Last December, I was fortunate to be selected for a $500 scholarship from OPA to use toward attending a workshop of my choosing. Since I’ve long admired the rich, evocative figure paintings of Milt Kobayashi I elected to sign up for his recent class at the Scottsdale Artists School. The ocotillo and palo verde trees were blooming red-orange and yellow making April in Arizona a real joy.

“Stay attuned to opportunities and be open to change” was the advice we received throughout the week. Kobayashi views his once a year class in Scottsdale as a valuable experimental time for himself as well as his students, painting new models, trying new compositions, hearing ideas from his class. He also enjoys the opportunity for creative freedom — no thinking about producing work for galleries or shows. Back home in New York he paints late into the night, the solitary work time often giving his paintings an introspective quality. Every year he says he takes something valuable back to his studio from his workshop experience; maybe something tangible, like a new color combination or maybe simply a creative spirit rejuvenated by the wide open southwest and the bonhomie of simpatico painters in the lively class. He certainly doesn’t take home the actual demos he does — the class participants were avid collectors and there was good natured rivalry on Friday when names were drawn for the chance to purchase the five new Kobayashis.

The emphasis for the week was on composition and he encouraged the 18 students to try new arrangements of objects, repeating several times that there are no rules about placement except try to avoid aligning edges. He enjoys pushing the figure to the far edge of a painting, sometimes even looking straight out to the side, an arrangement few artists use. He painted with various color schemes: dark blue (Egyptian blue by Doak) and brownish orange (Mars orange and Mars Yellow he likes for their rich opacity), orangey red-green-lavender, black with a host of grays, and the last day, medium blue and rusty red punctuated by a large area of black. He loves black and is not afraid to make the commitment to use it boldly.

He paints things how he thinks they should be, not exactly the way they look. Nothing is set in stone. He urges you to understand the form and why light is hitting it the way it is.

As he started to paint each morning, beginning with a tone of a warm gray, he seemed to let the design present itself to him. On occasion it was suggested by the shape and strokes of the initial tone, other times, it evolved from pencil lines over the tone as he played with placement of the objects he had in mind. On Tuesday, he decided to place the figure dead center with arms out stretched, making a cross composition. He further emphasized the centrality of the figure by placing a deliberate rectangle of blue right behind her face. He committed himself to his decision. When it came time to paint the mouth, he said with a laugh he was going to make it green, “just because I can.” He added a couple more touches of green so the color of the mouth would be repeated. The girl in the painting echoed his attitude of being attuned to possibilities and celebrating who she was.

In Kobayashi’s discussion of painting with cool and warm grays of similar values, he made a statement that distilled his decades of experience working in subtle tones: it won’t look muddy if you make the strokes crisp. When a painter starts to over blend it is easy for it to turn to mush.

Each afternoon for student painting time, there were three complex model set ups to choose from. These were orchestrated by artist Nancy Chaboun, who also participated in the workshop. Gorgeous fabrics, kimonos, fresh flowers, pillows, vases—if you couldn’t get inspired there, you couldn’t inspired anywhere.

Besides the great class at SAS, there was so much to take advantage of while in Scottsdale. I painted Monday evening in the open studio with a wonderful model, at no charge since I was enrolled in a workshop. Wednesday evening, one of the class members invited everyone to her lovely home for dinner where we also enjoyed her art collection which has an impressive number of Milt’s paintings. Thursday afternoon is Thirsty Thursday, put on by the Friends of SAS — great hors d’oeuvres and wine. Thursday evening is gallery walk for the Main Street galleries and the rest of my free time I spent plein air painting or photographing dramatic Arizona scenery. It was a fabulous art week.

After some hit or miss work the first three days, finally on Thursday I felt I did a painting that incorporated some of Milt’s advice.

In case I forget in the future to embolden my compositions, use lots of neutrals in the skin, or throw in a surprising color choice now and then, I only have to look back at Tuesday’s dead-center girl with the green lipstick to remind me–and that’s easy, because she hangs on my wall.

Pat’s oak

Friday night at the OPA national exhibition, American Art Collector (AAC) magazine will throw a party to be remembered. This year’s will take up Texas flavor and go all out—great food and music under the stars at Pat’s Hall, a historic Texas dancehall, surrounded by some of the most talented artists in the country. What more could you ask for?

As is always the case, the staff of AAC puts a lot of thought into producing their signature event, and this year is no exception. Editor Joshua Rose gives us the inside scoop:

On an earlier visit to Fredericksburg, we discovered a local BBQ joint called Cranky Franks. We immediately fell in love with their pulled pork and BBQ’d chicken and have eaten there on every subsequent trip. When we found out that this year’s party would be in Fred, there was no question who we’d have cater it.

And on a trip to Santa Fe, we met The Lonesome Heroes, an Austin-based country-western duo. They are wonderful singers, songwriters, and performers, and we all became friends quickly. We are very excited that they’ve agreed to come down from Austin to play for our party!

Imagine this—sitting on picnic benches under a giant, historic oak, drinking lemonade, eating some of the best BBQ you’ll ever taste and listening to the beautiful songs of one of Texas’s best country-western duos. We can’t think of a better way to spend a night in Fredericksburg, Texas.

Pat’s Hall

Amy Elliott Gause, AAC’s sales and marketing director, is equally excited about this year’s event: “We couldn’t have found a better place to host our annual party at the OPA National Exhibition. This just might be our best yet—and we are currently arranging for the group of elk who showed up last year to make a special appearance this year as well!”

All I can say is YUM—great BBQ and music under that vast Texas sky, good-looking cowboys, sexy cowgirls, terrific sponsors, and hundreds of creative friends who love to talk about art. My kind of fun—

As the song goes, “The stars at night are big and bright, deep in the heart of Texas—” See you under the oak tree!
View some photos from last year’s American Art Collector’s party

First up, on May 15, will be the “Pampered” Paintout, 7:30 a.m. to 4:00 p.m. Kimberly Moore, SW Art’s regional sales manager, and her staff will be out in force to show the artists great spots to paint en plein air and to provide breakfast and lunch. If you attended last year’s debut Pampered Paintout in Evergreen, CO, you know it was one of the five days’ best painting parties. As Moore says, “It was a wonderful event and was so well received that we wanted to do it again! It gives the artists an opportunity to relax and paint while being pampered for a day with food, drink, music, and fun! SW Art loves working with such high caliber artists, and being able to host this exciting event is really a joy!”

Tasch House

This year, activities will take place in and around the beautifully restored Tatsch House at the Lady Bird Johnson Municipal Park facility. Built in the mid-1880s by master cabinetmaker Peter Tatsch, using local stone, it is reminiscent of early Fredericksburg. It was recorded by the Historic American Buildings Survey of the U.S. Department of Interior and the home’s detailed plans were placed in the Library of Congress in 1936.

But that’s not all! On Sunday morning, SW Art’s Editor in Chief Kristin Hoerth will interview this year’s distinguished Artist Sherrie McGraw at the Admiral Nimitz Museum & Convention Center from 9:00 a.m. to 10:15 a.m. Hoerth says she is very much looking forward to the whole week of OPA events, but especially to speaking with McGraw: “I’m thrilled to be able to sit down and chat with Sherrie. My conversation with Daniel Greene last year was enlightening and entertaining, and I have no doubt that this year’s interview will be just as compelling. We at Southwest Art are so pleased to be part of these events. The OPA has a long and distinguished history of producing wonderful shows that bring artists together and present impressive paintings to collectors, and it is our pleasure to help support these endeavors.”

“The Third of May 1808″ by Francisco Goya, 1814

It was one of the most violent terrorist acts on America’s soil in recent history, at the world’s oldest annual marathon. Thousands experienced it locally and firsthand, as the event traditionally draws over 500,000 spectators. Millions viewed it on TV, replayed in shocking detail on every major national network.

Film showed runners who had just completed the race running back into the course to help the injured. Police and first responders rushed to the aid of the wounded with blankets, gurneys, and medical assistance. Viewers at televisions across the nation could only sit or stand transfixed as they tried to comprehend the carnage of the innocents who had suffered the shrapnel of a death-dealing blow. In living rooms everywhere, far from the smoke and violence, we were unable to think, breathe, or even lift a hand, transfixed by the horror of an ultimately cruel attack.

I have had the privilege to run the Boston Marathon three times. The highlight, for me, was The Hundredth, or Centennial Boston Marathon in 1996, that set the record for the world’s largest marathon at 38,708 entrants and 35,868 finishers. It’s properly called the “Boston Athletic Association Marathon,” and is begun and run in cities largely outside Boston—in fact, runners don’t even see Boston until five miles after Heartbreak Hill, at 24.5 miles. In fact, in the early days of the marathon, what was printed on the finishers’ medals was the name, “the American Marathon.”

Long Beach Marathon

But there was to be no victory that day, April 15th, for those runners on their way to the finish line at 2:49 p.m…. even for those who were turning that final corner onto Boylston Street to finally realize their dreams of completing “the Boston.” The bombings destroyed those dreams of the finish line in the same instant that they devastated the crowds gathered around that line. It was hopeless to go back, to wish it hadn’t happened. Only one question remained: “What can we do now; what should we do?”

That brings it all the way back, to each one of us. As artists, what can we do in the face of this disaster, and others, that threaten to destroy even the survivors?…that threatens to overwhelm all the good that exists in society, in any works of man and art, and which is powerful enough to reduce our creative morale to rubble?…so powerful that we might ultimately consider that the arts are nothing in the face of real evil, and that the artist and his/her artwork has “head in the clouds,” and is standing in front of tragedy without real weapons, or even an answer to man’s inhumanity to man.

Should we continue to stand, or run? Shouldn’t we feel defeated, then get angry, and seek revenge? Should we abandon our principles? If we do that, then we fall prey to the very behavior that we condemn in those who try to steal and destroy that which is good. In the wake of senseless acts like the Boston bombings, I feel all of those emotions—but that’s all they are. As an artist, I would rather attempt to do something positive, than to believe that there can be no response or action that is worthwhile, and helpful. So once again I have been considering the power of Art in light of this question: as an artist, what can I do to counteract this violence that exists in the world, this evil, this threat to all we hold to be true?

“Do not be overcome by evil, but overcome evil with good.” - Romans 12:21

“Blessing, Malachi 3:10″ by Rick Delanty, 24″ x 24″

Artworks have the capacity to convey a positive message, to reveal the truth of the unseen, to describe beauty, to define the good that still exists, to communicate between cultures and without spoken language, and to heal. Perhaps that is why occupying armies frequently seek to destroy first the artworks of those they wish to vanquish—to immediately banish beauty, order, and hope in the good from the oppressed.

But each working artist that believes in the power of Art to convey the good is like a Florence Nightingale on the battlefield, among the tents where the wounded lie, going from one victim to the other and ministering to the spirits of those who would otherwise lose hope. Grace and strength will always win out over malice and wickedness. There is power in benevolence, and hope in the sight of the loveliness of a creative spirit. Art that expresses the truth in kindness and gratefulness will disarm the rage, and advance the welfare of all who see it.

As artists, we can do good, and strive to create great artworks. To create at the highest level is a victory over all who would strive to destroy.

“Rachel” by Rick J Delanty, 14 x 11

One marketing hat you should wear is the “Press Release Writer” …Now, this is where the artist pales at the mere suggestion of writing an article.  Relax, press releases are one of the easiest articles to write and can make a huge difference in any event, workshop, or announcement.  Here are the basics.

1. Start your article with these basic facts: Who, What, Where, Why and When.
   Example #1: The oil paintings (WHAT) of Skokie artist, Elizabeth Jones (WHO), will be featured in “Light and Wonder Show ” (WHY) for the month of October (WHEN) at the White Rose Gallery (WHERE), Skokie, Illinois.
2. Elaborate upon the facts:
   Example #2: Thirty floral paintings, emphasizing the inspiration of luminosity, will be on display.
3. Elaborate on the techniques or style of the paintings:
   Example #3: Thick juicy strokes accent the brilliant glow of these impressionist paintings.
4. Bio on artist:
   Example #4: Elizabeth Jones, known for her romantic expression of flowers, studied oil painting and design with nationally recognized artist, Howard James. She has been an associate member of Oil Painters of America for 5 years and has been juried into 3 of the OPA regional shows.
5. Reception:
   Example #5: The Opening Reception will be October 1st from 5 pm to 9 pm.  Artist, Elizabeth Jones, will be present to discuss her techniques. The public is welcome.
6. Contact info:
   Example #6: White Rose Gallery is located 931 Niles Center Road, Skokie, Illinois. For more information contact Cheryl at 316-673-4196.

   For this example, that would be the end of the article. It is 143 words long. It is a short Press Release, easy for the newspaper or magazine to fit into their layouts. But you are not done yet.

7. At the top of the article, you need to write:
   For Immediate Release
8. At the end of the article, in order for the newspaper to be able to contact you and verify that this press release has originated in their area, you need to write:
   For more information contact:
   Elizabeth Jones (your name)
   5140 Howard Street ( your address)
   Skokie, Illinois  59715
   312- 222-5555 ( your phone number)
9. Be sure to include a photo of one of your paintings that will be on display. Include the title, size and medium of that painting. Most newspapers are wanting digital 250 dpi images that are about 5 inches x 7 inches.

Here is the finished Press Release example: ( all names and information are fictional )

Write the press release based on facts, do not let it sound like an advertisement. Always write in the third person. Be aware that some newspapers are more prone to print press releases than others. In my home town, the arts have a separate insert magazine once a week that features what is happening in the arts, music, and dance. This is where art related press releases would be sent.

Submit your press release to neighboring newspapers, local magazines and, yes, national magazines. Many publications are now accepting press releases via e-mail, easy to use and to attach your photo. Call the publication first to find out the way that they prefer to receive press releases.

Each time you win an award or are juried into a regional or national show, you need to write a press release. Not only are you getting the word out to the public about your achievements, but in the process, you are introducing the editors of these publications to your work and your career. In time, this could definitely develop into an article. Press releases will awaken the general public to your work and your career. The more they know about you, the more likely they are to step up and purchase your paintings, take classes, etc.

So these are the basics. Most newspapers welcome an independent writer to aid their reporters’ efforts to keep their publication interesting. Try it! You have nothing to loose and “career recognition” to gain!

“Old Port Gulls” by Hodges Soileau OPA

In my opinion, observation skills and a visual interest in how something looks with light on it is what is most important. A personal example might be that I love to paint boats and water, but I know very little about boats except which end is the bow and which is the stern. From observing, I am aware that the shape of a lobster boat is different that that of Shrimp boat, or an Oyster boat, etc. I have a passion for painting boats because I like the shapes and the way they look in water. That is only one example of many subjects that artist choose to paint that do not require expert knowledge to do reasonable representations of them.

“Working Lady” by Hodges Soileau OPA

By the same token, one can do a very reasonable rendition of the human form without ever taking an anatomy class…..of course anatomy study does not hurt, and I certainly would never discourage any one from studying the human anatomy. Any knowledge gained can be helpful…..particularly in checking one’s self if there is an issue, but it is not an absolute requirement. Artists have done a very good job over the years without studying anatomy, if their observation skills are strong. I believe the artist should be interpreting their observations and not simply copying them. Copying is for cameras. Another problem with relying on knowledge instead of observation is, if one is observing the subject, and something looks vague, fuzzy or not clear as in a shadow area….one should paint that image as they see it, and not use their intellectual knowledge of the subject and make it a clear statement. It will not look appropriate to that particular situation. Example….something dark in shadow value, if made to light and sharp will jump out of the shadow. Another foreseeable problem with using knowledge of subject rather than observation is that one could fall into a formula, and everything starts looking the same. If one is using anatomy knowledge for example. All figures should not be exactly alike.

“Lula Belle and the Preacher Fisherman” by Hodges Soileau OPA

One could compile a never ending list of subjects that this might apply to. By no means am I implying that one should not learn all one can about the subject they choose to paint….if that is one’s interest. This is only my opinion on this subject, and does not necessarily reflect any universal opinion or idea on the subject. I do find this an interesting topic, and I do believe strong observation skills trump knowledge of a subject as it relates to painting.

Again thanks for listening to my Cajun ramblings.

Classic Bust III, Pencil, 10 x 8, $600.

The Florence Academy Of Art

I don’t know what to expect at the academy. Following the 19th-century French Academy which developed neo-classicism, Daniel sets an agenda for new students like me. Immediately I am assigned to draw an exact copy of a finely defined pencil drawing of a man wearing a hood. He very much resembles the Florentine poet Dante.

I draw exact dimensions and values of white through scales of gray to black with a HB (hard black) drawing pencil. Each stroke must be crisp by keeping my pencil sharpened with a mat knife, pushing from the tip of the lead, back along the shaft and up into the wood. I shave away until I have a long lead with a pinpoint-thin tip so I can make sharp, distinct marks of lead.

Classic Bust I, Charcoal, 18 x 15, $700

I never press the pencil into the paper to make a darker mark. Instead, I stroke one line next to another on a smooth white paper. Each mark falls crisply in place. The more I stroke, the darker the definition of a shadow becomes. On the other hand, when I have gone too dark, I erase and begin again with a freshly sharpened pencil. I love to draw and am so engrossed that hours pass without my noticing the time. I lay a string as a plumb line vertically to line up the head. I use the plumb line, as well, to establish the tip of the shoulder in relation to the chin line. And this measuring of angles and spaces continues throughout the drawing. By the time the drawing is completed, I have sharpened my pencil 100 times.

Classic Bust II, Pencil, 8×6, $500

Main Drawing Room

Finally, I graduate to the main drawing room where classical plaster casts stand on pedestals against black velvet drapes. The room is painted black and black curtains cover side windows. The daylight streams through north skylights onto the statues. No unnecessary reflected light interferes with our tasks of drawing exact replicas of the statues.

Classic Bust III, Pencil, 10 x 8, $600

I stand back eight feet from a statue, alongside six other draftsmen who stare at their individual statues. The room is quiet, although some students are playing their tape recorders with ear plugs. I listen to silence as I mount on my easel next to my statue an 18”x24” sheet of heavy charcoal paper. I stare at a lovely Grecian female in classic pose and wonder if I will ever be able to replicate her beauty of lines and shadows.

Female Nude (Classic Pose), Charcoal, 25 x 16, SOLD

Working With Charcoal

That is when I begin to use charcoal in ways I had never known. For one thing, I am instructed to buy Fusam NITRAM, a vine charcoal made in France of the highest consistency. It comes in hard and soft. Fine charcoal which is difficult to find in the United States can make the lightest delicate gray marks with feather touch. It also can be sharpened with a mat knife from tip to shaft.

With the finely sharpened charcoal I stand back to get a sense of how wide and tall and how dark and light my drawing should be to duplicate the original. I hold my plumb line in order to eyeball a point on the statue. Then I move the line horizontally so I can mark the same spot on the paper. I stare at that point as I carefully walk forward to the paper and touch the spot with my charcoal.

Running Pose, Charcoal, 24 x 18, $700

I continue to eyeball the plumb line horizontally and to establish the vertical angles and alignment of body parts to give the figure a natural and classic stance that is not stilted. The hardest part of replicating a statue is to place the shapes and strength of shadows. I begin to recognize geometric shapes which crop up in any composition or design.

To help me see values without reflections of incidental light, I use a black mirror (vanity mirrors are usually backed with silver) to establish the exact values of half lights and shadows. Correct lighting indicates that the figure may turn toward and away from the light source and into the shadows. It is like dancing, writing poetry, and singing in symphonic variations. I hold the black mirror at an angle where I can see the statue juxtaposed next to my drawing in progress which I compare to the plaster cast. The mirror cuts out glare and I then adjust the art to match the true values in nature.

Classic Nude Drawing, Pencil, 9 3⁄4 x 6, $600

In all, the drawings are precise and time-consuming. As a result, I am learning to see infinite detail of light, shadow, line, and pose. I draw with great care. This eyeballing, sharpening of charcoal and walk goes on every morning. My drawing and touch on the paper improves during the three months I live in Florence. Quickly, I correct my major flaw of drawing objects and people larger than they are in proportion to other objects.

When I am not drawing, I wander into museums and churches to converse with Michelangelo, Ghirlandaio, Leonardo da Vinci, Fra Angelico, Masaccio, and Pontormo. These great Florentine draftsmen guide my left drawing hand.

Andy Thomas

I first met Andy Thomas more than 20 years ago while participating in the Midwest Gathering of the Artists Show in Carthage, MO. His talent was obvious, so to see his career explode as it has in recent years as a painter of western themes, well, it’s really not that surprising.

His paintings now garner well into the five figures.

Spirit of the MGA – 40″x 30″ – Oil
Thomas captured, in his trademark style, many of the participants in the Midwest Gathering of the Artists Show with whom we became friends. I’m depicted with the highwheeler, indicating my love of cycling.

Mark Smith, co-founder of the Greenhouse Gallery of Fine Art in San Antonio, TX, and exclusive representative of Thomas’ work said, “Andy represents one of the most talented and creative painters working today. He has gained wide respect for his portrayal of the horse and its historic role in the old west and, as a result, has become one of the most sought out and collected painters of the historic time period known as the Old West. Collectors respectfully refer to Andy as a great “story teller” and compare his paintings favorably to the works of Remington and Russell. Through his paintings, Andy allows the viewer to be a participant in the scene rather than a spectator”.

Bad Whiskey – 24″x 48″ – Oil
At the Coeur d’ Alene art auction in 2009, this painting set an auction record for Thomas’s work, selling for $110,000

Things could have turned out quite differently. I remember being notified in 1996 that Andy had been injured in an explosion while working in his shop. His hands had been severely damaged. I couldn’t believe it, and feared the worst. Later, in an attempt to return to painting prematurely, he further injured his right hand. That’s when he took up painting with his left hand, producing some amazing work. Now that both hands are fully healed, he is able to paint equally well with both hands simultaneously while working on two different paintings…doubling his production…just kidding.

Bad Deal – 24″x 36″ – Oil

Andy didn’t begin his professional career in the fine arts. After graduating from high school, he went to work for Leggett & Platt, Inc. in their Marketing Service Department, an in-house ad agency. During this time he also attended Missouri Southern State College, graduating magna cum laude with a degree in Marketing Management in 1981. Employed for 16 years with the Fortune 500 company, he advanced to become its staff Vice-President before finally resigning his position in 1991 in order to pursue painting full-time.

Grizzly Mountain – 30″x 40″ – Oil

I’ve always accused Andy of having a photographic memory because of his uncanny ability to record things he has seen or experienced. He denies my claim, but there is something extraordinary in his ability to capture a moment in time…to tell a story that is capable of transporting folks to another place and time. If he had lived in the old west, cowboys would have paid him to join them by the campfire and spin a yarn. His vivid memory and imagination enable him to create paintings pregnant with action and drama…paintings sought after by a growing number of collectors.

Desiring to learn more, Andy graciously agreed to an interview which I am pleased to share with you. I think you will find it interesting.

What would be your definition of art? I gave this a great deal of thought my first year as a full time artist. As I looked around and identified what I thought was art (including architecture, movies, comedians, choreography, etc), they all had two elements. The first was communication. That is, they all had to be received by the viewer or listener. The second was they were original in that there was no formula used. Sometimes I would find myself thinking “Gee, that’s great and I don’t know why”. So, I define art as creative communication. The real question for an artist is, “Who am I wanting to communicate with?”

Horse Thief – 24″x 36″ – Oil

You define yourself as a painter of history, how do you go about translating the written account into a fully realized painting? Painting an actual event is a challenge. If I am true to factual history, many of my creative tools are taken from me. Still, I can be somewhat creative and use my craft and research to produce a work that people appreciate. Historically based paintings that are not a specific event are much easier. I get much of my inspiration from reading personal journals and memoirs of the time because they are full of feeling and impressions.

James Gang – 24″x 36″ – Oil

Your western themes have really caught on with collectors, why do you suppose that is? There’s a little boy inside me who wants to be a cowboy someday. I suppose that makes me paint westerns with enthusiasm.

How did you find your individuality as an artist? By painting many styles and subjects until my own style emerged.

Do you consider the process of painting more important than the result? No. The final painting is always my ultimate goal. However, I’m always amazed how indifferent I am about a painting that is finished. It is the past and I am looking forward to the next painting. Luckily, my buyers don’t feel the same.

Johnny Saved the Girl – 40″x 30″ – Oil

Journey to the New Home – 24″x 36″ – Oil

What part does photography play in your work? I use many photos for background reference but really only paint directly from photos for rifles or pistols and sometimes for hands. In the course of painting a figure, I often pose myself and take a photo to check anatomy or clothing wrinkles.

Does plein air painting play a part in your work? Plein air was one of the many types of painting I did to develop as an artist. I never learned to enjoy it and I only do them now for the fellowship of other artists.

What is the major thing you look for when selecting a subject? I have learned to fumble around with ideas until one gets me excited. Lots of thumbnails and color studies.

…And the Band Played On – 36″x 48″ – Oil

What is your major consideration when composing a painting? That’s tough to answer. I will say this; If my little thumbnail looks like a good composition, the color study will have a good composition as will the finished painting.

How thorough is your initial drawing? Very, very loose. I really let details emerge and develop as I paint. Sometimes I move arms or legs many times in the process.

A piece currently on the easel shows the initial drawing with grid lines on a toned canvas.

Current work on the easel shows the preliminary color study which has been reversed for the larger work. Also shown is photocopy of study and a preliminary figure study.

Describe your typical block-in technique. My usual procedure starts by taking a photograph of my color study and printing the image on an 8.5″x 11″ paper. I then draw a 16 square grid on the photograph. I prepare my large canvas by staining it with a brown/black mixture (ultramarine blue and transparent red earth). I use the same mixture to brush in a 16 square grid on the canvas and redraw the color study.

At this point, I usually block-in the whole canvas with thin color and soft edges. The washed in canvas should have the correct color, value and composition of the finished painting with no details. I then begin the slow process of finished, detailed painting by working on individual figures or small areas and working around the canvas.

How do you decide the dominating mood for a painting, and how do you maintain it? My paintings are narrative, storytelling affairs and the mood of the painting is part of the story. The mood is controlled by the choice of light source, the deepness of the shadow areas and the body language and expressions of the figures. Since I use figures often, body language is important. I never paint a man just standing. My men stand in defiance, or in fear, or with boredom, etc. That’s what I try to do, anyway.

This is typical of small preliminary color studies Thomas does as preparation for the larger work.

What colors are most often found on your palette? Ultramarine blue, transparent red earth, Venetian red, cadmium yellow deep and zinc/titanium white are always on my palette. I keep cadmium yellow light and cadmium red available but rarely use them. My vision is color weak so this limited palette suits me.

What are the key points one needs to know when creating a true sense of atmosphere? Light source, light source, light source.

You have a strong affinity for illustrators of the past, why is that? I think they were the best artists. They did paintings that fascinate me. They have not had a chorus of art historians promoting them.

So, if you could spend the day with any three artists, past or present, who would they be? Howard Pyle, Charles Russell and Frederic Remington.

What advice would you have for a young artist/painter? Here’s the best advice that was ever given to me. I asked an artist I greatly admired the same question, hoping he would tell me something like “paint horses, you can make good money painting horses” or “go to this show and you’ll sell out”. Instead, his answer addressed my artwork; “Whatever you see as your weakness, attack it. For example, if you can’t paint hands, practice until you can”. I followed his advice. The same artist, when I asked him what was the most important thing about a painting, immediately said, “The reason you wanted to paint it in the first place”. Perfect answer. The artist was John Pototschnik.

What advice do you have for a first-time collector? My experience shows me that people who only buy artwork they personally like are forever happy with their choice. I was always uncomfortable when people looked at my work for decorative or investment reasons. I do know that a painting that you enjoy doesn’t require maintenance or your time like so many other things we buy.

Land of the Apache – 24″x 36″ – Oil

Finally, Andy, if you were stranded on an island, which three books would you want with you? Atlas Shrugged (because of the message and because it would take being marooned to get me the time to reread it), and True Grit (better with each rereading). My third book would be some sort of survival guide so I wouldn’t be hungry while reading the other two.

Thanks Andy for a wonderful interview.

www.pototschnik.com

A View From the Train

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.

Scenic Brook in Northumberland near Unison

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.

Visiting the Unison Factory Northumberland England

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.

Fir in the pub B and B after my long train ride

Crossing the Border from England to Scotland January 2013

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.

English Pub B and B near Unison Pastel factory

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!!!!

Shelli Alford and Rob Liberace at his Sarasota, Florida workshop.

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.

Dr. Johan Cedarlund, director of the Zorn Museum in Mora, Sweden, me Shelli Alford and Jeremy Lipking

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.

Me, Jeremy Lipking and some of the Swedish workshop attendees.

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.

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.

Ryan Brown, Barack Alius and me, Shelli Alford

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.