From Behind The Camera
Creative Catalyst Newsletter
June 9, 2009
Children have a mode of creating that puts energy and life into a painting. I’ve often wondered why that energy is so frequently lost as they mature as artists. I think it may have something to do with emotional connectedness. I think as we age we are inclined to couch our emotions, make them more complex and confusing. Strong emotions seem to cut through the haze and are easier to identify.
Last week my father died. He was very ill for a very long time. Alzheimer’s, cancer and Parkinson’s had all taken their toll. He was a fighter and lasted much longer than thought possible.
After viewing the body and cremation, Jim and I went up to my mother’s home. As we entered her front door I was struck by a powerful painting of blossoms. Normally her work is high energy and sun drenched. This painting is decidedly somber, especially for Mom. The majority of blossoms are down turned and emerge from a neutralized purple gray background. One blossom is turned away, as if headed off with light on its back. This painting is a visual expression of a strong emotional state.
Powerful emotions can provoke powerful paintings. I hope Mom will soon be using brighter color as an expression of brighter times.
Lynn
Carla O’Connor sent a note regarding last week’s editorial.
“I agree that it is extremely difficult to be totally original in these times of instant global communication. We are a culmination of a lifetime of experiences, decisions and influences— however , each life experience is totally unique.
As a workshop instructor, I try to present as many alternatives as possible and plant a’ tiny seed of an idea’ with the hopes that it will spark an imagination to create a new, exciting , never- seen- before visual result. It is the students job to be selective regarding what new information to accept and incorporate and what to discard as appropriate for them at the moment. Being an artist can be a lonely business — you have to do it all alone!– but the whole point is to communicate our vision.”
From Behind the Camera
Creative Catalyst Newsletter
June 2, 2009
George James will be honored at a One Man Retrospective Art Show at the Coastline Art Gallery in Huntington Beach, California (USA) from July 9 to August 8, 2009. The reception is Friday, July 10, 5-7 p.m. The exhibition will present work that spans his career and will include some of his most recent award-winning paintings. In addition, James will teach a summer workshop in Alternative Surfaces. Registration forms are available at the Coastline Art Gallery and at Coastline Community College Costa Mesa Center Office, 10156 Adams Ave, Huntington Beach, CA 92646 or call (714) 963-8475 for more information.
Congratulations George!
From Behind the Camera – Why workshops?
People sometimes tell me they don’t watch videos or attend workshops because they want to discover their own style, independent of the influence of others. That got me thinking. What value is there in investigating how other people approach their creative pursuit?
Years of working with a variety of fine and craft arts artists has led me to believe that personal progress in art is more often a result of sifting through ideas from others than it is some sort of isolated brilliant insight developed on our own. We learn or borrow from others, then take what we’ve learned in a different direction. It is the sum total of all these influences and shifts that make up our unique vision.
I have never seen an artists work and thought to myself, “I want to paint exactly like that!” After the initial wow factor, I realize that some specific aspect of the work attracts me. I think I gain more awareness of what I want in my own painting by making note of what the exact “something” that attracted me is. It helps me get a better idea of paths I may take by learning the paths others have taken.
Here is a quick partial list of some of the ideas I’ve noted from the workshops. I learned a method of problem solving (Cobb), design options (Salminen, James), color theory (Jasper, Dalio, Archer, Mehaffey), symbolism (James) pigment qualities (Bourdet, Morris) how to render the face and figure (Kunz, O’Connor, Nelson, Hammett), patterning (Hammett, O’Connor, Bagby) and the bravery to listen to my own drummer (Das, Simmons, Hellmuth, Bagby, Trevena), and the fantastic techniques to make it happen (everyone!)
They all share a dedication to their art form. None of them suddenly woke up one morning to find they were talented. As Craig Nelson so aptly says, “You have to put in the brush miles. ” I would add that it frequently helps to be aware of our options to make an informed decision.
Cheers – Lynn Powers
From Behind the Camera
Creative Catalyst Newsletter
May 26, 2009
From Behind the Camera – Plein Frustrating
Every year around this time I find myself out in a field with a bit of paint and whole lot of frustration. For the other 9 months I am inside painting mostly portraits. It’s hard not to meet these great landscape painters and think that there is something wrong with me if I keep myself locked up on such glorious days.
But then I am on that hill or next to that lake or under that tree and while the people and place are all pleasant, I can feel myself fighting my craft and myself. I keep thinking that I should like it more and frankly get better paintings out of the experience. But then I start to consider what I’ve heard a few CCP artists say. George James described himself as a studio painter. I had never heard someone make that distinction. Shirley Trevena said in her latest video BREAKING THE RULES OF WATERCOLOR that she works on a painting for weeks, sometimes months, before she is done. Certainly she is not out in a field the entire time. She too would perhaps classify herself as a studio painter.
So would I. I am a studio painter. I need time and quiet for my work. But it makes me realize that as a studio painter, I really do love painting Plein air but not because of the finished painting. I like it because I pack a tasty snack and enjoy the view and the company of my fellow painters.
This coming week as I make my way outside I will acknowledge what I love about Plein air and also pay attention to all the same issues that are important to me in the studio. I’ll try to stay focused and optimistic. I’ll step back and think about what I’m doing. I will work on not feeling rushed. And maybe I’ll pack a few extra brownies. Because art is weighed on more than just the finished piece but also the experience of spending a day trying something new.
Cheers, Lynn Powers
From Behind the Camera
Creative Catalyst Newsletter
May 19, 2009
Elements of Painting – Light, by Ann Pember
ELEMENTS OF PAINTING WORTH CONSIDERING
LIGHT: The sunlight creates wonderful effects! How would you paint them? Ask yourself that question often as you observe the world. If a lighting effect appeals to you, create a series, painting it many times in different ways. You might vary the values, colors, point of view, or type of surface; whatever you can think of to be creative. This is good training for your right brain and will improve your ability to see. If you rely only on your linear thinking, left brain to tell you what it THINKS it sees, the results will be less creative.
For Instance: As you look at a tree, you “know” it is made up of many individual needles, or leaves, each with veins and stems. They appear to be all one color. This is information from your left brain. Your right brain, if allowed a chance, may notice more subtle information. You may discover that many leaves are grouped together in the light or shade to form a large shape, or mass. You don’t see the individual shapes at all (A) much less every vein and stem. There are colors reflected onto the tree from its surroundings, even in the darker shadows (B). That is exciting to paint! There will be similar discoveries when you observe any subject. Just find the patience to really look and SEE.
Notice the way the light pattern combines leaves together (C). Spell out the details (D) in only a few. Suggest them elsewhere(E).
Look for new or unusual groupings of shapes and light patterns when designing from flower forms. Don’t settle for a traditional and perhaps too common composition. Let your creativity lead you to something that is totally your own view of the subject. Experiment with colors too, rather than painting what you think you see. For instance, if you are painting a pink flower, use colors in addition to pink to do so. There will be numerous subtle colors reflected over the petals: lavenders and blues from the sky and greens and yellows from the foliage. Even if you don’t see them, you can make them up for a more exciting painting. A flower painted all pink is more like a botanical illustration and can be quite unexciting!
EDGES FORMED BY LIGHT: Study how the light creates edges. Look at the world and notice how many edges are really defined and sharp. There are many edges outside our area of focus, or not well illuminated, which we do not see sharply. Keep this in mind as you paint.
Do not carefully define every edge of every object. That would be unrealistic, although it could be utilized to create a stylized or abstract work of art. If you choose to do that, do so knowing that is your goal and exploit it fully. However, if you intend to create a realistic work, use a good variety of hard and soft edges. Your paintings will be more believable and will invite the viewer to move through the piece.
Use hard edges to define the subject and important shapes where the light is strongest and use soft edges to provide movement through the painting. Hard edges will stop the viewer’s eye, so design the painting with this in mind. Too many hard edges create confusion about where the focal point is and too many soft edges create boredom, with no focus to draw attention.
The texture of broken edges, or chatter marks, will also draw attention and should be quieted if they are distracting. Do so by softening the area with a clean damp brush. Prevent them by wetting the paper surface there before painting; or carefully paint on dry paper using enough paint to make a hard edge. A dry brush mark is made if there is not enough paint on the brush as it skips over the surface. This kind of paint quality can be very distracting. Use it to convey areas of texture, such as rough siding or a roof on a building. However, if it occurs within a smooth flower petal, it will draw attention and create confusion of the shape and details of the petal. It is not always a painterly way of stating a passage. It just means you did not pick up enough paint to cover the paper. Be intentional about how you apply paint to paper.
Paint with conviction and care. Decide what kind of result you desire and think about how to produce it. Envision it before you touch paint to paper!
From Behind the Camera
Creative Catalyst Newsletter
May 12, 2009
From Behind the Camera – Embrace Discomfort
If you are content with everything in you life, you may not have a clue what I’m writing about. I’m not comfortable and I’ve coined a phrase that helps me stay positive about the changes I want to make: “Comfortable people don’t change.” I’m referring to two types of discomfort.
The first is the kind of discomfort one may feel when it’s time to alter something in our lives. It can be provoked by a lousy drawing, dirty house, pants that seem to have miraculously shrunk a size or two or an ambiguous “something” that needs pondering to figure out from whence it came. For me it’s a wake-up call. It’s a sign that I need to initiate a change is behavior. It can be minor (easy change) or major. The trick is not to think compliancy is the answer. I’ve learned the irritation will only get worse until it cannot be ignored and usually it will be far more difficult to resolve.
The second type of discomfort is that which we experience when we try something new. I’ve know folks who want change but are allergic to the irritation getting out of their comfort zone creates. I think adults find this especially difficult. Children deal with “the learning curve” frustration all the time. Adults, who have managed to avoid making fools of themselves for years, see the learning discomfort as somehow unique to them personally. For them it becomes easier to lower their horizons rather than accept the frustration as part of learning something new. Or even more self delusional, adults think they should be able to do IT already and stop looking for what they need to work on.
The fact is change is inevitable. I try to embrace change, growth and yes, discomfort.
Cheers, Lynn Powers
From Behind the Camera
Creative Catalyst Newsletter
May 5, 2009
From Behind the Camera – Shadows Inspected
A common mistake made by beginners is to think shadows are unimportant. Beginners tend to focus on painting some thing, and think of shadows as not real. Shadows may not have a physical presence but they provide an amazing amount of information to the viewer. If painted too carelessly, an errant shadow can create conflicting information. If painted accurately, shadows help make a two dimensional surface have depth and atmosphere.
There are four major aspects of shadows to be considered: Shape, Edges, Value and Color (including color temperature).
Here are a few tips when plotting the SHAPE of your shadows.
When painting outdoors with a single light source, the sun, the general thrust of cast shadows should be parallel to one another. An errant cast shadow is disturbing. Careful observation is your best guide.
If your light source is moving, as with a plein air session, plot all your shadows at the same time. If that’s not possible, determine the angle of a shadow in relationship to the sun and plot all your shadows accordingly using the same angle.
Cast shadows should indicate the shape of the object that casts the shadow. For example, a figure with arms extended into the light should have a cast shadow with similar extensions.
Cast shadows help explain the surface on which they fall. If the shadow falls on a rounded surface, the shadow will appear more curved. If falling on a jagged surface, the shadow will appear more sharp and irregular.
Perspective impacts shadows just as it does any so-called real object. Remember to widen shadows closer to you and flatten shadows as they approach to the horizon line.
Finally, for any single solid object, a cast shadow shape should be one connected shape. A light spot within the cast shadow implies a hole in the object as with trees and a hole in the foliage. (Note the shape of the light holes. They too are parallel and generally oval in shape.) Or it may indicate a secondary light source from within the shadow. You may choose to break up the shadow shape to indicate an object between the viewer and the shadow. In that case, it is important to pay attention to the character of the shadow shape’s edge. I’ll leave that topic for another day.
Happy Painting ~ Lynn Powers
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
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
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
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
From Behind the Camera
Creative Catalyst Newsletter
March 24, 2009
Participating in a critique group can be a very beneficial addition to an artistic discipline. In it we have the opportunity to gain a deeper understanding of how our work communicates to someone other than ourselves. A good group is one that gives honest constructive feed back. That said, you also lay yourself open to hear the thoughts of other artists. Look at it as an information gathering opportunity. Here are a few considerations before asking someone to join you in forming a critique group or joining a pre-established group.
Do you respect the work of the artists in the group? Do you respect the people as people? Would they be selfless and honest when critiquing the work of others? Would they take seriously the time spent together and stay focused? Do they have a working understanding of design?
In my critique group each of us has declared our artistic intent, our goals. We try to help one another proceed in their own direction. And I am happy to say each person participates fully. It can be toxic to have one individual dominate the group as it would be to have someone who contributes not at all. Please note that if you join a group you will be expected to speak up and participate as well.
There are eight of us but usually around six or so make it to any one meeting. We are limited to three paintings each. Among us we do oil, collage, acrylic, pastel and watercolor. Most of us are representational artists with a varying degree of abstraction. We meet once a month.
It is interesting to learn how others think about their process and can help us gain insights regarding our own work. To see our work through the eyes of others can be informative and affirming. In any case, you must decide whether or not to alter your work as a result of what was said. In the final wash, it’s up to you.
Cheers, Lynn Powers
From Behind The Camera
Creative Catalyst Newsletter
March 17, 2009
Part of art is distortion and exaggeration. We emphasize colors, shapes and line to convey a variety of moods. Sometimes it is not intentional but rather a consequence of our not knowing what we are doing. I’m so there.
I’m trying to learn to draw. Part of the reason for struggling through the process is to have the opportunity to distort the drawing to my preferences. I’m interested in faces. I want to convey the character of the person I’m drawing and I have this hair brained idea, that by exaggerating facial features, I can better say what I want to about the model. The trick is to do it without 1) insulting the model and 2) not make the face look too odd to be, well, odd.
So it’s been interesting. Humans are especially sensitive to the details of the human face. I can widen a flower or tree without making them look chubby, but if I widen a person to imply solidity, the consequence my not be what I want. There have been a few disasters, but I’m learning. It’s all part of the adventure!
Cheers, Lynn Powers
From Behind the Camera- And the Secret Is…
We have all read articles saying they hold the “seven secrets” to achieving – - – - (fill in the blank).
If I’ve learned anything working with all these artists it’s that there are no secret to their success. It’s available to us all, right now. It’s making art a part of our everyday lives. If we’re not actually holding a brush and painting, then we are looking for composition possibilities or color combinations in the world around us. We are training ourselves to see and understand more. It’s becoming aware of our own likes and dislikes and knowing why.
In addition, artists are not satisfied with where they are in their art. They are constantly looking for ways to improve, push their boundaries, and combine new ingredients to develop something uniquely their own.
Some Creative Catalyst customers are nationally recognized artists. At first, it surprised me to see them purchase a workshop unlike anything they do in their own work. Then it dawned on me, it was, IS, part of the restless nature that makes them artists. Their goal is not to paint like the instructor in the DVD. It is to see how the instructor has achieved a certain effect, or learn how they THINK.
Artists don’t turn IT on and off. They are artists all the time.
Carla O’Connor said folks will hit their stride when they have: a good understanding of composition; developed their skill in handling their medium; and find the medium that best suits them. We only need look at Anne Bagby’s unique combination of painting, stamping, and design to know the sky is the limit. Yet I know for a fact, Anne is still searching and trying new things.
That’s the secret.
Cheers, Lynn Powers
From Behind the Camera
Creative Catalyst Newsletter
March 3, 2009
Over the past few years I’ve accumulated an impressive stack of art magazines. The pile is intimidating. I rarely revisit issues but I am reluctant to let them go. (There might be something in there I may need some day!) The magazines take up too much space and are an energy drain on my psyche.
Last week a friend of mine, Mareth Warren, shared a solution to my dilemma. Mareth cuts out any pictures and articles she finds valuable and puts them into a three ring note book. She saves anything she finds inspiring. Transparent sleeves permit her to quickly see what she’s kept. The remaining magazine is put into the recycling bin. Mareth mentioned she frequently flips through her book for inspiration and energy.
Last night I went through six magazines from 2005. I cut out images from ads and reviews as well as entire articles. I noticed a theme ran through the material I kept, a coherent style. So not only have I reduced the mass in my studio, however miniscule, I also learned something about myself, about what I like.
Thanks Mareth…now only as a gazillion issues to go!
Cheers ~ Lynn Powers
From Behind the Camera:
Creative Catalyst Newsletter
February 24, 2009
From Behind the Camera: So if you’re going to enter…
Last week I wrote about why it’s good to enter art shows. Here are some additional tips.
First of all, don’t paint for the judge. It’s in-authentic. Even if an award is received, you’ve learned nothing about yourself and your artistic path. In this time of copying and cheap rip-offs, I’d like to think we could at least be honest with ourselves.
Large paintings tend to do better than smaller, equally good pieces. I think it has something to do with surrounding the viewer or dominating the wall. I remember asking a juror about my piece and all she had to say was, “I didn’t realize it was so small.”
Don’t get worked up over rejection. It is the opinion of one juror at a particular moment in time. On another day, in another situation, you may have been accepted. The rejection may have had nothing to do with you. For example, if you’ve painted a sunflower and there have been 5 other sunflower paintings entered, and your entry was the last one up, the juror may have thought, “Too many sunflowers!” and out it goes.
Prepare for the show. I’ve heard many of the artists we work with say they are “painting for a show.” This means they are giving time, effort and their full attention to their entry.They want their entry to be a reflection of their best work at that particular time in their career. Additionally, mat and frame your piece nicely. How will someone else take it seriously if you don’t value it yourself?
Use your own resource materials. Last year an artist won the top award in the American Watercolor Society Annual show by literally copying a commercially available stock photograph. This is so sad in so many ways. The insecurity or complete ignorance that drove the artist to do that is unfathomable. The award has since been rescinded.
Shows are a reason to push yourself. Your best long range hope is to be yourself. Take a few risks. Work up your own unique combination of techniques, subject and presentation. Entry deadlines help us focus. If you’re nervous, start with a small local show. Give yourself the gift of time to prepare. One day, with enough insight and effort, an acceptance will arrive, made all the more sweet because it was honestly earned.
Cheers, Lynn Powers
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