I am writing this from an express train traveling from London to Edinburgh. It is the third week of January and the snow is unusually deep here in Britain. I am on an adventure from my home base at Jack Richeson and Co., Inc.in Kimberly Wisconsin to visit retailers and suppliers in Britain and then on to the famous Paperworld Exhibition in Frankfurt Germany where I will visit with more suppliers and potential suppliers as well as have never ending cups of Coffee and Tea with Retailer Friends and Competitor Friends I happen across at the Exhibition.
When I first considered making a contribution to the blog, it was with the thought of talking about the amazing and exceptional way Richeson manufactures our Oil Paint. I say that a bit tongue in cheek, because as a salesperson I know virtually every manufacturer will say the same. From my comfortable perch on this train I feel far more inclined to delay what I truly believe is a justifiable “sell job” for a future blog. Instead I would prefer to share with you a secret about the many many manufacturers and retailers that make or sell the many ranges of Mediums you use in the pursuit of your passion.
The secret – we love making and or selling paint! Most of us are passionate about what we do. In my work I have the pleasure of talking to Retailers and Manufacturer Competitors from all over this globe. I am struck by a common thread ……the vast majority (there will always be exceptions) are not in the business of manufacturing or selling artist materials to become wealthy. Make no mistake….yes …..we all want to make a living….put a roof over our heads and feed our families…..but get wealthy…….not in Artist Materials. Rather for the majority I believe it is for the passion of serving the artist. For the passion of the art.
You see……many are artists in their own right who have ventured into the strange land of making or selling art materials out of a desire to stay close to the artist community as they earn a living and yet while under cover of darkness they pursue their art after working hours. I also know many folks involved in manufacturing who got their start as frustrated artists desperate to improve the quality of a medium but were frustrated with the materials available to them.
Others are “technicians” such as myself who admire artists, love spending time with those with artistic talent….feeling that somehow if we spend time with these amazing people that just by being in their presence and basking in the glow of their talent, we could have a bit of it rub off on us. Speaking for myself, I love seeing the world through the eyes of my artist friends. They have taught me to see colors and shapes in a mystical magical way I had not been able to see them previously.
There is however a dark side to the secret I share with you. An ugliness has been creeping into the passionate Retailer and Manufacturer’s pursuit to serve the Artist Community. The never ending push to drive down the cost of artist materials over the recent years is at risk of seriously impacting quality. You may well ask……Is competitive price reduction such a bad thing? After all…..I confess…..I too must shop for the best value I can afford.
The answer I believe is “it can be a bad thing”….. competitive price reduction crosses the line of being beneficial when quality is sacrificed. As the market pushes price lower and lower quality eventually diminishes. I recall a phone call I received on day from a very frustrated University Instructor. She had just purchased one of our 12 inch manikins from a local retailer. It seems she paid somewhere around $8.95. She felt the need to express her disappointment in the quality change over the last twenty years. It just wasn’t what it used to be….and she was understandably irritated. I agreed with her. The quality of manikins is NOT what it was twenty years ago. Twenty years ago the same manikins cost $24.95. As price was forced down, quality went out the window in order to produce a manikin that could sell to artists at $8.95. The market would no longer accept a manikin even at a high quality that was significantly more expensive than $8.95.
Personally I despise where the market is driving the quality of materials with lower and lower prices. I know many others in the Retail and Manufacturing end of the business who feel exactly the same way. Our company as well as many others fight to maintain the quality of our color, brush, and easel line. Purist Retail friends ache to offer quality materials, however the word on the streets is the consumer wants price at any cost. By that I refer to the cost to quality. In addition retailer after retailer are disappearing from our Main Streets as the drive to the bottom forces them to close their doors.
So where is all this rambling on a long train ride from London to Edinburgh heading? It leads me first to reflect on my own guilt at too often purchasing solely on price and neglecting quality, only to later grumble and moan because the silly thing has not functioned or lasted as I expected. I chide myself and renew a commitment to purchase the finest quality widget or thing I can possibly afford for the money available to me.
Secondly it leads me to urge you to demand the highest quality artist materials available for the pursuit of your art. Your reputation as a painter hinges on more than your talent. The person buying your work expects it to survive on the wall for years and years to come. Learn all you can about the materials you desire to use. Imagine – you, a spouse, or a friend are a passionate golfer. High quality gear is widely accepted as desirable to accomplish a good game. Why would you settle for anything less to accomplish a well done painting?
Enough rambling from my seat on a train in the British Countryside. Next time I will expound on our passion at Richeson for producing only the finest Oils available at a price that is affordable without the need to take out a second mortgage!!!!
Archives for March 2013
The Traveling Artist
After my youngest went off to boarding school a little over a year ago, I decided to create a new job for myself. The very-tall-order job I created was to become a “Traveling Artist.” The job description: learn how to paint like a master from living masters and then to blog about the workshops and classes that I attend. My blog is called TheTravelingArtist.net.
Like many of you, I was very frustrated with the art education that I received in college. For a very long time, I thought I was the only person on the planet who wanted to know how the old masters created their works of art. It would be wonderful if there were a “master” ranking list of current artists who paint like the original old masters. But as I cannot find one, I created one for myself. I have never showed it to anyone, but every time I hear about an artist or I see someone’s work at The Art of the Portrait Conference that I love, I look them up and find out if they give classes or workshops. I assign a star rating from 1 to 5 (although I have yet to give an artist a 5) and then attend workshops or classes by artists whom I rank highly. The list is constantly changing and readjusting as I discover new artists.
It took me months to find a place where I could take classes from someone I respected. I joyfully found my first class with Alex Tyng at the Wayne Art Center in Wayne, PA. And so my self-directed art education began.
Since this first class, I have attended classes and workshops from Aaron Westerberg, Rob Liberace, Jeremy Lipking, Ellen Cooper, Casey Baugh, Garth Herrick, Sadie Valeri and David Kassan in many different cities and countries. I am in Utah right now attending a great one with Ryan Brown. There have been workshops that I have not enjoyed, but when that has happened, I have followed my parents’ rule: “If you have nothing nice to say, don’t say anything at all.” So, I just don’t blog about them.
As a result of my experiences taking workshops and blogging, I have developed a number of resources for potential workshop students, including upcoming workshops, price lists, tips for working with models, and much more. But before you dive headfirst into the wonderful world of workshops, here is a list of “unexpected things to expect” about workshops, plus my suggestions to artist teachers who want to provide the best possible experience for their attendees:
Unexpected things you should expect when attending oil painting workshops
Traveling to a new city (or country!) can be logistically difficult and will often be expensive. The upfront workshop fees do not always include all costs, such as model fees, travel expenses for day trips, extra supplies, etc. Transportation can definitely be a limiting factor as well… how do I get to said day trip? Be prepared to be flexible, or be proactive and call ahead of time for ALL the logistical/financial details.
Workshop instructors can help make these situations easier by handling the logistics of the workshop and presenting them upfront. Communicate every aspect of the workshop ahead of time so attendees know when and where they have to be and which supplies are required. Then, help coordinate how to get there. This is doubly true for workshops in other countries. Your attendees are there to learn art, not memorize the local public transportation system or pay for your personal vacation.
*Additionally, charging model fees is stingy and rude; just don’t do it.
If you are traveling to a workshop, odds are that you are going to have to spend the night somewhere. Workshops do sometimes provide accommodations, but they do not always accommodate you. For example, I was surprised at one workshop to find that in my room was… another person. I had not been told that I would be sharing a room, and I was not happy about it at first, but the problem ended up being a blessing because I met someone who became a terrific friend. Whether you are someone who needs their own space or is up for making new friends, be aware that you may have to speak up ahead of time to get what you want.
An interesting way to approach the lodging logistics is to tell people upfront if you expect them to share a room before they sign up; then provide the option for them to pay extra for a single room. This way, if attendees feel very strongly about having their own space, it is an option, but it would cost more than doubling up. As in my case, I would never in a million years have agreed to a roommate given the straight option. On the other hand, I would have missed out on meeting a great friend.
Workshops don’t usually provide all the supplies you will need, and may not let you know what you need ahead of time. This means you might have to consider schlepping your easel with you, especially if it is a Plein Air workshop. Set up an arrangement ahead of time if your workshop does not already supply easels to take one on loan from the workshop. Also, if you happen to have paper towel preferences (my personal favorite is Viva), check for grocery or art stores near the workshop in advance. I know that sounds trivial, but think about the space packing paper towels takes up! Take advantage of those cool local art stores (like at the Scottsdale Artist School). You might find something you didn’t know you were missing.
If you are putting on a workshop that requires specific supplies, you are doing yourself and your students a disservice if you do not a) let them know ahead of time, or b) offer for sale what they will need. This is a great way for workshops to make a little extra money. Easels and paper towels are two crucial things, but you will make everyone’s life easier if you have a little of everything beforehand in the package price or for sale at the workshop, as people really are bound to forget something.
Workshop attendees gossip. We all do it. Here are the top 3 things we talk about:
Whether or not a teacher artist behaves appropriately and professionally around models and groupies. Okay. Workshop instructors, I am speaking directly to you. Want to get people who attend your classes talking about the right things? Be professional around your attendees, the models, and your “groupies” (yes, you know who they are).
How much personal attention an instructor gives each attendee. Even if an attendee is shy, no one wants to feel neglected. Your attendees are not cattle; they each have special needs. Keep workshops small, or come up with a system that allows you to interact one-on-one with each attendee. This will most likely mean tightrope walking between encouraging your attendees to ask questions and controlling that one attendee who is totally hogging your attention.
Money. If attendees are being charged for something, such as a model fee, that was not included in the original price, you can be sure they will have something to say about it. I really cannot overstate how rude that gesture is. Every attendee should be told upfront what costs are involved; this is a necessity. These starving artists are already paying a lot to be at the workshop, so the least you can do is be forthright about what they are getting into.
Closing Thoughts
For more pointers and opinions, head over to my blog. But I will end on a positive note, leaving you with three really cool ideas that were highlights of workshops for me:
A wonderful idea from the Townsend Atelier was how to handle jockeying for a good easel position. There were a lot of attendees and all of the easels were already set up with a number attached to them. Each attendee drew a number from a bowl and, via lottery system rules, had to go with whatever easel they drew.
Another great idea, from Charlie Miano of The Southern Atelier, was when he had his Italian father come up to the workshop one day and bring us a delicious Italian wedding soup as a kind of send-off lunch. It felt so nice to be appreciated and was a great way for the attendees to unwind at the end of the workshop.
Finally, at the Jeremy Licking workshop, we were given the email addresses of the fellow attendees. This provided a great forum for gossiping communication.
I hope this help you as you embark on your own wonderful adventure of workshop touring. I love it! The teaching is so concentrated I feel I make much more progress at a workshop than I do in a lengthy class.
Have questions or suggestions of a great master artist? Submit your comment below.
This Year Make a Personal Commitment to Invest in Your Career
Whether you are new to oil painting or a seasoned professional, we encourage all OPA members to attend the 2013 OPA Exhibition & Conference in Fredericksburg, TX, May 15 -1 9, 2013.
It’s so important to continue to invest in yourself and your career!
Artists for the most part are solely responsible for their own professional growth and development. The OPA Exhibition & Conference is THE place to acquire both creative and professional skills that will help you successfully manage your career.
The time is now!
Don’t procrastinate! This is the time and this is the place for you to learn from some of today’s best artists and business professionals, discuss topics that are important to you, and extend your social and professional network with like-minded peers. Join your fellow artists for an exciting and informative week that will inspire you to achieve your full potential as an artist.
Register Today!
The entire 5-day conference is just $265 for OPA members! An affordable investment that you will be glad you made. Register for the 2013 National Exhibition and Convention.
Highlights
Painting Demonstrations by:
• Juror of Awards Sherrie McGraw OPAM | • John Michael Carter OPAM |
• Kenn Backhaus OPAM | • John Cosby |
• Scott Burdick | • Elizabeth Robbins OPA |
Presentations include:
“The Banishment of Beauty” with Scott Burdick
Contemporary realist painter Scott Burdick takes on the challenging and ongoing debate between modernism and traditional art as he methodically contrasts the great painters from the late 19th century with examples of 20th century and contemporary Modernism. Join Scott Burdick for this fascinating and enlightening discussion.
“Authenticity, Creativity and the Quest for a Singular Vision” with Joe Paquet
This talk deals with a topic all creative’s face; a personal, unique vision and a path to help one achieve it. Factors such as Risk, Ego, Fear and External vs. Internal Motivation will be discussed as well as some positive options to help direct or redirect those who feel they have either strayed from their path or have never found it. Joe Paquet has been painting for 30 years and teaching for the last 17 years. He is a signature member of the Plein Air Painters of America, the Salmagundi Club of New York as well as the California Art Club.
“After you Paint: How to Bring Art to the Rest of your Professional Life” with John Cosby
The business of art can seem very cryptic. Well-respected artist John Cosby will address this anecdotally and with more practical methods that cover the idea of solving business problems so they fit in an artist’s lifestyle. Cosby has owned three galleries, painted professionally for 30 years and curated museum shows around the country. While being an engaging speaker, it is his experience and delivery that makes this a talk you do not want to miss!
“Art Law: What Every Artist Needs to Know” with Art Law Attorney Bill Frazier
Montana attorney Bill Frazier specializes in art related legal issues representing artists, galleries, collectors and museums. Author of over 350 articles for national art and legal publications, including a regular column in Art of the West Magazine, Mr. Frazier is uniquely positioned to provide attendees with a wealth of knowledge on a number of art related topics. This session will cover the basics of copyright law, trademarks, internet piracy, contract analysis and interpretation, and tips to help protect you from internet scams.
“How to Build a Brand as a World Renowned Artist and Have All Your Dreams Come True” with art publisher and entrepreneur B. Eric Rhoads
Art publisher and entrepreneur B. Eric Rhoads will teach you the tricks, techniques and tactics for brand building. He believes that being a great artist is not enough. Branding is not accidental and requires a specific process. Rhoads will walk you through the basics of brand building and show you the tools necessary to become better known than you ever thought possible. With a strong brand come strong sales, which will result in your living the life of your dreams.
OPA Distinguished Artist and Juror of Awards: Sherrie McGraw OPAM
Join SW Art Magazine Editor-in-Chief Kristin Hoerth, for an informative and in-depth interview with Master Signature artist and this year’s Distinguished Artist Sherrie McGraw. McGraw studied and taught at the Art Students League of New York and has become one of America’s foremost artists and teachers. Her work has received numerous awards and has shown in major art institutions and museums, including the Butler Institute of American Art, where she will have a solo show in 2013.
“Conceptual Thinking, Finding Your Own Place” with Kenn Backhaus OPAM
This presentation will address the tools needed to overcome an artist’s commonality in his or her painting efforts. For the most part, artists find themselves consumed with the single thought of just painting the scene, as they observe it. The powerful attraction of the visceral response that one experiences from standing in front of the subject is difficult to alter. Hence, the end result can become predictable and very similar to other painters’ efforts. An artist needs to develop skill sets to gain the ability to change and manipulate elements within his or her theme. This lecture and presentation will show, through description and visuals, how artists in the past and present have gone beyond literalism to find their own voice. Literalism can become a short and uneventful venture, whereas the exploration of conceptual thinking can put you on an endless journey that will last forever.
“The Business Side of Art” with Bill Bush CPA
Join William E. Bush, owner of Fredericksburg Artists’ School and a Certified Public Accountant as he addresses “The Business Side of Art.” With over 30 years of experience, Bill brings a wealth of knowledge and practical information to the art community. His presentation will include discussion on various subjects facing the artist today, such as tax issues, insurance, agent relationship, gallery representation and other means of selling art.
American Art Collector Magazine’s Party under the Stars – Texas Style!
This is one party you won’t want to miss! For the 4th year running, the staff at American Art Collector Magazine is pulling out all the stops and hosting an evening of fun and camaraderie. Join us at the historic Pat’s Hall, where live music sets the stage for dancing the night away. OPA convention attendees will enjoy a down home Texas barbeque from Cranky Frank’s BBQ, and music from one of Austin’s hottest country bands, The Lonesome Heroes Band.
Southwest Art Magazine’s Pampered Paint Out!
What could be better than a day spent painting outdoors? How about one where you are truly pampered! Join Southwest Art Magazine’s Kimberly Moore for this unforgettable day that includes a continental breakfast, lunch, and a wine and cheese send off to end an amazing and perfect day!
Opening Reception & Awards Ceremony
Always a highlight and so much fun to watch! Come celebrate the tremendous artwork on display at this year’s exhibition and be there when this year’s award winners are announced.
For a complete schedule of events, speaker and seminar details and other registration information, please visit www.oilpaintersofamerica.com.
What Next?
Every part of life can be looked at as being a stage. From the beginning of life to death and all the activities that we squeeze in between, we are at some predictable stage of the process of living. And just like life, painting has its own stages. And just like a young child who knows only the stage he’s in and has not a clue about what stages lie ahead until he arrives that is, so it is with being a painter and learning to paint and all that comes along the way and after.
The novice painter may set as his goal the ability to transcribe in paint what is in front of him. The novice truly believes at the time that if he can do that he will be happy. And for many painters, that’s as far as they get. For others, however, they quickly learn that just painting the image “as is” does not feed their expressive souls. They begin to search for ways to paint “better.”
For those who will paint better, this stage is both painful and exhilarating at the same time. Here’s where, if we are willing to search deep within ourselves and search for information on the masters of the past, we can grow into a richer life as painters; a life that will sustain us for a lifetime.
My journey into this stage began with looking for a theme. I quickly realized, however, that a theme wasn’t anything more than just painting things, lots of the same things, but in different ways. Looking for what brought me joy or bliss was the key to this next stage. Bliss came from two things, fabrics and light. For me the two are really related, especially with white heirloom textiles that had beautiful lace patterns and hand work. I became fascinated with the idea of light as it “rolled” across the “landscape” of the fabrics; it’s physical properties and spiritual connotations. I am intrigued by how the light behaves in the folds of the terrain of the fabric. Light is universal to all of us. The great masters of the past that I gravitate to used the element of light so well that it transformed their images into something almost spiritual. This is superbly shown in Sorrolla’s “Mending the Sails” and “After the Bath”. Both are light infused of something heavenly.
Is this stage the last stage? I think not. I won’t know until I’m ready to progress to the next level, the next stage. As Wayne Thiebaudd stated, “Great art is made up of three worlds. The world of Self, Reality, and Art. We artists are not communicating if our work is only one of the three. If too much about self, art is a one-sided conversation, if too much realism it becomes a mere visual recording. And if too much about art, then only artists are talking to each other.” These wise words make me know that my journey is far from over; I have not yet “arrived.” In the spirit of Ralph Waldo Emerson and Robert Frost combined, “It’s not the destination, but the journey and that makes all the difference.”
David Gluck Interview
“There’s always one in the crowd”, as the saying goes…and Canadian artist David Gluck is the one.
When I received his responses to my interview questions, I found myself laughing out loud. I also realized that when you encounter a guy like this…it’s really important how you phrase the questions.
Is David Gluck a serious guy or a comedian? I guess that’s for you to decide. Even if he doesn’t take himself seriously, one thing is certain, that cannot be said when it comes to his work.
When I saw that his painting, The Trapper, won the very prestigious William Bouguereau Award in the recent Art Renewal Center International Salon, I was totally on board…a phenomenal painting indeed, and an award well deserved.
William Bouguereau (1825-1905) in his day was considered one of the world’s greatest painters. Many consider his paintings to be absolute perfection. But, as modernist thought replaced the academic, Bouguereau went the way of so many great artists…as did the training that helped produce them. Today, some of that solid training is being resurrected and we’re seeing the results. David Gluck’s work is one such example.
The Bouguereau award is given to a figurative piece that displays a strong sense of emotion and theme. Assessing whether The Trapper really met these stringent requirements, Gluck said, “The figure; clearly a man. The theme; manliness. Emotion; pfft, men don’t feel emotions. The only emotions I feel are rage and hunger, which usually go hand in hand.”
How did he feel about receiving the award, “I was actually extremely honored to have received this award. I have been a long time follower of the ARC and they have continued to support my career.”
Wondering what he thought of the great William B…”As far as William Bouguereau goes, I know everyone is a huge fan of the guy, but frolicking wussy peasant children never appealed to me. I will say, his technical proficiency is one to be admired.”
And now, more from Mr. Gluck.
How would you define your role as an artist? I fill up inconvenient blank spaces on a wall.
How does one find their individuality as an artist? It should come naturally. I found that living apart from most other artists and being primarily self-taught was helpful in finding my voice. Also, it helps to wear a hat.
Do you consider the process of painting more important than the result? Not at all, the result is what stands the test of time. Focus on the process is simply post-modernist thought.
What is the major thing you look for when selecting a subject? A fine balance between manliness and awesomeness.
How much of your work is intellectual vs. emotional…and how would you define the difference? I am not really a man with either quality, so I am unsure how to answer that.
What colors are most often found on your palette? My flesh tone palette is Yellow Ochre Pale, Vermillion, Ivory Black, Lead White, and Raw Umber. There is also a yellow stain that might be mustard, but I can’t be sure.
How do you decide on the dominating color key for a painting, and how do you maintain it? Using a limited palette makes it quite simple to harmonize your colors. I feel the color key is often picked in accordance to the mood I am trying to portray.
I love this one…
Do you paint in layers? I typically only wear layers when painting in a cold climate, but otherwise I wear gym shorts with no shirt while painting.
Does photography play a part in your work? Sometimes. I work from life whenever possible, photos when it simply isn’t an option.
How much preliminary work do you do before beginning the final work? I would say at least half of a piece is in the planning. I always do a series of studies starting with thumbnails and preliminary drawings for tone and composition. I end with color studies before beginning on the final canvas. I try to leave very little to chance.
What is your major consideration when composing a painting? Composition of course is key. I try to work this out in the very early stages.
How does your work reflect your personality? Not very well. Most people are surprised I am an artist.
What constitutes classical painting and drawing, and why the resurgence at this time? Got me. Maybe it has to do with global warming or something.
You have the ability to paint incredibly beautiful works while using objects that are pretty common and not necessarily considered beautiful. What is the thought process behind that? Pretty objects and things don’t always make for a beautiful painting. It’s like the old saying…”It doesn’t matter what you say it’s how you say it”.
What advice do you have for a young artist/painter? Make your models bring their own towel to sit on. Otherwise you are stuck with a towel you have no idea what to do with.
What advice would you give a first-time collector? Buy my stuff.
If you could spend the day with any three artists, past or present, who would they be? My wife, Rembrandt, and Bob Ross. Actually, scratch Rembrandt, he doesn’t even speak English.
If you were stranded on an island, which three books would you want with you? One would be a choose your own adventure book to keep life interesting, Cooking with Beer, and maybe one super thick book to use as a seat.
Who has had the greatest influence on your career, and why? Easy answer, my wife. She is my primary influence being a fellow realist and the main contributor in inspiring my work.
When you become discouraged and feel the well is dry, so to speak, what do you do? I call my good buddy Jack Daniels for moral support.
Why do you enter art competitions and how do you go about selecting paintings for them? I enter competitions to win sweet mullah. Apparently I enter the same painting in every competition.
Thanks David for participating in this interview and allowing me to share your fabulous, beautifully executed works. I’m sure we’ll be hearing more of you. I hope it’s good.