Enjoy the Process

A very common question asked to an artist is "How long does it take you to paint that?"  Mostly because the person standing there in front of you likes your work and feels the need to engage you as the artist but has no clue about the painting process so it is the first question that comes to their mind.  I have many times explained that I paint quickly but that I don't paint for long periods of time, so a 24 x 36 may take me a week to finish off and on where I can paint a 12x16 in one evening.  I usually then mention that is my main reason I like acrylics over oils and that if I'm painting in oils I have to be working on 3 pieces at the same time because the drying time makes me crazy impatient.  I would take a certain amount of pride in this fact.  Like the fact that I can paint fast made me stand out as an artist.

There is certainly a difference in painting fast and being prolific.  Prolific painting leads to proficiency while painting fast may only lead to stacks of mediocre artwork. After 5 years I think that I'm beginning to get it.  I've read over and over that sketching out the composition is a vital step, not to be skipped but skipping was exactly what I would do.  Please don't think that I'm saying that I think everything I have painted is junk, but I think often the struggles I get myself into with a composition might not have happened if I had taken more time to plan out the work.  

So this is my "Year of Art" and I'm dedicating myself to slowing down and enjoying the process involved with creating art and writing this blog.  So with that in mind, I thought I would share with you what I've been thinking about for my next painting.  A few months back I started what I saw in my mind a series of artwork that focused on my memories of the country childhood I was blessed to have being raised in Central Missouri.  When I think of one color that best describes my memories of Missouri, it would be GREEN.  Green was everywhere you looked most of the year.  A canopy above and several layers of undergrowth that covered all those hills.  Unlike it's neighboring state of Kansas, the thick forest and many hills would obscure your view.  I would often think that a tornado would be right on top of you before you could even see it coming.

I think that is why I painted the background on both "Life at the Fence Post" and "Lunch Under the Mailbox" in a solid green tone that kept the focus on the foreground.  I don't think that I will treat each piece in this series this way, but I am still loving how these two turned out.

For my third piece I want to continue with the fence post, morning glories and a definite grass line that shows the black, rich and fertile dirt that covers much of the state. I want a calf standing in the tall grass and wild flowers that is looking straight at you through the barbed wire.  I'm considering a chicken or a quail at the grass edge looking for a bug breakfast.  

In preparation of the start of this new piece, I have created two sketches so far.  Both have helped me greatly when thinking about how I want this painting to look when I am finished.  There are still questions that I still have to consider.  For example, which breed of calf do I like better, the Jersey or the Holstein?  What other wildlife if any do I want to include?  Do I continue with the solid green background or do I try to add sky and distant hills to this one?  It is obvious that I need to keep that sketch pad close by. 

I would love to hear from you and please visit my website to see a complete collection of my work.

Life at the Fence Post

Lunch Under the Mailbox

Renderings for my next painting

Everyone Needs a Critic

I have one friend that I can depend on that will always tell me the truth about my artist endeavors. She will always tell me what she likes about my creation but equally she doesn't hold back with truthful criticism and since she has nearly 40 years of painting experience, I know that she knows what she is talking about. Sometimes it is hard to hear but it is EXACTLY what I need if I want to grow as an artist.

Right now, my week has been consumed with working on my very first commission piece and last night my friend had a great deal of sound advice regarding my progress. The issue with this commission piece is that the buyer has requested a combination of two of my existing paintings on one canvas. Both of these pieces were featured in the Mar/April 2013 edition of "Gold Prospectors Magazine". Now with many paintings that might not be a problem per say but in this case we are talking about two completely different landscapes; one is of a mining shack that I painted near Tonopah, Nevada and is smack dab in the heart of the Mojave Desert and the other one is of a prospector panning for gold in a mountain stream. The focus of both is gold mining but blending the two together is proving difficult.

I had followed her previous council and had created a rendering by doing a pencil sketch of the layout based upon the conversation I had with the buyer. The buyer said he loved the idea and so I proceeded to start my painting. Visually, I worked to combine the sky and mountains between the two scenes and then my plan was to separate the two scenes by using tall pines trees and shrub pine in the center as a division. When I was about 3/4 of the way complete, I sent a progress picture to my friend and she had a great deal to say about it.

First, she told me that it was breaking a huge compositional rule by having large trees in the center of my canvas and that these trees are the focal point when they shouldn't be. No matter if the buyer agreed, it was my job as the artist to direct him to a composition that works and while they may be buying the piece upon completion, I still owned this work. They will probably be in awe at anything you paint because they don't possess the artistic skill to paint anything and that is why they hired me. She didn't want me putting something out there that I might later regret. All I can say about this is that I sure have a lot to learn about this art business.

Then she gave me some helpful advise to consider a correction. She advised me to take a heavy bristol paper and to tape it on to the canvas in the problem area. Then re-paint the scene that better brings the two paintings together and that will minimize the center pine trees. This way I can visually see the correction before I start laying waste to my piece and deciding this wasn't going to work. Wise advice to be sure.

I have included the pictures of my original works and the current piece in progression so that you as the reader might learn along with me. After all, the purpose of this blog is to hopefully help other aspiring artists like myself by sharing my journey.