A Way to See Yourself Improve

by Lynn Powers

Craig Nelson says in order to improve your painting; you simply need to put in the brush miles. In his first workshop, Quick Studies, he demonstrates how, if you narrow your focus on specific issues, you can speed up your progress. Additionally, you can see one thing improve. His suggestion applies to other media as well.

To focus on specific issues requires some objectivity about our work. If you lack the confidence to pick an issue, I suggest you simply pick a specific subject and attack one part of it at a time. For example, I enjoy painting faces. I’ve focused on one feature at a time. For a while I studied mouths, then noses, then eyes. With each additional feature, I’ve gained confidence and became braver. The process has become more and more rewarding. If I were interested in still life florals, I might choose foliage, petals, crystal, etc. Then I might choose backgrounds, table tops, etc. You get the drift.
Part of the fun is the investigation on how other artists paint the same thing. You will find that when you narrow your attention, you will see and retain more because it will have more meaning to you.

Next, hands. Yikes!
Cheers, Lynn

LOOK OUTSIDE THE BOX

by Lynn Powers

Sometimes I receive phone calls from someone who wants to know more about a particular workshop and I am delighted to supply all the information I can. However, during the course of the conversation, I sometimes learn that the thing the caller wants to learn can be found in a workshop done in a style or media in which they are not interested. Polly Hammett’s workshop is a good example. A realistic painter of boats may think that Polly’s stylistic presentation of a woman holds no value for them. In reality, Polly’s workshop talks about issues inherent in any painting: the viewer’s relationship to the subject, importance of edge quality, expressive contours, value pattern appropriate to the subject and the list goes on. All one needs to do is exchange the word figure with boat.

Artists bring much more to their art than how they put paint to paper or canvas. They bring a way of thinking. They bring an approach to their work that has set them on a course that suits them. Sometimes it will impact us more when we learn how an artist thinks than how they handle their materials.
Most artists remain open to new influences. By staying receptive and curious, it permits continued growth and energy in our work. Self satisfaction, coupled with fear of change can stagnate creativity.

I’ve found that many of our CCP artists have altered the way I think about painting. Exposure to their ideas has been one of the best parts of being part of Creative Catalyst.
As a side note, let’s rejoice one and all! The elections will be over today… maybe

Cheers,
Lynn Powers