There are so many ways that painters are inspired in their lives from the immediate moment to the depth of their experiences in life. For me, there was a start that wasn't so pleasant that sent me into a hyper vigilant observation in life. I became the viewer, the observer of people and environment to such a degree that I notice everything. Or, at least it feels that way, at times.
I have heard many quotes about the sensitivity that artists poses. One being from John Howard Sanden, "that he often feels sorry for artists ... as they have these antennas", another more rough statement that comes to mind is "if you didn't want to be an artist, you shouldn't have chosen such a rough childhood". Interesting the take on how and why we are so sensitive. But, the more I study and learn about the human brain and the way it reacts to experiences, the more I understand. The artist's brain is mostly utilizing the right hemisphere which is non-verbal, intuitive, emotional. That is where the images are stored. That is where creativity is born individually in each of us.
So, with that being said, did our outcome and 'take' on life come from our right brain dominant personality from birth or was it a progression from circumstances that we encountered as children that led to us depending on the right hemisphere more than the verbal, and non-logical circumstances that we may have experienced as children? I am sure in the latter situation it is a bit of both and coping mechanisms are the tools for survival.
In the end ... I wouldn't want to be anywhere but here, now. And all that it took to make me who I am ... came from some hard stories. Everyone has some. What do you think led to your deep focus on painting?
Friday, May 21, 2010
Thursday, March 25, 2010
Creativity: what drives it?
When you are facing a blank canvas and the brush in hand or your mind is ready to take it on ... what is it that drives you? How do you find your inspirations? What drives that artist to the passionate paintings you create? For me, it is a movie with special lighting, the way a person stands in the sunlight, watching someone in their zone, and many other events. There are so many things that come to play in that part of the artist that really trigger that feeling of wanting to recreate. It could be music, watching someone sing, a costume or clothing style, the lines in someone's face when they smile ... there are so many things that move me to paint. When I paint, I feel the movement, the colors, the sence of light, and so much more. I think my students are far wiser and stronger as a group than I have ever had. It's a great feeling to know that these stong minds are so hungry to learn more. I love seeing them passionate and moved by their own paintings. Likewise, when they are not moved by their artwork and they say negetive things about themselves and their abilities, it is hard to listen. I feel like I try so hard to get them to change thier minds to understand they are capable (or I wouldn't be saying so) that sometimes they don't believe me either. I think the hardest part of being a teacher is watching a talented person not understand their talent even when I can see thier talent. Talent is work. It isn't a gift that just appears. It begins with believing that you CAN do it and ends with seeing it and having pride in what you create a step at a time ... a day at a time. It's the pure insight that you see in every step that comes to you. I just try to open that door for all those I teach.
Saturday, February 27, 2010
Youtube.com ... my video...
I have a video that is getting a lot of hits. It's hard to paint teeth. And I have a lot to say about every subjects. Sadly, I don't express it all unless I have a paint brush in my hand and a student asks the right question. So, I did an 11 week demo which was video taped. It wasn't a hollywood style (pretty amature) video but what I say is important. I would love to redo these. But, in the mean time, here is a glimpse. And my book is being brought out and dusted off as we speak. I am setting up the table to lay the chapters out and see where I got to, two years ago with Mark Bryan. I have a goal!
In the mean time, enjoy 235 views! http://www.youtube.com/watch?v=3QwEd3RZdMM
In the mean time, enjoy 235 views! http://www.youtube.com/watch?v=3QwEd3RZdMM
Monday, January 26, 2009
Exerpts from my book, chapter on Color Theory ...
THINKING IN PRIMARY COLORS
Initially when an artist begins to match color by sight, there is much confusion about whether or not to buy all of those beautiful color mixtures, premixed in a rainbow of paint tubes, that are guaranteed to stretch your arm out when you carry all of them to a location beyond your own studio. However, if the creative mind can simplify its thinking by interpreting all colors into the three primaries, this can be a very easy process without creating monkey arms in the process. What I am suggesting is that you have in your palette, a warm and cool form of each primary color and a few other highly used colors like brown, white, and green. I will cover the specific colors that I use in the chapter on color (see page xx).
How do you begin to teach yourself to think in primaries? Look at each color and find the two significant primaries. If the color is bright and a red, yellow, or blue, but not pure as what comes from your tube, then add the compliment. The compliment is the color directly across from your color on a color wheel (see page xx). Think of your brown tones and gray tones as a mixture of all three primary colors. Both of these colors are created by adding all three of the primaries together. Understand that the only difference in mixing brown or gray is that gray has more blue, and brown has more yellow and red. Once you know the dominant color, you have to decide what the second color is that is influencing this tone. Next, think about secondary colors. Your job is half done if the shade is closer to an orange, green, or violet. Once you decipher the color into the two main colors, add the third primary and/or white in small amounts to dull the shade or tint to the tone that you are seeing. It’s that simple.
Initially when an artist begins to match color by sight, there is much confusion about whether or not to buy all of those beautiful color mixtures, premixed in a rainbow of paint tubes, that are guaranteed to stretch your arm out when you carry all of them to a location beyond your own studio. However, if the creative mind can simplify its thinking by interpreting all colors into the three primaries, this can be a very easy process without creating monkey arms in the process. What I am suggesting is that you have in your palette, a warm and cool form of each primary color and a few other highly used colors like brown, white, and green. I will cover the specific colors that I use in the chapter on color (see page xx).
How do you begin to teach yourself to think in primaries? Look at each color and find the two significant primaries. If the color is bright and a red, yellow, or blue, but not pure as what comes from your tube, then add the compliment. The compliment is the color directly across from your color on a color wheel (see page xx). Think of your brown tones and gray tones as a mixture of all three primary colors. Both of these colors are created by adding all three of the primaries together. Understand that the only difference in mixing brown or gray is that gray has more blue, and brown has more yellow and red. Once you know the dominant color, you have to decide what the second color is that is influencing this tone. Next, think about secondary colors. Your job is half done if the shade is closer to an orange, green, or violet. Once you decipher the color into the two main colors, add the third primary and/or white in small amounts to dull the shade or tint to the tone that you are seeing. It’s that simple.
Saturday, January 24, 2009
Artist's Way Workshop ...
I have created some fun canvases from the 'reframed' blurts we made at the Artist's Way 'Jump Start' workshop. Filled with positive statements about Artist's, my canvases are a conversation peice and reminder that we are wonderful people! Those negative statements will now be changed forever with these little charms to hang on your wall. Buy full set for $450 or $50 each.
Exerpts from my book, chapter on Grisaille (or not) ...
To Grisaille or or not to ...
It is up to you, the artist, to decide what style you want to use when painting a portrait. There are many different styles that include or don’t include a preliminary coating of the canvas. I often prefer to do a painting directly on a white canvas, as it will keep the luminosity of pure bright colors rich and strong.
But, there are other times when I want to create more of a ‘deep mood’ than a statement of color. Grisaille painting is wonderful for this reason. You can paint in the moody method of the Renaissance painter with the right knowledge of how it is done.
When I first began painting in 1984, I was taught to paint the whole image with just burnt umber, scrubbing it in thin and literally erasing out my highlights. I still teach some of my new timid students to use this method, as it helps them learn to evaluate value and make their often timid use of value stronger in contrast by force. Since that time, I have learned more about the original use by the masters of painting both warm and cool tones, in values of gray and brown, to emphasize not only the value, but the temperature of the light and shadow.
Grisaille is a method of using gray in the cool tones of your model. Bistre is the method of using brown tones in the warm lights. Together, they create a full range of values that are not only rich in depth, but illuminated with temperature of value. Glaze is added over the top of your Grisaille and Bistre and produce a finished painting. (see the chapter on ‘Glazing’ for more information on methods and techniques).
It is up to you, the artist, to decide what style you want to use when painting a portrait. There are many different styles that include or don’t include a preliminary coating of the canvas. I often prefer to do a painting directly on a white canvas, as it will keep the luminosity of pure bright colors rich and strong.
But, there are other times when I want to create more of a ‘deep mood’ than a statement of color. Grisaille painting is wonderful for this reason. You can paint in the moody method of the Renaissance painter with the right knowledge of how it is done.
When I first began painting in 1984, I was taught to paint the whole image with just burnt umber, scrubbing it in thin and literally erasing out my highlights. I still teach some of my new timid students to use this method, as it helps them learn to evaluate value and make their often timid use of value stronger in contrast by force. Since that time, I have learned more about the original use by the masters of painting both warm and cool tones, in values of gray and brown, to emphasize not only the value, but the temperature of the light and shadow.
Grisaille is a method of using gray in the cool tones of your model. Bistre is the method of using brown tones in the warm lights. Together, they create a full range of values that are not only rich in depth, but illuminated with temperature of value. Glaze is added over the top of your Grisaille and Bistre and produce a finished painting. (see the chapter on ‘Glazing’ for more information on methods and techniques).
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