It all began last fall as I was planning a trip with some artist friends to Italy to paint where Edgar Payne captured those marvelous orange-sailed boats in the early 20th century. I was really nervous. I live in the desert. I don’t know a halyard from a square knot and I knew I’d better start “practicing” painting boats. Two months before the trip, at the OPA conference in Idaho, I went to a demo by Ned Mueller and he advised us to get up every morning and, even before that first cup of coffee, head into the studio and paint a small study for exactly 15 minutes. No more, no less. So, I did just that, except I had my coffee in hand, for 64 days before my trip to Italy. Most of the 64 little paintings were done in black and white to help me with the values, but it also helped me to became familiar with the perspective and beautiful curves of the boat and the sails. It helped me so much that I still do it. Ok, sometimes I miss a morning, but it’s become such a habit that I actually feel guilty when I don’t do it. What do I paint now that I’m back on solid sand? Anything I want to paint. It’s just practice, after all. Although I can tell you that those little, 15 minute studies have grown up to become some of my best paintings. Besides being a great way to warm up my painting muscles (both physical and mental) this is a practice that really pays off.All of this brings me to the point of this blog. As artists we never stop learning, but sometimes it feels like we’re just treading water, going nowhere fast. I tell my students not to throw away their old, rejected paintings, but to date them and keep them for comparison to newer paintings. Sometimes we don’t feel like we’ve made any progress until we can actually see what we were doing 3 months ago. Then we see some movement, however small, that’s enough to encourage us to keep going. This year, I decided to make a conscious effort to take my work to a new level and started to think about how to do that. The 15 minute sketches were the beginning, but I found a few other ways to work on this that I’d like to share with you.
1. I made an effort to find an art “support group.”
I remembered reading Art and Fear, Observations on the Perils (and Rewards) of Artmaking, by David Bayles and Ted Orland which describes a study about those artists with/without support groups. They studied art students for 20 years and discovered that the ones who had connected with other artists were more likely to still be making art. This connection was more important than talent in the long run.
I think that a good support group, with artists who you trust, is like a marriage that works: when you’re “up” you help them, when you’re down, they help you. Not often in the same place at the same time, but it works. Now I meet with artists at coffee or in one of our studios at least once and usually twice a week. We share show information, frame suppliers, etc., congratulate each other or commiserate and talk about anything that we’re thinking about art-wise over coffee for about 2 hours. We artists, like writers, lead very solitary lives, so this is an incredible way to leave the studio and still feel like we’re “working” and, of course, learning.
2. I rediscovered the joys of getting back to basics
I took a workshop with Skip Whitcomb and he had us working with an extremely limited value palette–white, black and one grey very close to either the white or the grey. Wow. Talk about challenging you to simplify!
Then I did some new color charts with a four color palette I was interested in trying. These exercises really helped me to find new ways of saying what I wanted to say with the paint and reminded me to just enjoy the process of painting, without always having a specific painting or show deadline in mind.
3. I remembered the importance of making mistakes–it’s how we learn.
“You make good work by (among other things) making lots of work that isn’t very good and gradually weeding out the parts that aren’t good, the parts that aren’t yours.” Art & Fear, p26
4. I set some new goals for myself–at least two paintings a week, good or bad!5. I went back to my art library.
I revisited old “friends”: some books are more dog eared than others–you know which are your favorites. I also made myself reach for the books that I’d never really spent any time with–I wanted to try new ideas on for size, taking the lessons of other artists and trying them for myself
6. I started to thumb through my old workshop notes.
I wondered, “Why do I keep writing down the same things?” I paid to attention to that and decided to work on those areas. In some cases when I revisited the lessons, lightbulbs went off! I was in a better place to understand some of the ideas now and actually put them to use in my work.
The short version of this is: keep practicing and find artist friends, even if they’re only in blogs! And, as my friend (and fellow artist) Joan Larue always says, “keep your brushes wet!” I’m reminded of the old joke, “How do you get to Carnegie Hall? Practice, practice, practice!” Just substitute “How do you get to the Metropolitan Museum of Art” and you’ll get my point.
Thanks so much for listening and please let me know how it goes for you!
Upcoming OPA Events
OPA 2015 Western Exhibition
Begins: August 7, 2015
The OPA 2015 Western Exhibition will be held at the Wild Horse Gallery, in Steamboat Springs, CO from August 7 – September 7, 2015.
OPA 2015 Eastern Exhibition
Begins: November 6, 2015
The OPA 2015 Eastern Exhibition will be held at Eckert & Ross Fine Art, in Indianapolis, IN from November 6 to December 5, 2015.
Virtuosos of the OPA Exhibition at New York’s Salmagundi Club
Begins: September 17, 2015 Deadline: June 1, 2015
The first-ever Virtuosos of the OPA Exhibition is to be held at the prestigious Salmagundi Club, one of America’s oldest art clubs located in the heart of New York City.