Artists have long been influenced by their surroundings.
California artist’s paint mostly California scenes and so on. But that is just the surface layer in what makes us who we are. For me, family is first , and if all is well on the home front, all will be well in the studio. Working out of my house all those years as an illustrator kept me in close contact with my family, so I knew most of the time what my kids were up to and put out the daily fires that spring up when you are working out of your home. I love to cook so at the end of a hopefully good day in the studio, I’ll pour a drink and start prepping dinner. The process of switching from a brush to a spatula is relaxing and is great time to wind down. Food is such a great part of life that if we treat it only as fuel, we are missing out. Cooking, like art has core principals, and if you learn those principals, wonderful things can happen. My wife Debbie is a Kindergarten Teacher, so she comes home wiped out and in need to talk with an adult and I need to talk to anybody but the dogs. We have created a home we both really love and it is a place of sanctuary. Our neighbors and friends come over for Potluck dinners once a week. Living in Florida has allowed us to live outside year round and working for myself was a great way to work at another passion, my back yard. During a couple of good illustration years I starting putting patios, Tiki bar, fountains and an outdoor fireplace. Building the fireplace was an extension of my creative energy. It also became a big meeting place for family and friends. I think these elements family, friends, cooking and building things have made me a better artist. The balance act artists have to juggle in order to survive is different with all of us, but I think we all have to be aware of not just what’s in our studio but what surrounds us.
As artist’s, we are sensitive to our environment and usually shows itself in our paintings. Some move to locals that inspire them and start creating the best art of their lives. For many of us moving is not feasible, but we can make our studio and home a place that inspires. My wife understands that her five year old students, who are starting school for the first time, need to feel safe and happy in order to learn. If our environment is one that inspires and makes us happy it will show in the art we produce. Collectors buy art that makes their lives better and are in essence buying a piece of who we are. I don’t want to sugar coat our careers as artists because it is very difficult, but I am reminded of a school talk I did years ago and at the end of my show a little boy asked me “so you get to stay home and color all day?” Yes, yes I do.
Archives for June 2013
Painting Fred Red
If you didn’t make it to the 22nd National Exhibition & Convention this month in Fredericksburg, TX, you missed a lot. It was better than ever. But don’t despair, just begin planning and saving for next year!
Events like these are reminders of who we are and who we want to be. This year, I met so many top artists for the first time — artists I had interviewed and written stories about but never met or whose artwork I had not seen in person. While you can read all the books, magazines or surf the net from dawn to dusk — each helpful and invigorating in their own ways — to be face-to-face with the art and the artist is like drawing a Royal Flush in a Vegas poker game!
The exhibition itself was superb, presenting an amazing array of talent, subject matter, and style. At any other show, we might expect to see a handful of paintings that knock our socks off, blow our hair back or electrify our senses—but the exhibition at Insight Gallery this year hit all those categories and more. Painting after painting revealed craftsmanship any professional artist would be proud to call their own; paintings that exemplified what can be achieved with hard work and dedication. Underscoring the impression the show made on me were the many red dots that caught my eye and told me that art lovers felt the same.
Once the reception was over, the crowd gathered for another exciting awards ceremony—replete with surprises, awards and well-earned nods for the winners from their peers. It was time to celebrate and acknowledge the culmination of months of preparation by many of the finest artists in America. We wish every one of you who participated could have been there too.
By Sunday morning, Insight gallery owner Meredith Plesko told me that 40 paintings had already been sold. Checking in with her this past week, she informed me that the count is now well over 50 and has amassed nearly $200,000 in sales. Plesko was still awaiting several clients who had their sights on larger pieces, which leads her to believe that totals will undoubtedly rise even higher. The gallery loved hosting the OPA and, speaking on behalf of those who attended, all had a fantastic time!
Southwest Art magazine again put on their first-class opening event, the “Pampered Paint Out,” this year and Kimberly Moore whipped up an unforgettable day, including a continental breakfast, lunch and a wine and cheese send-off to help revive tired artists who painted the hours away.
When Friday night rolled around, it was time to relax and enjoy a beautiful evening during American Art Collector magazine’s “Party Under the Stars, Texas Style.” Dining outside under a glorious old oak tree at the historic Pat’s Dance Hall, guests spent the night sampling some of the best barbeque in Texas and listening to one of Austin’s hottest up-and-coming country bands, “The Lonesome Heroes Band.” It was a perfect end to a perfect day. Thanks to Joshua Rose, Amy Gause and Alex McKee for putting together such a memorable event for OPA members!
However, competing and sharing with colleagues, as well as the wonderful opportunity to network and party with vendors and new friends, is only a part of the convention’s value. There were demos by such masters as Sherrie McGraw (this year’s judge of awards), Kenn Backhaus, Scott Burdick, John Michael Carter, John Cosby, and Elizabeth Robbins. We all learn from watching those who wield a skillful brush and, this year more than ever, we came away inspired. I think what impressed me most about the demonstrations were how generous and kind each artist was as they shared their insights and answered questions. There were no showboats, no posturing—only stars within our tribe bent on helping us all move forward. They appeared so at ease. They were in their natural element and among friends.
Friday, Saturday and Sunday each brought presentations touching on various aspects of a professional artists’ life. Each speaker contributed insights to our understanding of all that this crazy business requires.
Starting things off with a bang, Joe Paquet took the stage and hammered home the importance of being authentic in our work and in our lives. He described how to discover our unique, personal vision and develop it to its highest intent. His final point? EVERYTHING matters!
John Cosby shared his real world experiences with the business of art—what you do when you lay down the brush and interact with galleries, collectors, writers, museums and framers—and how to manage and build your pricing structure. Cosby was followed by Montana art law attorney Bill Frazier, who covered topics such as copyright, trademarks, Internet piracy and contract analysis. Professional artists today must develop a working knowledge of these topics and, perhaps most importantly, know where to turn when the waters get choppy.
All of this and it was only Friday! When Saturday rolled around, there were even more presentations to enjoy. Following an extraordinary demo by Sherrie McGraw, art publisher and entrepreneur Eric Rhoads took the stage to teach us how to build our “brand.” If you know Eric, you know he can be persuasive! His talk was filled with helpful marketing advice, but the tip that stands out for me as a strong takeaway is “repetition, repetition, repetition”—that is, repeatedly using tried-and-true methods as well as fresh new ones to help us build name recognition over time. Whether through advertising, networking, exhibitions, social media or a combination of all of these, we must step out of our studios and mix-and-mingle!
Scott Burdick shared an ironic and entertaining survey of modernism and traditional art, one that has stirred a bit of controversy in some circles (visit his website at //www.scottburdick.com and click on his one-hour video titled “The Banishment of Beauty.” We have only to look at Burdick’s luminous paintings to be persuaded that beauty is best!
One of my favorite presentation events was Southwest Art’s editor-in-chief Kristin Hoerth’s interview with Sherrie McGraw on Sunday morning. Hoerth delved into McGraw’s life and influences, and the artist responded with warmth and wit and practical advice. To achieve what McGraw has achieved and to see the quality of her craftsmanship reminds us all that hard work and determination pay off. Now and then we see an artist attain a flash of popularity only to fade from view shortly thereafter. But the real masters lay down a solid foundation and then add to it brick by brick, year by year, challenging themselves, extending a hand to others, and remaining open to life and art. Sherrie is truly one of those.
The last day of the convention was wrapped up beautifully by Kenn Backhaus’s discussion of conceptual thinking and how to find your own unique place in the art world. Being “literal” may not be enough. Literalism means adhering to a strict representation of “what is there.” That in itself takes skill, but to rise above that level means mastering a new language, seeing more in the scene before you—extracting patterns, designs, physical elements, and atmosphere, and manipulating them in a way that is all your own.
As we prepared to say our goodbyes, we had a last reminder of the practical side of art as a profession. Bill Bush, owner of Frederickburg Artists’ School and a certified public accountant, shared his thirty years of experience dealing with such issues as taxes, insurance, agent relationships, gallery representation, and the finer points of “doing business.” We left fully charged!
This was a long post, but for those who couldn’t be with us in Fredericksburg, I wanted to share how rich the national exhibition and convention experience can be. I wanted to urge you now to begin planning for next year’s so you can take it all in for yourself. You won’t be sorry.
For those who were there, you each did your part. You painted Fred RED—and they won’t soon forget you!
Taking Flight: Tips for the Winged-Artist
“How do you pack when you are taking a trip to Europe?” I get asked that a lot. My first thought is always, “The same way I pack for (readers, insert your favorite U.S. painting destination here.) I’m not sure what it is about going over a big body of water that seems so daunting. Maybe it is scary because you are worried you will over pack and have to lug your stuff through train stations, bus stations, and airports with which you are unfamiliar. The solution?
Tip of the day
Always pack like you are flying to Europe, even when you are traveling by car. You will get better at packing light and will appreciate it even when you are driving to your local beach or mountain range.
Essential Tips For Traveling with Oil Paint
Here are a few more tips for the winged-artist, no matter where you are going:
Pack less than you need
You already know this one and still, you don’t listen to yourself do you? Pack no more than 2 bags: One bag will hold most of your clothing and a small bag of paint. The other bag will hold most of your paint gear and a second small bag of paint. You may also pack an optional carry-on, just remember that now you have to be able to maneuver with 3 items. It helps if your carry-on tethers to your luggage easily or is a back-pack style.
Invest in a luggage scale
For $15 you can purchase small luggage scale which could save you hundreds of hours of worry or hundreds of dollars. Remember to PACK the luggage scale. You will need it when you return to weigh all of those wonderful souvenirs you bought.
Use your paint back pack as your carry-on
In addition to your make-up and jewels, items to be included in your carry on luggage (should you opt to have that added piece) are things that would very difficult or expensive to replace such as your easel (needs to be a compact style for this. I will be posting soon on my latest equipment find!); your brush roll with brushes (be sure to remove palette knives); and 1 or 2 PanelPaks with clean panels (just enough to hold you over until they locate your checked luggage if it is stuck somewhere in transit). Also pack business cards, event and travel contacts, schedule, maps, tickets, and other information in your carry on luggage for easy retrieval upon arrival.
Pack your voltage converter
Pack your voltage converter for whatever country you are visiting, camera, charger, memory cards, and other expensive electronics like computers and iPads in your carry-on (or do without them for a week… even better!)
Do not expand your luggage
Whether or not you are the typical souvenir-buying-tourist, likely you have experienced that things just don’t fit right when you pack to come home. You always wish you had a little more room for some reason. If you flew to your destination without expanding the extra expando-zipper on your suitcase, you will be able to do that now and have plenty of room for your stuff to fit. Just don’t forget to weigh it!
Details on traveling with oil paint and art supplies
In your checked luggage you will obviously need clothing (my list is shown below) and your REMAINING PAINT GEAR. Here are specifics on how to prepare supplies and make sure your oil paints and gear are packed carefully.
Paint
Carefully wrap each tube of paint with bubble wrap and label the outside with the color name. Tubes often punch holes in other tubes if you do not do this. What mess when you squeeze really hard and all the paint comes out of a tiny hole into the palm of your hand.
The length of travel determines how many tubes of paint I will need. For a week-long trip, I will pack 1-large tube of each color PLUS an additional tube of white AND 2-small tubes of each color. Then I place the tubes in thick zip-lock bags; the large tubes in one and the additional large white and small tubes in the other.
Next, I place a sheet of paper in each of the zip-lock bags that reads:
ARTISTS’ PIGMENT ENCLOSED.
The US Department of Transportation defines “flammable liquids” as those with a flash point 140 degrees F or below. Artist grade oil colors are based on vegetable oil with a flash point at or above 450 degrees F. THEY ARE NOT HAZARDOUS.
If you need to confirm this, please contact TSA at 866-289-9673 or their Hazardous Materials Research Center at 800-467-4922.
To contact this traveler, dial (ADD YOUR PHONE NUMBER HERE).
I used to always include the MSDS (Manufacturer’s Safety Data Sheets) with the tubes, but have not done that in a long time. These can usually be found on the manufacturer’s web site or on artist supply web sites.
I put one bag of paint in EACH pieces of checked luggage. This is a safe-guard just in case one gets lost or confiscated, I will at least have enough to get me by a few days until I can purchase more. By the way, knock on wood, I have NEVER had a single tube of paint be taken from me.
If asked, never refer to your paints as paints. Refer to them as “artists’ pigments”.
Panels
4 or 5 for each day x 7 days = 28 to 30 panels. Put half of your panels in one bag and the other half in the other.
Wet Panel Carriers
I suggest bringing wet panel carriers for carrying wet paintings. I have 2 PanelPaks in each of the sizes I like to paint. These are thin and lightweight. Each PanelPak will accommodate 2, wet canvases that are the same size. Be sure to throw in some extra bands in case you lose or break one. When assembling PanelPaks with new, clean, panels, place the canvas side out. This will help you easily identify which ones have useable panels in them and which ones already have beautiful works of art safely tucked toward the inside.
Other Gear
- Back-pack (can double as your carry-on luggage, or used to provide extra padding in the top of your suitcase)
- Plein air umbrella
- Rain poncho or jacket
- Flashlight and clip-on book lights (for painting nocturnes)
- Utility tool and cork screw (seriously, cork screw is on my list)
- Painting hat
- Palette knives (remember NOT to have these in your carry on luggage)
- Sketchpad and pencils
- Empty, seal-able, OMS container* and small zip-lock bag
- Small roll of wide, transparent tape
- Mediums which are allowed by law (see manufacturer’s specifications)*
Collapsible cooler (makes great padding for potentially breakable toiletries. Use frozen bottles of water and have cold drinks and snacks all day.
*DO NOT take mineral spirits on flights. You can get them at your destination. Your first stop, after your glass of (readers, insert favorite beverage name here), should be (in order of preference) a local art store, hobby shop, or home restoration store to purchase Odorless Mineral Spirits, White Spirits, or Turpentine and other mediums. In a pinch, use the local olive oil instead of OMS. Just don’t confuse which bottle is for your back pack and which is for your dinner!
When you get to your destination, buy paper towels, baby wipes, sunscreen, bug spray, snacks, and water and save your grocery sacks for trash.
Frames
If it is a plein air festival, you will also be required to frame your work. Here are two possible options:
- Pack a small box of framing gear which includes hanging wire, strap hangers and screws, point driver, wire cutters, and screw driver. Have frames drop shipped to the location from your supplier.
- Pre-wire frames for horizontal hanging (you can always change them if you paint vertically). Ship frames, point driver, wire cutters, and screw driver to your location.
Whatever method you choose, pack extra promotional materials (business cards, workshop brochures, copies of your bio, etc.) to have on hand or affix to the back of your painting.
If I am teaching a workshop, I add ‘Workshop Booklets, 1 per student,’ to this list.
Suggested Clothing
Pack 3-days’ change of clothing and washing powder. Here is a copy of my personal packing list:
- Painting clothes (shorts, jeans, tees, layers) for 3 days. Check the weather reports for the region and pack accordingly. No matter what picture you have of a place in your mind, there is no reason to show up in Carmel in a bikini if it is only going to be 62º for the high.
- Under-garments (Okay… so my list actually says bras and panties… substitute boxers or briefs if appropriate.)
- Barrettes and hair ties (obviously, optional)
- Belt
- Hiking shoes, tennis shoes, or boots (as geography demands) and socks; sandals if appropriate
- Sleepwear
- Dress clothes, jewelry, and nice shoes if needed (for opening receptions, networking dinners)
- Prescriptions and over-the-counter remedies such as Advil
- Lotion, make-up, deodorant, toothbrush and toothpaste, razor, hair products, and soap (assuming you are not staying in a luxury spa hotel that supplies these for you).
- Laundry detergent (dry or dissoluble sheet type) and Murphy’s Oil Soap (for removing oil paint from clothing).
Once I arrive at my destination, I squeeze paint on my palette and pack my back. I’m ready to paint at a moment’s notice.
You will probably question a few of the items I use (like the transparent tape and small zip-lock listed). Visit my blog at www.loriputnampaints.blogspot.com for information on that.
I’m certain there are lots of other great ideas out there. This is just what works for me. It’s become routine now. Hopefully it will help you too.