Ratindra Das Article – In Defense of Brushes
Creative Catalyst Newsletter
April 28, 2009
FBTC – From Ratindra Das – In Defense of Brushes
I have a burning question: Whatever happened to brushes? When I asked this question to one of my artist friends, who happened to paint in oil, acrylic and occasionally in watercolor, his answer was “well, that’s all about the medium of watercolor”. Realizing the direction of this conversation, I mildly protested by mentioning spatula use in oil painting and dropped in names like Jackson Pollock, etc. My argument wasn’t very convincing and I understood his perception about the medium.
I must admit that I possess all these weapons in my arsenal and have tested some of these some time, but never found them user-friendly. I am getting the impression by reading many magazine articles and books that if it is not stamping, pouring, masking, blowing, splattering, spritzing, then it is not creative or exploratory! Manufacturers have come up with array of exotic tools, which will make a painting without the use of brushes. Never mind the computer and other techno gadgets, which perform miracles.
I was told a brush is more like an extension of your arm. It becomes part of you and brush strokes become personal. The great American teacher Robert Henri said, “The stroke is just like the artist at the time he makes it. All the uncertainties, all the bigness of his spirit and all the littlenesses are in it”. I see it in Cezanne, Van Gogh, Sorolla, and Sargent. Among contemporaries I see the same vigor and strength in Milford Zornes, George Post, Serge Hollerbach, Andrew Wyeth, and Richard Schmid – just to name a few. They are full of life and energy, no matter how imperfect at times they may have been.
I teach an adult beginner class on a voluntary basis. I noticed it’s easier to keep them engaged when they are asked to do things like pouring, splattering, pasting or some other crafty nifty stuff. There is a ‘wow’ factor in it, people are fascinated and who cares about the brush exercises! It’s an old idea! Workshops are loaded with ‘brushless’ painting instructions and heavy with creating effects. But not much with what a brush can do for you. Very few books have been published on such ‘mundane’ matters since the days when Eliot O’Hara wrote, “Making the Brush Behave”.
Seeing a painting with so much technique and excitement is almost like watching a movie with special effects with very little content. Do you see a personality of an artist in that painting? Ellen Langer, the Harvard psychologist in her book “On Becoming an Artist” makes distinction between ‘mindful creativity’ and ‘mindlessness’. “When we are mindless, our behavior is governed by rules and routines. In contrast, when we are mindful, our behavior may be guided (not governed) by rules and routines, but we stay sensitive to the ways our situation changes”. For me, being a loyal friend of brushes, which may become extinct like many old tools, I take solace in thinking that some day all brushes will be on clearance sale and I’ll be able to afford an honest to goodness sable watercolor brush. My needs are very few like what Andrew Wyeth said, “…battered tackle box with brushes, a jar of water, some rags, a couple of pencils, and a block of paper under my arm. We have come a long way together.”
Ratindra Das – Painting a Personal Reality with Ratindra Das
Salminens Visit Oregon
Salminens Visit Oregon
Recently CCP had the pleasure of attending the Watercolor Society of Oregon’s spring gathering in Seaside. Jim set up shop at the trade show while Lynn enjoyed a few classes. John Salminen was the juror. Between events we were able to sneak away with John and Kathy Salminen to grab a bite to eat.
John and Kathy have since written to say, “Everyone was so friendly and helpful and the paintings that resulted from the workshop were really spectacular. “
Here’s a picture of the four of us taken while sneaking back from breakfast!
From Behind the Camera
Creative Catalyst Newsletter
April 21, 2009
From Behind the Camera – The Nothing
When my kids were young, there was a fantasy movie called The Never Ending Story. In the movie a young man faced a wall of gray ambiguity called “The Nothing”. I can’t recall much else about the movie, but I sure do remember the nothing! Lately I’ve been facing “The Nothing” when I finally get my hard earned time in the studio. There awaits the gray wall, a creative block, or what ever it is called and it’s no fun.
My mind goes like this: It’s all been done by people better, smarter and more worthy than me; I’ll never get good; Where is my enthusiasm when I need it?; How do I know if I’m on the right path?; Gardening and housekeeping would produce more tangible results…. and the list goes on.
Mom said she had a friend that suggested when we have a creative block to look ourselves up in the phone book to see if we still exist. I tried that. We’re unlisted.
I’m sharing this with you so you’ll know that if you’ve been thinking something like this you’re not alone. So how the heck do we get out of it?
My plan is to return to doing the things I know build a stronger artistic foundation. That is reading about art and artists and drawing. Draw anything and everything.. that is right after I finish off my chocolate Easter bunny…
Cheers, Lynn Powers
Off Line Editing – Why it takes so long
April 14, 2009
We’ve been asked why it takes us so long to turn out a new DVD workshop. It is because we are sticklers for quality. Here is a brief peek into the first editing step.
Before the artist ever arrives in Oregon, we have gone through a series of discussion about the workshop outline, wardrobe, props, resource materials, worksheets, digital images of related pieces, food preferences, how to practice for teaching in front of a camera and cat allergies, just to name a few. It has taken weeks. The artist arrives and we film. They go home and editing begins.
The filming process usually takes 3 to 5 days. In that time we generate the equivalent of miles of footage. Fortunately, it’s digital so it fits conveniently on to a single external hard drive. Kelly Powers, the off-line editor, reviews the media to gain a general sense of the overriding thrust of the workshop. Kelly imports the footage from each of the 4 to 5 camera angles (fig. 1 – one camera) and synchronizes them into one Final Cut Pro editing program. Figure 2 represents Kelly’s first step. It is 8 hours of 5 cameras, or 40 hours of footage. All the pieces have been synchronized. Audio (in green) is below the line.
The third image is the project after Kelly has had it for several weeks. She has groomed the video (above the line) to include only the best shots to explain the topic under discussion. She has added stills of reference materials and appropriate text blocks. Hundreds of cuts have been made.
Few artists can talk and paint at the same time. CCP artists are no different. Below the line in figure 3 demonstrates the number of cuts Kelly made to clean up and arrange the audio. She moved the audio to coincide with the appropriate visual for the best learning experience. Sometimes what you hear is from a completely different part of the workshop. Kelly has rearranged it to make more sense. She has been known to rearrange an entire workshop. Her astute judgment has always been right on target.
Additionally, all of us have speech quirks. If we were to leave in all the “ahhhhs” and “ummms” said while the artist is thinking and painting, viewers would soon be distracted. So those are removed. To make the information still more clear and easier to navigate, Kelly adds text blocks and chapter headings.
After Kelly has finished with off-line editing, the workshop progresses to on-line editor Zach Mull. That’s a story for another day.
From Behind the Camera
Creative Catalyst Newsletter
April 14, 2009
From Behind the Camera – Art Babble?
When we film an artist, one of our primary goals is to present their message as clearly as possible. As a consequence, I to try to understand the artist’s point of view as completely as I can before developing any copy or voice intro for the project. This involves leaving my preconceived ideas behind, and without judgment, take on their way of thinking. This may be for only a short time, but in doing so, I’ve learned a heck of a lot.
We have filmed a diverse group of artists. Some think every hair should be accurate and others maintain that painting the emotion or impression of something is the goal. Others think it should be just a lot of fun. I think all these points of view are valid.
I’m a gardener and to me it’s as ridiculous to say one way of painting is more right than another way … just as it is to say one plant is better than another. It is true that to some, one thing may better serve a particular purpose, but not that it is inherently of less or more value.
I think we have a wonderful opportunity to grow more if we put in the effort to understand a different point of view. It doesn’t mean we have to agree, and it may enhance our own work. In any case, it will expand our horizons to appreciate the work of other artists.
I have come to understand that when I hear myself say that something is art babble, it may be that I have simply missed their point. It may be that it is an artist’s honest attempt to present an idea that is foreign to my way of thinking. That’s something we all have to decide for ourselves.
Cheers ~ Lynn Powers
What Customers Say
“I have wanted to do Art all my life. I have an incredibly busy life. I am hoping for solace. Art provides that to me.”
Ali Y., Vancouver, BC
+ + +
“Your instructional DVD’s are consistently among the best out there — thank you.”
Sydney Mc., Santa Rosa, CA
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“Your videos are far better than any other productions I have seen. “
Alyshia H., Kingsgrove, NSW, AU
Customer Comments
Dear CCP,
I currently have four of Craig Nelsons Videos and his book. Although I have been painting going on four years I just purchased his Solid Start video.
I’m writing today to tell you how much I appreciate your videos. You have kept the filming simple. Just palette, artist and model (or still life). And you have kept the focus on the most important thing the painting process.
I recently bought a video from another well established artist. While it was filmed well, whoever edited it should have been shot. Every time the artist was about to put a paint stroke on the canvas, the camera would fade to the scene[or still life. Trust me when I say they tried to get REALLY get fancy in their editing. I was quite frustrated and angry by the time the video ended.
There is no “but” to this email. Keep up the good work.
Thanks, Robert E.
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Love, love, love your DVDs.
Judith D., Seattle Washington
From Behind The Camera
Creative Catalyst Newsletter
April 7, 2009
From Behind the Camera – Bumper Sticker Made Clear
Painting requires a present moment state of mind. It’s an attentiveness that is a mixture of training, intuition and inner listening. At its best, it is a conversation between the artist, the subject and the painting. At its very best, it is all absorbing.
Yesterday I took the day off to paint with a couple of friends. Both are dealing with serious health issues in their families. They have found that one of the very few ways they can find some small relief from the stress in their lives is to paint. Thank goodness they have art to turn to. I was reminded of a once popular bumper sticker: “Art Saves Lives”. I now have a better understanding of just what that means.
My mother’s mentor, Lester Bonar, used to say, “Painting is like killing rattlesnakes. It takes your total attention.” It is an intellectual and emotional dance. As our skill and understanding of design improve, we have more opportunity to express ourselves. Our art becomes less and less an evidence trail of our grappling with our medium. No matter how improved we may become, art can remain all absorbing.
As my friends go through their journey, I feel helpless to help. I hope they can continue to escape, even if only briefly, into the limitless pursuit of art.
Cheers, Lynn Powers
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