply paint (your technique) becomes a tool. There are refining techniques and empowering techniques.” Samples of both are at a link below for YouTube.

Tools of the trade for an artist can be digital or as simple as a plastic rake or a handful of tissue paper. 

I enlarge my drawings or photos on my PC to the size of my canvas. This allows me to block in the large items and saves me from always having to draw or transpose detail. Using my paint brush as a drawing tool, I can easily change or add to my composition. The details can be added later.

(This is the final result over that last underpainting--flipped
to portrait position.)

A novice once asked me for information on what it cost me to do a painting. He divided it into parts: supplies, paints, canvas, tools and time spent in the actual painting? 

This picayunish breakdown was designed to belittle me and other artist’s work with little regard to the years it takes to perfect a skill or the knowledge required to assimilate what one sees and to interpret it on canvas.

I gave him a simple mathematical tool to determine costs: Multiply the width of the painting by the length, add any overhead costs the artist may have (leased space / gallery, etc.), add in the cost of a frame or other embellishments. Include in this equation, the artist’s background and notoriety and the worth of a painting is much easier to understand and appreciate. This exercise at least gave him a basis from which to judge.

Reducing a painting to a dime-store print or knock off which has been photographed on canvas and then given a few swipes of paint is an insult. This is not a serious buyer, but a person who wants something for nothing. Walk away!

Common artist tools.

Beginning artists get overwhelmed when they see the big picture and know all the work that must be done to be successful. If this is you, try to slow down and take one piece at a time. A child doesn’t learn how to walk all at once. Neither does success come without a series of mini-steps and hurdles.

Focus on one thing at a time: 

• Prioritize your work list in order
  of importance 
• Do as much as is humanly possible
  in your 24 hour day
• Don’t neglect your health or there
  will be no business
• Small increments of time are better
  than nothing Use down time for planning, organizing your thoughts, and creatively solving problems. When your body is at rest, your mind can take over.

I mentally paint even when I’m not at the canvas. I solve problems in this way. At other times, an idea completely changes and moves in another direction. By the time I’m able to actually work at the canvas, I can move ahead quickly with confidence.

(The palette knife -- a favorite tool!)

Use your time wisely and it can be an asset not a liability. Experiment or you will never get your career off the ground. Don’t hesitate to try new tools or new mediums. You’ll never find your own niche until you do!

(Scrapers, spatulas, sponges, odd-ball tools in a handy bucket)

In addition to your home and kitchen, here is a fun place to look for unusual tools.

American Science & Surplus Catalog   http://www.sciplus.com/

Here is Robert Bosler’s demonstration

https://youtu.be/dvJKYzb4Nt8

A Second video demonstrates how to add texture to giclees

https://youtu.be/O6R4HdDGYLw

Are you Spreading yourself too Thin?

(In honor of Martin Luther King)

If the New Year is any indication of how the next year will go, I’m in trouble. Last year was filled with illnesses, surgeries, and accidents. This year started out with a chest cold and flu in spite of the fact that I had a flu shot. Hence the title of this blog.

Sometimes life throws you a curve ball and it’s all you can do to keep up with its demands. My blogs have been late more often than not. I feel I'm lagging behind and that I"ll never catch up. I haven’t felt like painting or doing anything, but I’m slowly getting back to normal.

(Shadow patterns on pavement)

One thing that's been on my mind is how much art and design is in nature. Inspiration comes naturally when you take a look around and try to recognize the intricacies of detail, contrast and color that exist all around us each day, but we're either too distracted or busy to notice.

Art usually replicates life, and nature is a big part of the equation. Even man-made objects add to the beauty of our surroundings. A brick walkway, tile roofs, sculptured or oriental rugs, baskets, wood grains, leaf patterns, light play and shadow. We are surrounded by artistic designs from our clothing to the food we put on our plates to eat.

Architecture and interior design complement our tastes and become the building blocks that highlight our personalities. Texture adds a tactile dimension and an element of fun. Our homes should reflect who we are and what we enjoy.

(I really need a hair cut!  My painting "Sandhill Cranes" behind me.)

(More beautiful shadow patterns)

You don’t have to be an expert to combine what you love with what brings you joy. Art and design are not complicated. They are simply an expression of who you are. Within your reach, note how many patterns and designs already exist in your home even without the obvious artwork. Wall art adds a third rail by accenting the colors that already exist and by providing an element of surprise or interest to an otherwise boring wall.

Wall art is like the final gilding on a non-descript room. It provides excitement and completion. Artwork ties everything together and adds a finished look to your entire scheme. Linking up with a few interior designers is a good way to get your personal artwork out there and become familiar with the local scene.

Next time you're in a slump, or you feel you've simply spread yourself too thin. Magnify your surroundings. Soak up detail. You don't have to travel or go to foreign lands for inspiration. You just have to remove the clutter from your own mind and focus on the unique that is already in front of you.

How to Tell Good Abstract Art from Bad

"Queen of Diamonds" 20 x 20 acrylic on canvas

I found an interesting article at Keeton’s Office & Art Supply, Jan. 19, 2015 written by Nicole Tinkham that answered all of my doubts and questions:

1. Consistency
This refers to the consistency within a painting as well as the consistency of an artist’s portfolio. If a portfolio is all over the place with a few stunning pieces mixed with low quality work, the artist is either still developing or doesn’t quite know what they’re doing. Same goes for within a single painting. The flow must be consistent from one side of the painting to the other with planned and precise strokes.

2. Color
Colors that don’t mesh well together are a dead giveaway that the artist isn’t a professional unless of course it’s done deliberately in which case it has to be obvious.

3. Texture
Most of the time, good abstract art is compiled of layers. There’s typically and under-painting and these layers often create texture.

4. Meaning
All great art has some sort of meaning behind it. Some type of emotion, whether positive or negative gets thrown onto the canvas. There’s thought and planning put into it. You’ll know when an abstract piece is done at random. It lacks personality.

5. Complexity
As an artist completes more and more pieces, they grow and learn new techniques, which is evident in their work. In contrast to what you may think about abstract art, the techniques used in this style (by a professional) cannot be easily replicated.

6. Comfort
Uncomfortable paint strokes will tell you right away that the artist is an amateur. Experienced artists are confident and produce every mark with intention. Paint splatters may look random but they’re put there for a reason.

There are so many different feelings toward abstract art. There are many people that simply don’t understand it, others who think they can replicate it, and of course the abstract artists themselves who put much more time and thought into it than many non-artists realize.

Tell us, what do YOU think? Does this research and the qualities of good abstract art change your mind about it?

"Moonshines" mixed media on canvas

Respond to the authors article at:

https://keetonsonline.wordpress.com/2015/01/19/how-to-tell-good-abstract-art-from-bad/

Ever been called a Hard Head or a Chip off the Old Block?

"Moonlight Magic" 14x11 acrylic on canvas. (remember the weird undercoating? See what I wiped out?)

As unflattering as those terms are, being called a block head or worse simply indicates that you’re stubborn, unbending, and immovable; something an entrepreneur should never be. If you can’t negotiate, if you’re unwilling to give the customer the benefit of the doubt, your sales are likely to plummet.

Give and take is what it’s all about and sometimes you learn the hard way. A few weeks ago I failed to consider the dimensions of an object and focused only on weight. The omission cost me over half of my profits. It was my mistake. I owned it. The customer’s cost was the same regardless.

By failing to do a “test run” before setting price, I was the one who got shortchanged. UPS suggested I call the customer and see if they would meet me half way. To me that sounded dishonest and weak. It was like changing the price of a bargain in midstream. So I kept my word and my customer was satisfied.

If that decision means he will be a repeat customer, then I’ll be happy. If that means he will refer my shop to someone else, then I’ll have two happy customers. That’s the name of the game. Chalk it up to the cost of advertising, part of the learning curve in business or stupidity. The outcome is the same.

Sometimes people complain even when you bend over backwards to please them. Their bark is often worse than their bite. If you make them feel they are getting a good deal, their bluster may turn into satisfaction. Rub people “against the grain” and you’re likely to lose a loyal buyer.

Wood is not only utilitarian, it is rich and beautiful. Circular grain may tell us how long a tree has lived and what it has weathered. Identifying the differences in the bark can help us determine what kind of tree we’re dealing with.

"Window on Pine Island" 16x20 oil on canvas

Even though wood wears away in time, it stays the same even when it becomes thin and overused. I’d take a wooden bowl and cutting board any day over a plastic or fabricated one. I’d rather scrub them after use with antimicrobial soap than trade them in on new models. I treasure the dark sheen that comes from use and the way wood absorbs oil and water like a living breathing thing.

My youngest son made me a small piggy cutting board when he took shop in high school. I have used it for over 25 years. One day after listening to those hyper-germaphobics, I placed it in my dishwasher, without the heat, to sanitize it. When I opened the washer, the pig had split along every grain line. The heat of the water had weakened the wood and simply dried out its life. I miss that pig!

I still have a wooden bowl made of myrtle wood that came from Seattle, Washington. It was given to me by my first husband. Today we use it to serve hot popcorn. The oil in the corn keeps it dark and lovely. I will never (are you listening?) never put it in my dishwasher.

This woodcarving of a little girl came from an antique store in Ellicott, Maryland. I love that place! My daughter lived nearby and I was visiting her that summer. The wooden figure drew my heart, all the more for its primitiveness. I suspect a beginning carver crafted this piece for the very first time.

The carved inscription says ©Somerville. I did some research and traced it to Somerville, MA; there seems to be a lot of woodcarving action going on up there. I suspect one of the many students that come and go carved this at some time and the sculpture ended up in Ellicott, Maryland.

If you haven’t tried painting wood grain, give it a try. Watch it come alive under your brush. Its exquisite sheen and grain are unique to each piece, so you don’t need to worry about mistakes. 

Even wood piling on the seashore or faded wood fences may turn an ordinary scene into a masterpiece.

(SOLD) Prints available at http://carol-allen-anfinsen.artistwebsites.com