Out From Behind the Camera
I rarely get the opportunity to use our products as a customer might by working along with the DVD one chapter at a time. This past week was different. I played hooky with a group of art buddies down at my mom’s home in the Bay Area. There were seven of us total. I brought Creative Catalyst workshops and art supplies so we could try a variety of techniques.
It was a valuable experience to be a user of our products rather than someone involved in trying to calculate what is important when putting a DVD workshop together. As a consumer, it became apparent that multiple viewing was necessary for serious learning and chapters were critical to saving time. I repeated some chapters and skipped others after the first viewing. The second and third time through the DVD I’d hear a tidbit of information I’d missed before but this just happened to be the missing piece that made all the difference to my success. I simply could not take it all in with a single viewing.
It also was interesting to observe how each of us was attracted to different aspects of a teacher’s teachings, but never the whole teaching in its entirety. No one became a Carla O’Connor or a Nicholas Simmons clone. (There was one Jan Kunz but she was already Jan Kunz). We gathered information and pushed ourselves without loosing ourselves in the process. We gave ourselves permission to “dance along the edge of the abyss”, as Carla would say. It was fun but completely exhausting. I return to Creative Catalyst with an increased appreciation for the teachers and the students, and ready for another vacation.
Cheers ~ Lynn
THE COMMON THREAD
December 18, 2007
Over these many years of filming, I have been trying to distill what it is that makes one person an ARTIST and the next a PAINTER. (Notice I don’t say ‘just’ a painter) I think I can say, without reservation, that one ingredient in the mix is objective, self-critiquing. All of the people I’d consider Artists have paused many times in the course of their creative process, stepped back and pondered their next step. They asses the painting as a unique ‘happening’, on it’s own merits. Never have they said…’but it, the subject, looked like that.” They are more interested in making a work of art.
Artists are in no rush to complete their paintings. To the contrary, they do not put brush to canvas/paper until they are confident of the direction in which they want to lead their painting. Some have said they may have to wait days, weeks, or in the case of Cheng-Khee Chee, years, for a satisfactory, or even a brilliant, solution.
This is not to say that artists do not take risks. They do. They constantly push the envelope. Mary Todd Beam read from an article in SCIENTIFIC AMERICA (sorry, I can’t remember which issue) which said “creativity flourishes on the brink of incompetency”. Carla O’Connor described it as, “dancing right up to the edge of the cliff.” Virginia Cobb talked about creating problems in her painting, and then finding solutions as part of her creative process.
The real difference between a top tier artist and painter occurs in what they bring to their analysis. It is then when the years of study and experience give them more options, better choices and a clearer understanding of their media. It is NOT a “lets throw it on and see if anything works” sort of process. It is having confidence in their ability to trod new territory knowing their design skills will help them find the best, most expressive solution available to them at that given time.
So be patient, step back often and assess what’s happening in the painting. Don’t just ‘do’ to be ‘doing’. Stay attentive and try something new, something you’ve learned. If you always paint the same way, you can expect to … (here it comes…) always paint the same way.
Have a wonderful holiday!
~Lynn~
Q&A with Barbara Nechis December 6, 2007
I would like to report back on what Barbara Nechis had to say when I asked her the two questions sent in by readers. The first was to list her materials: Barbara uses #140 Arches watercolor paper, not stretched. She generally uses Winsor & Newton paints that have been refreshed the night before. She has a few Graham paints too. Her brushes of choice for almost everything are flats. She likes to use the biggest brush she can get into the area! She only uses rounds when doing lines or small details. Finally, Barbara does not post all her work or prices on her internet site because she does not want her site to become commercial. Because buyers contact her personally to ’see’ her complete availability, she has an opportunity to get to know them and what they are looking for when she sends them JPGs. I might add that Barbara is a very prolific painter “¦ keeping her gallery current could be a full time job! Barbara’s very recognizable style is achieved differently than any other artist we have filmed. Wet into wet painters will benefit greatly from her workshop! (Expect it next summer-2008).
~ Lynn ~
BARBARA NECHIS DVD and BOOK at CCP
Barbara Nechis,produced a workshop video, Watercolor with Barbara Nechis, with Artists’ Video Productions a number of years ago and re-released it on DVD this year. We are pleased to make this DVD available to you at CCP for $29.95.
We are also stocking her book, Watercolor From the Heart, Techniques for Painting the Essence of Nature
View Barbara Nechis’ New Web Page
Hugh Greer DVD
SPOTLIGHT ON HUGH GREER’s seasonal shifts!
The color of light greatly impacts the mood of a landscape, and that is no where more apparent than in acrylic artist Hugh Greer’s, Create Mood and Atmosphere with Color and Value. Hugh executes two paintings of the same scene adjusting (you got it) color and value! The results are dramatically different. Hugh shows you how small changes can make a big difference! His incredible handling of the pigment and brilliant color sense is something to behold… truly awe-inspiring! In addition, it is one of three workshops that start with the very basics and progress to this advanced level. The trio makes a great gift also.
Jan Kunz’s Watercolor Basics is Back
Jan Kunz book, Watercolor Basics: Color by Jan Kunz is on our shelves again. It was out of print and is back. This is an excellent introductory book for beginning watercolorists. It would make a great gift for an aspiring artist.
KELLY’S ANIMATED " 12 DAYS OF CHRISTMAS"
This falls into the “What CCP Employees Do In Their Spare Time” category. Kelly, one of our editors has just put a new animated video on YouTube. You have to see it to believe it!
If you like her video you may also enjoy our new Craft Arts webpage.
(Kelly is currently on vacation, but I’m sure she would like to hear your comments regarding her YouTube video.) Please send her an e-mail at: Kelly@ccpvideos.com
STAY on track during the holiday!
For many of us, our holiday schedule makes any really attention to art nearly impossible. Here is a tip that not only helps you grow as an artist but also might help you clean out some old paintings in your studio before your guests arrive!
If you have accumulated a few unfinished paintings, now is the time to wrap things up. Set the artwork around your home or studio where you can see them while doing something other than painting. This permits your sub-conscious side to get to work. Carry a post-it note pad and pencil. Chances are you will get an idea or two of something to try to move your painting forward. When you do, write it on the post-it and stick it to the back of your painting, not to the front because then the note will become part of the composition!
Let the painting ‘talk’ to you. Permit yourself to break outside of your comfort zone and try something different from you standard ’solution’. It helps if you approach this process with the attitude of “what will pull this together” and not “I can’t do this or that because of ?”. As Virginia Cobb says, ‘If you don’t try something new, how do you find out what the possibilities are?”
When you have an idea or two, jump into the process with energy and boldness. Don’t ‘pity-pat’! One way or another, you will have tackled a problem and learned by your efforts what works and what does not. IN ADDITION, having limited time to work on the solution will be in your favor. It will help you get busy and focus on solving problems in a new way.
I have a stack of “in progress” works that I’m sick of looking at. Before January 1st rolls around, I hope to have moved a few forward … even if it’s toward the circular file. In any case, it’s a win-win. If nothing else, I will gain new insights on what not to do. Moreover, I will have made more space in my studio for later efforts.
~Lynn
ACHIEVE RICH DARKS
guest contributor Ann Pember
A few small things can help us push deeper values in our work. A rich dark can only be produced by pigment that is capable of producing a deep dark. Some, such as cobalt blue, even straight out of the tube, produce only a mid tone. Test the colors you work with and use a value scale or value viewer (see the Value Viewer on the CCP website) to observe the value each can produce at its greatest intensity. Base your choice of colors on the result you envision for your painting.
Another key is to use enough pigment. You must blot excess water out of your brush before picking up paint, or you will have too much water. You will make a pale painting if you go from the water container right into paint and then paint on wet paper, There will be too much water and not enough paint. Instead, pick up juicy paint with a damp brush and test the color. It should be the consistency of heavy cream, or even toothpaste! That will make a wonderful dark. Don’t be afraid of “wasting” your paint. Put out a generous amount of each color, maybe half a tube or more.
Make quick value sketches if you can’t visualize your image in black and white. If you’re working from a photo, you can print a copy in grayscale and edit the image to get the look you desire. Never settle for photo reference without designing it by editing and making changes to improve the image! Make it art, not a copy. That includes designing a good pattern of values: light, middle, and dark. Ann Pember has taught two Creative Catalyst DVD workshops: Vibrant Orchid: Painting in the Flow of Watercolor and Painting in the Flow of Watercolor on High Plate Illustration Board.
CONGRATULATIONS to Sue Archer
The painting filmed for Sue Archer’s DVD workshop, “Pineapple Top” won two awards. It won First Place in Watercolor at the Festival of the Masters at Disney and Award of Distinction at Daytona. And all this under the pressure of filming at CCP! Way to go Sue!
Winter Art Show Begins
It’s time for another Creative Catalyst Art Show. Winter’s theme is: TREASURES
All mediums are welcome, just make sure to have your entries in by February 29, 2007.
CCP online art shows are a great way to share your work with the world. There is no fee to enter but there are opportunities to win some cool prizes.
Juror for the winter show is Janie Gildow.
Janie Gildow is an internationally known, award-winning artist. Her work has been published in The Artist?s Magazine, International Artist, and American Artist Magazine and in more than ten books including The Best of Colored Pencil 2, 3, 4, and 5.
Janie is the author of Colored Pencil Explorations and co-author of the Colored Pencil Solution Book, both published by North Light.
She appears in two DVD workshops from Creative Catalyst Productions: ?Colored Pencil, Getting started Right,? and ?Colored Pencil, The Light Touch.?
Janie is a Signature Member of the Colored Pencil Society of America, a juried member of the Catharine Lorillard Wolfe Art Club (NYC) and appears in Who?s Who of American Women and the World Who?s Who of Women.
Janie has judged numerous art competitions including the prestigious Texas & Neighbors Art Show in Dallas, TX.
She lives in Green Valley, Arizona, with her husband, Joe, and two cats: Murfee and PeeBee, and teaches at the Arizona Sonora Desert Museum Art Institute.
Creative Block
My article last week about creative block must have hit a chord. I received such wonderful communications from many of you, not the least of which was my mother calling to see if I was okay… : )
I’ve received permission to share some of your strategies for getting out of your blocked space. As Mary Lou Harris Arnold says, “I think there are a lot of us in the same boat, so why not turn it into a cruise ship?” Mary Lou continued by saying her muse is MIA but “…I finally decided to just go back to the basics – I started playing with my paints, creating a new color chart, trying different new mixes, anything to just keep my brushes wet with rich juicy pigments. (Musicians practice their scales, golfers practice their swings, etc.) I painted a simple pear, and I liked it! I painted a rose, but with outrageous color, and it was FUN! I ordered some dazzling new tubes of paint to entice my muse, and I think she may be flirting with me now.”
Rosemary Ayala wrote with 10 suggestions to overcome burnout, which she defines as: “Burn out occurs when someone begins to stagnate in the daily routine.” Here are some suggestions for getting that fire back:
1. Paint something you have never painted before.
2. Use a brush in a very unfamiliar size, either much bigger or much smaller then your normal choice.
3. Teach a child to paint.
4. Paint something in your favorite color regardless of the color it is “supposed” to be.
5. Put on music and paint to the rhythm of the beat. Now, keep up with it!
6. Put some meaningful words on little pieces of paper. Draw one out of the hat and paint something that expresses that word.
7. Paint a painting for the local shelter or clinic. Keep in mind who your audience will be.
8. Call a friend and laugh out loud.
9. Go see that someone special and get a big hug.
10. Say thank you because you know the next sunrise will be so awe inspiring you will just HAVE to paint it.”
In addition, one of my all time favorite people, artist Mark Mehaffey wrote: “Being “creative” is a BIG weight to carry. I don’t even think about it…”IT” comes naturally IF we can just find the time to do lots of work. For me anyway, one painting always leads to a bunch of ideas about the NEXT painting…which I go right to until a tangent (creative thinking) enters my mind. I ALLOW myself the TIME to explore my sometimes weird ‘tangents” Some of these have gone on for years.” Mark has been exploring acrylics and his newest paintings have been added to his CCP gallery.
Thank you so much to everyone. Again, I truly think artists are the nicest people!
Congratulations to David N. Kitler!
David has again been recognized for his truly excellent work. David’s “Harpy Eagle Montage” was awarded first place in Artist’s Magazine’s, The Year’s Best Art (December 2007) in the Animal/Wildlife category. His piece is a combination of graphite and acrylic on a toned board.
David camped out for three weeks under a harpy nest in the Panama jungle observing and drawing their every move. He has since been a guest lecturer at the Cornell School of Ornithology as a harpy ‘expert’. David’s Creative Catalyst drawing workshop teaches his quick method of documenting accurate information. His acrylic workshop will be released next year.
Craig Nelson’s Drawing Workshops
Build a solid foundation in the visual arts with Craig Nelson’s drawing workshops. Nelson draws with a variety of media (pastel, conte, charcoal) while he demonstrates and discusses the issues he has discovered are most important to success in drawing and painting. His incredible teaching style comes from years of experience as a professor at Art Center College of Design (Los Angeles) and the San Francisco Academy of Art College where he is currently the Department Director of Fine Art.
Drawing with Pastel & Charcoal
Drawing a Duotone Portrait
Drawing Gesture in Charcoal & Pastel
What are the invisible barriers to creativity?
(I write this thinking… there must be others out there in this boat….)
Creatives can be overwhelmed with the burdens of SHOULDs. We get in our head that we should sell, it should be pretty, it should be current, we should try to show our work, we should be anatomically accurate… the list is endless.
Recently I’ve reached a creative block. I know it is in NO small part due to just being too tired to put in the effort, but it is also because I’m bored with the direction of my art. It isn’t fun. (How many portraits of strangers can I paint?) Things are all starting to look the same, emotionally flat. The SHOULDs in my head are keeping my options for change very narrow. The fact is that there really is nothing keeping me from changing drastically, I just lack imagination!
It dawns on me that I’m afraid… afraid that I’m somehow not doing it right. How crazy is that? There is NO RIGHT, only satisfaction and dissatisfaction. I’m painting for myself, I am either happy with my success at expressing myself or not, and I’m clearly not happy with my direction. So I’m on an adventure to try and figure out why it’s not working for me; be it technique, design, medium, subject… or whatever. Perhaps it’s time to blow the lid off and try something completely new; perhaps acrylic or collage. I’ve vowed not to do anything until I’m excited about it. Until then I’m trying to ignore the SHOULDs that tell me I should want to paint… and I should be in the studio beating my head against a wall.
~ Lynn
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