Technique

The Best Oil Painting Critiques Advice

Margret Short · Jul 14, 2014 · 1 Comment

Recently, I had the pleasure of participating in the Oil Painters of America Critique Program. For a nominal fee of $25.00 (which helps fund the program), artists have the opportunity to have a signature or master level member review their work and give instructional advice on how they might improve their technique.
Looking back through the critiques I have done for OPA, there are certain techniques I see repeated by beginners. If I could give just one important bit of advice, it would be to use more paint. One of the most beautiful benefits of oil paint’s properties is the viscosity of the paint itself. Juicy impasto adds tremendous interest and excitement to a painting.

Detail of Festival of Panathenea by Margret E Short — Detail of Festival of Panathenea © Margret E. Short

Look at your current canvas sideways across the surface and take note of how thick the paint actually is. My guess it’s pretty thin. Begin to think sculpturally. Squeeze lots of paint onto your palette. Once you do this, you will feel compelled to use it up. Do not be miserly, even with the more spendy pigments such as lead white. In the above painting detail, the generously and freely built up texture adds sparkle as the light hits the surface of the canvas.

Detail of Deruta Delivery 30x30 by Margret E Short — Detail Deruta Delivery 30×30 Oil on Linen © Margret E. Short

In this painting, I have used natural cinnabar, which can be expensive, but I did not let that hold me back. Both smooth and heavily textured strokes portray the pattern of the fabric. The texture can actually be felt if you run your fingertips across the dry surface.

Oil on copper showing impasto on the surgace by Margret E Short — Oil on copper showing impasto on the surface © Margret E. Short

Use the thick strokes of paint in your area of focus. Place pieces of paint and leave them alone. Do not fuss and over blend. Be bold. Make a statement with paint. This painting is from the Minerals, Metals, and Dirt project and painted on copper. Because the copper is completely non-absorbent, the paint builds easily on the surface.

Detail on Cupids Arrow showing impasto and brushstrokes by Margret E Short — Detail on Cupid’s Arrow showing impasto and brushstrokes © Margret E. Short

Contrarily, use thin translucent paint in the areas of shadow and background. This push and pull will give the viewer lots to do while their eyes travel around the composition. Give them something to think about so they don’t exit the painting too quickly. The tulips in Cupid’s Arrow illustrate both thickness and brushstroke varieties (directions).
Experiment with some of these ideas and watch the surface of your paintings come to life with splendid thick juicy paint, crisp and blurred edges, and textures you can sense with your eyes. Your viewers will never walk away for lack of interest again.

Click here to learn more about the Oil Painters of America Critique Program

Perception

Mr. John Hulsey · Nov 4, 2013 · 2 Comments

We are currently reading two fascinating books about human development and the evolution of art: The Social Conquest of Earth by E. O. Wilson and The Age of Insight: The Quest to Understand the Unconscious in Art, Mind, and Brain, from Vienna 1900 to the Present by Eric R. Kandel. While each author offers different but mutually supportive discussions on the rise of perception, self image and cultural myth-making, they are both sharing with us different aspects of the latest scientific discoveries in the fields of human development and cognition.
Mystics have told us for centuries that what most of us experience as life is an illusion. They assert that we do not see life as it is. Rather, we impose our biased interpretations on everything that touches us and that our particular, personal vision guides our actions and reactions.
Recent research by cognitive scientists has also determined that our brains are wired to deduce general, global patterns from whatever limited, local information we can gather and then to try to form a reliable, predictive pattern or picture of the world from which we can operate. This ability to think in the abstract is a sign of higher intelligence, and is at the very root of art-making. Furthermore, we each tend to assign high value to those random events which seem to support a view or pattern which pleases us and a low value to everything else. In essence, we are seeing through personal-colored lenses.
Because the whole is too large for us to see well normally, we have evolved to operate with this illusion of certainty, each forming our own unique view of the world. Our deviations from each other’s views may be slight, or they may be great. We all accept and share certain facts about the largest phenomena in common, like gravity, the seasons, orbits of the planets, and so on. However, there are an innumerable amount of details about the world that we individually may not agree upon, that are open to interpretation. Enter the Shaman, the mystic and the artist.

"Moon Road" by John Hulsey — “Moon Road” by John Hulsey

"Queen of Snows" by John Hulsey — “Queen of Snows” by John Hulsey

"Morning Meadow" by John Hulsey — “Morning Meadow” by John Hulsey

So, if life is partly an illusion, what does that mean for the visual artist? Number one is good news – since everyone has a slightly different perception of the world, each artist, by definition, must create unique work. The trick is to be able to thoroughly tune in to and assign high value to one’s perceptions about the world, and then have the courage to express that unique view in one’s art.
Surprisingly, it is also ambiguity that makes great art. A certain amount of ambiguity in an image allows viewers to participate in the artist’s world-view while simultaneously imposing their own interpretations. Mr. Kandel writes, “The meaning of the image depends on each viewer’s associations and knowledge of the world and of art, and the ability to recall that knowledge and bring it to bear on the particular image.”
When looking at art, our brains are using our pattern-making architecture and our memory to extrapolate familiar, personal associations from the image, and in a sense make it part of our own experience. In this way, great art always possesses the potential to become a unique experience for each person.

Roger Dale Brown Interview

Mr. John Pototschnik · Sep 23, 2013 · 5 Comments

One would need to have lived in a cave, isolated from humanity, to have not heard of Roger Dale Brown. In a recent article in Nashville Arts Magazine, Brown is recognized as the ‘go to’ guy of the South when it comes to teaching plein air painting.
I’ve heard of the thoroughness and excellence of his teaching for some time, for he has been a favorite instructor for several years now with the Dot Courson hosted painting workshops.
A resident of Franklin, TN., Brown credits historical master artists, John Carlson and Edgar Payne as strongly influencing his belief that plein air painting is an essential element in being a great landscape painter. He is able to capture the emotion of a scene by drawing on his knowledge of painting and dedication to fine art.
He really didn’t pursue art as a career until 12 years out of high school, but he has certainly made up for his late start through study and lots of hard work…much of that outdoors…en plein air.
His spiritual journey in itself is a pretty interesting story and will be covered in a later blog. For now, I know you will appreciate hearing from Roger Dale Brown on the subject of art.

I have heard you are an excellent teacher. What is the importance of teaching in your career?
I feel so blessed to be able to have a career that I truly enjoy. I also enjoy passing the information on to other people. There is a sense of accomplishment for me to see the progression of a student. I love sharing and as I progress there is more and new information to pass along. To be able to share and talk and discuss scenarios with aspiring artists and get them excited about the process of art is invaluable.

What makes a good teacher?
Being able to break down a topic into its simplest form and build it back up in an understandable explanatory way, both visually and academically.
I try to explain things from a student’s perspective at each student’s individual level. I put myself in their shoes, and remember when I was at their stage. That makes it easier not to talk over their head, and to explain situations at each unique stage.
I love to figure out the best way to teach a student. Understanding strengths and weaknesses of individuals and understanding personalities help. I love to figure out the best way to impart a sense of accomplishment to each student.
In a workshop scenario you have to rely on impact…meaning, there are many different ability levels of students. In a time constrained workshop you do not have the luxury of teaching drawing, design, color theory, etc. It is futile to try to teach this in a 3-day workshop setting. I have good success with verbal teaching, coupled with visually showing the students what I am talking about, and then giving them the opportunity to implement it themselves. My goal is that they will take that information and seek knowledge outside the workshop. Helping the student to see certain important facets of the academic process, such as different types of light, simple shapes and the values of those shapes, seeing atmospheric perspective, simple drawing of shapes are all important elements that can be shown in a class with significant success. It gives them a base to learn from inside the class and out. It gives them a success which in turn creates passion, and passion goes a long way in the learning process.
Understanding individual needs so I can work within the capabilities of each person is helpful for the advanced student since they need instruction at a higher level.
When I lecture, talk through a slide show or give a demonstration, I don’t hold back information for the sake of the beginning student. The beginner or intermediate student will not understand a lot of the theory or logic presented, but they will grasp what they need at the time and it will introduce them to terms and knowledge they can refer back to when ready. This way, all levels are getting proper attention.

Do you feel you received sufficient training to be an artist?
I don’t know the answer because I’m still training. I think the answer is “no”. I never had formal training and have worked extremely hard gathering as much knowledge as I can. I hate the phrase “self-taught”. I don’t think anyone truly is. I have taken workshops and have had very good mentors and I am close to some excellent artists that help me. I am in a perpetual state of study and learning. I think it is a never ending process in one form or another. I will always strive to achieve more…then one day, I will die.

What part has plein air painting played in your development as an artist?
It played and still plays a huge part. Knowledge proceeds execution. Being able to see the nuances of nature proceeds painting them. Sight has to be developed. You teach yourself to do this by going to the source and replicating natures subtleties.

What qualifies as a plein air painting?
I think if you go outside with the intent to paint, study, or complete a painting…it’s a plein air piece. If you have to work on it inside to correct a few things or make it a better painting…it’s still a plein air painting. I do not believe in percentages, as in 80% plein air. That is politics that has no place in the art world. No professional artist raises an eyebrow or questions whether you tweak a painting inside. That is petty and unworthy of their time. The only thing that matters in the long run is if it’s good or not. Personally I don’t believe in genre labels. You’re either a good painter or not, whether it’s portrait, figure, landscape, or still life. I believe in being an artist for all it’s worth…

What is your view of the current plein air movement?
I think it’s good. It draws attention to representational art. I believe anytime you paint from life it is a positive step and a great teaching tool. It helps teach us to see as an artist needs to. It has introduced new collectors and buyers to the art market. Its created a new vibrancy in the art community. All in all, it leans more to the positive than negative…but…
I do think there are drawbacks. I think its been bad for the perception of what good art is to both aspiring artists and collectors. There are some great artists that do an exceptional job painting on location, and there certainly needs to be room for every level of painter, without question. I think the issue is what is being advocated as good work. There is a lot of mediocre work being passed off as professional quality. In turn this hampers the artist because they are being told on all levels that their work is great. So they stay drunk and stagnant with praise, hampered in the learning process.
With that said, I’m being hypocritical because plein air is the way I started and I wasn’t very good. Years ago, when I first started painting and was so excited and passionate, I threw myself into the “art world mix”. In retrospect, and in my opinion, too early. Luckily, I had good mentors and started to mature in my understanding of art, coming to see the “error of my ways”. I took a step back and did what I needed to do to further myself as an artist. I started to study and became a student of art…and I will continue to be a student for the rest of my life.

Is it necessary for you to continually discover new locations to paint in order to stay inspired?
I always have places that are special to me…those places never get old and I feel closer to God in these spots. These are comfortable places I submerge myself into, exploring the layers of culture, history, and beauty. I feel that eventually my paintings will translate the depth of those areas. I do like the exploration and discovery of new places. The enigma of a new location has a pull on my spirit that no other element in art can produce. The sheer excitement of the exploration and discovery of a new area can produce mountains of new material to produce artworks. For my temperament, it is important to discover new locations.

What do you hope to communicate through your work?
I try to create art that intellectually engages the viewer with a positive narrative. I want to evoke an emotion and give the viewer enough information to set the tone, but not spell out everything. I want the viewers imagination to work, and let them come up with their own conclusions while directing them to certain areas…interactive art.

Do you have basic rules of composition that you adhere to?
I can see merit in many different theories. There are many ways to approach a painting and they are all the correct way. Artist’s throughout time have come up with their own way of putting into words why and how they create. It is their description of what they see, feel, and do…put into words. One artist might have a different way of describing than another, but they are all trying to get to an end result, which is to make a good painting. I do adhere to some basic rules of composition, but I am not critical of other views if they produce good results.

What is your major consideration when composing a painting?
I look at the whole of a scene that intrigues me, then I lock in on something. I find something to grasp…a focal point. It can be something as simple as the light hitting a tree or colors that complement each other. I then can mentally work what’s around the focal point into a design of darks, lights and color as I see fit. I always bring the landscape to its abstract and work with simple shapes and their value. I break the scene into a dominate color and its complement, or even simpler, into thinking of it as a warm or cool dominate. I visually compare values. For instance, I may compare the lightest part of the tree foliage to the sky, or the darkest accent under a rock to the surrounding ground or water. The “art of comparison” is important in capturing the essence of your scene. I understand that my sharpest edge will be in and around the focal point, but the rest of the scene’s edges are very important and have to be considered also. Sharper edges tend to be in the foreground while getting softer as the landscape recedes or form turns.

How thorough is your initial drawing?
I don’t necessarily draw the scene out. I carve the scene in with shapes of value, after laying in washes for my initial color composition. The proportions of the different shapes in a scene need to be accurate in order to make the scene believable. I think drawing and value are neck and neck as far as importance in the painting process.

Describe your typical block-in technique.
I typically do not draw the scene. I start with washes; sometimes with earth tones; sometimes monochrome; sometimes with complements. Although there are situations, with some particular scenes, that I will draw and use no undertones. I do whatever I feel is the best to capture the essence of that moment. The one constant is that I always bring the scene down to its simplest shapes or abstract shapes. This is the starting point for the block-in. For example, if I am painting a lake or a group of trees, they each become one large pattern with a general value. This is my platform to start creating from. As the painting progresses, I paint within these abstract shapes keeping the values close, so that the original shape always retains its identity.

Do you let the subject determine the concept of the work or do you create the concept and use the subject only as the starting point?
I use the scene as a platform to develop an idea from. It evokes a mood and sets the tone, but we are all creative and to be too literal with every aspect of the scene deprives the viewer of your unique vision.
Manipulating the scene to create a better composition has been done for centuries. Strengthening certain aspects of a scene, while playing down others, is the beauty and genius of Sargent or Schmid’s work. Creating the essence of the scene by being free to create is critical for a successful painting.
Whistler once said, “An artist is known for what he omits”.

How do you decide on a dominating color key for a painting, and how do you maintain it?
Part of my initial analysis of a scene is to simplify it into a dominant color and a subordinate color; the subordinate is always the compliment of the dominant. Nature gives it to us, we just have to look for it. Defining these two principal colors helps me maintain the mood and harmony I want in the painting…this is not to say there are not other colors in the painting, but these take precedence.
There are instances, such as early morning and late afternoon, when there is a hue cast over the scene as a whole. It is like a filter of a particular color held in front of your eyes (rose colored glasses come to mind). In this case, I sometimes use an analogous color system to better capture the moment. I define the hue I’m seeing and then use adjacent colors on the color wheel to paint the scene. Toward the last quarter of the painting, I will introduce the complements (opposites on the color wheel), or I might glaze the painting at the end, to reinforce the cast of light and color in the scene.

What are the key points one needs to know when creating a true sense of atmosphere?
The power of observation, and the science of art. Knowledge precedes execution. If you know that values, color, and edges change according to atmospheric conditions, you are better able to see it when you’re in nature. If you can see it, you will eventually find a way to paint it. You can only paint what you’re able to see.

What are the main problems encountered when translating a field study to a large studio work?
I don’t view the field study as a miniature studio painting. My field study is one piece of information to be used in the studio. Although I have brought some field studies to completion, most of the time it is not my intent. My intent is to be satisfied with the field study and try to get the best painting and most information I can. I don’t want the pressure of thinking I have to take a field study to completion. I prefer the freedom of exploration. The result of solid foundational application coupled with exploration allows for more unpredictable elements in the field studies that I might be able to use or draw from in the studio.
I approach a studio piece with more purpose than an outdoor piece. My objective is to create a studio piece that evokes the mood of the scene, not a replication of it. If I tried to paint the studio piece exactly like the field study, I would fail. Usually it will not translate into a bigger format. It’s a guide, just like a photo, a drawing, or narrative of the scene. In the studio I have a completely different mentality, a completely different arsenal of tools and techniques, a completely different time frame. I have the tranquility of my own space and the time to work through problems and produce the desired affect of the scene.
Think of it in terms of a writer who wrote a 50-page narrative of a story and wanted to make a novel. The story is there in the 50 pages but the novel has to have more information. The writer has to put more into the story, build each character, expand each aspect and create more sub-stories within the main body of the novel to make it complete and interesting.

What part does photography play in your work?
I like to use photographs to jog my memory, to put me mentally back in an area, as a reminder. I think gathering information is key to having a more successful painting. Knowing and understanding your subject helps the photo reference work. When I am on location I try to explore the area, not just the object. I walk around and study the scene up close, how the light falls on it, around it and behind it. I study the culture of the area. I really absorb the moment. Sketches, drawings, descriptive words all help in creating a studio piece. By gathering all of the information possible, I am able to fill in gaps that the photograph leaves out.

What colors are most often found on your palette?
Although I shift colors in and out of my palette, I do have colors that can always be found on it. I use a split primary palette with a few friends…Titanium White, Cadmium Lemon, Cadmium Yellow Medium, Cadmium Red Light, Quinacridone Rose, Ultramarine Blue, Cobalt Blue, Cerulean Blue, Indigo Blue, Burnt Sienna, Raw Umber…
I do not use a green because when I do, it becomes the dominant color in all the greens in the painting. I mix the green for the specific area I’m focused on. This insures a variety of greens…key to a successful painting in spring and summer.

How does one find their individuality as an artist?
I think your individuality finds you. I often hear a student ask, how do I develop a style or how did you get your style? My answer is, “don’t worry about it, just paint”. Painting is a process and you should not get caught up in developing a style. You will restrict your ability to explore if you try to force or copy a style. It will lead to formulating your work, which you don’t want to do. Your unique voice will develop naturally. Your spirit and individual personality will show through in your work if you just paint. That is obvious if you have ever been with a group of artists painting the same scene. None of the paintings look the same.

If you could begin all over again, knowing what you know now, what would you do differently in developing your career?
Start more with the academics. Drawing is an essential part of the growing process of an artist. At the very least it teaches us hand eye coordination. It takes what is in your head to the canvas or paper. It also teaches us the power of observation…the power to see. Getting a late start in life, I have always felt an urgency to develop my skills…and I honestly enjoyed the challenge…but in retrospect I feel I could have worked harder on academics.
Thanks Roger for a very interesting and informative interview. Your honesty and time are sincerely appreciated.
Roger Dale Brown website
Dot Courson Workshops

The Hand of a Master: Portrait Demo by Mian Situ

Mr. Rick Delanty · Sep 2, 2013 · 2 Comments

Any artist knows that seeing a master-craftsman demonstrate his/her skills in person is one of the most effective ways to learn about techniques, strategies, and concepts.
Just as significantly as seeing a quality artwork created are the intangibles communicated to onlookers, through the hairs of the artist’s brush directly into the minds and hearts of the spectators.
This is precisely what occurred on the occasion of Mian Situ’s June demonstration for the Orange County Chapter of the California Art Club at the Higbee Gallery in Costa Mesa, California. Fifty artists and collectors were treated to Mian’s process in creating a portrait of Linda Stern, wife of Jean Stern, executive director of the Irvine Museum.

Mian Situ has a reputation not only as a fine artist, but as an historian and one who loves his traditions and homeland. He came to the United States from the Guangzhou Institute of Fine Art in mainland China, via Canada, where his first portraits done publicly in North America were in Vancouver’s Stanley Park, drawing and painting passers-by. Over time he decided to paint those subjects he knew best, and he began to concentrate on figures in traditional dress in historical settings. With decades of practice, he is able to create portraits that are amazing in their lifelike quality, and inspiring in the spirit and technique with which they are created. In the demonstration, he painted for three hours with barely a single word— Mian told us he does not talk while he paints. It was by far the quietest demonstration I’ve ever attended!

“Show your soul—paint what you know.”Mian Situ

This night, Mian started with a delicate but deliberate drawing in charcoal, held at the very end as he blocked in the portrait with angular marks, some long, some short.
Then, using a dark earth color, he carefully placed the darks at the edges of the cheeks and nose, in the hair, and indicated the shapes of both eyes and eyebrows.
Medium-value flesh tones were laid in, with reds featured across the eyes, nose and cheeks. Mian’s intense observation created a complex system of grays in the skin tones, as he left highlights, blouse and jewelry for last. The way he handled the brush indicated deliberation in each stroke. Mian’s concentration was focused, his strokes confidently placed, his edge treatments considered and integrated into the whole. Even the background strokes were poetically applied, with a flourish and flick at the end of the stroke, to prevent smearing of completed passages. The blouse was created simply but masterfully with deft strokes of the palette knife.

Mian Situ Portrait Demo Block in — The painting blocked in.

Mian Situ Portrait Demo Portrait at 2 hrs — Portrait at 2 hrs.

The finished painting and model Linda Stern

What did we learn that night, from this master who taught without words?
• Compose with care
• Think and feel, then paint
• Make every stroke intentional
• Concentrate throughout the process
• Never lose sight of “the big picture”
• Love what you do
Perhaps most impressed with Mian’s work was historian, lecturer, juror and museum director Jean Stern—the model’s husband– who said at the portrait’s conclusion, “I’ve been in the art business since I was ten, and I’ve never experienced anything like that—that’s the most amazing thing I’ve ever seen!”
Art has that capacity: to amaze, to edify, to reveal the soul of sitter and painter—to everyone who sees and appreciates. That also is the power of the master: to bring the highest beauty to earth, to help all of us see what he sees within.

Painting Fred Red

Rosemary Carstens · Jun 10, 2013 · 1 Comment

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!

Technique

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