Design 101 revisited

As I reread Molly Bang's Picture This, I couldn't help but think that I was in my freshman design class learning about Albers and the basics of design. Succintly and wonderfully created into this small book,  Bang let's us peer into her thought process. I can see the reflection of my own acts of creativity, editing and elaborating on the design process, not merely settling on an initial idea. So frequently, artists settle for their first solution. Dig a bit deeper and longer and the impact of the composition improves.

I've owned this book since it was first published. Yet, after all this time, it remains timeless and valuable. Key learning - How can you distill your work down to it's crucial elements and color relationships?

I Hate My Artwork

Ever feel like this? Ever feel frustrated that what you create doesn't match what you envision? I know I'm being harsh on myself, but frankly 99% of what I create isn't what I would buy for myself. It's not what I personally like in terms of style, technique, and other aesthetic qualities. I once told another artist that I met during a plein air event, that I did not like my artwork and was disappointed at what I created during the week. At first, she said I was being hard on myself, but when she understood my reasoning she responded, "Then change your style."

Changing one's style is a tricky thing. First you need to figure out what you do like and where you would like to be.  How do you see yourself creating art? What excites you? What aspect of art do you want to make a stand towards? What mode of expression do you see being the form or outlet for your creativity? painting? design? a certain technique? or something else? Then, you need to figure out where you current are by taking a personal inventory of yourself, your time, your skills, and any potential gaps in your abilities, training... It also means finding your areas of strength and knowing what comes easily and naturally.  What it will take to get to your desired end? Do you know, or do you need another set of skilled eyes giving you an honest opinion? I kind of know where I want to be creatively, but not exactly. That's OK, I don't need to figure it all out today. It's good to have some structure, but also some freedom to explore and change directions.

I've decided to become more focused on pursuing this path by doing some studying on my own, over the next year. I've listed 13 areas in which I will do some sort of practice or study. Several great books, or so I was told, sit on my shelf waiting for me to open the cover. Perhaps, it's time the pages get a bit ruffled.  If this sound interesting to you, stop by each Monday to see what catches my interest for the week.

This upcoming week, I will be reading Picture This, by Molly Bang. I read it long ago and keep it on my shelf, but I'm hoping it will spark me towards one of my goals, simplification.

Tea time - 30 day challenge

This quick little sketch was my experiment with painting areas that extend beyond the main subject. Instead of painting within the form, strokes extend into the surrounding area.

Day 2 - 30 day challenge

This tiny painting was a quick half hour sketch from a California photo. I fudged the mountains,but like some of the dry brushed areas.

Day 1 - 30 day challenge

I decided to challenge myself with Leslie Saeta's 30 day painting challenge during the month of September. Each day, I will commit to sitting down for one hour to focus on making some sort of creative mark, drawing, or assignment for myself.

I'm working a day ahead. I generally like oil paints, but I'm finding water-based mediums to be convenient and lend themselves to capturing quick impressions and ideas.

Flying with oil paints

When flying with oil colors, it is important to follow all the regulations to avoid arriving at your destination to find out that they were thrown out by the TSA. 

If you have the option of buying your paints at your destination or shipping them FedEx, UPS, or US postage, that is always an option. I personally wonder if I could find all the colors I need.

Firstly, never refer to your art materials as "paints". This sends up a red flag. what you are carrying are " oil colors" which are vegetable oil based with a flashpoint that is higher than what the US Department of Transportation requires. 

Most of my paints are Gamblin which have a 620 degree F flashpoint, plus they are considered to be non-flammable and contain no harardous materials. I downloaded and printed all of the individual colors' safety data sheets from the manufacturer's website - in this case Gamblin. Windsor Newton, Shiva, Holbein.... They all have this information available. I then fold up each sheet highlighting important information and ziplock the information with the tube of paint. Inside my checked luggage,  I include a sign:

Notice regarding enclosed Artist materials:

The US Department of Transportation defines "flammable liquids" as those with a flashpoint of 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 886-289-9673

Or their Hazardous Materials Research Center at 800-467-4922

If you have any further concerns, please contact me on my cell phone at xxx-xxx-xxxx.

I place my zip lock bags in an easy to open cardboard box with this sign taped to the flap. Do not place them inside a closed easel or something difficult to open. You want to spell everything out to the person inspecting your checked luggage. Make it easy for them to understand that these materials are safe. Under no circumstances should you bring oil colors in your carry on luggage. Nor should you bring turpentine, mineral spirits, odorless spirits or similar. You will need to ship this item or buy it when you arrive at your destination. I have shipped this ground because I usually like to have a box on hand ship my wet paintings home. No way do I want someone opening a RayMar box with a wet 

paintings inside my checked luggage.

I also ship my oil mediums. I have heard that some artists have flown with Liquin. I would not advise doing so since it states "flammable" on the box. If you are in question over any material, you need to go to the manufacturer and download their materials/ safety sheet. The product needs to be within the standard

Henry Yan Experience

I'm a bit late posting my thoughts and reflections from my trip to Ann Arbor for a Henry Yan drawing workshop, April 8-10. I have been drawing on and off my whole life and found that I still learned a few new ideas to help me progress, as well as, a few familiar ideas that I pushed to the back of my mind. Teachings, from decades ago, were pulled out from the recesses of my mind to front and center of my consciousness. Learning is truly life long, and a reminder, from time-to-time is a good thing.

It's amazing to watch a master draw. What Henry Yan accomplishes within five minutes is incredible and inspiring. Unfortunately, I cannot post any images of his work nor demos since he unfortunately has been the victim of theft via the internet. Someone copied works found online and created a book without his knowledge and permission. Artists are sole proprietors. When someone from a foreign country does such an act - feeling that they are immune to US copyright laws, it is directed at ONE artist's well being, security, and causes a loss of income which is destructive in ways generally not considered by the foreign company. One artist cannot compete against foreign companies offering copies of work at a cost much cheaper than the individual artist could offer. The artist also loses out on any royalties that are rightfully his. I understand Henry's hesitancy to open his work to image, but unfortunately we all lose out when sharing stops due to theft.

Overall, I appreciate Henry's reverse process of starting with a soft charcoal pencil to fully draw out the figure on smooth to medium toothed paper, and using soft vine/willow charcoal on top to smooth out the drawing and prepare the work for dramatic smudging. I also realized that I need to be more aware of the core shadow on a subject and exaggerate the light more when I am not drawing in ideal situations. When I returned to my Friday night portrait group, I focused on this idea by increasing the contrast on Makanya Smith's forehead and hair.

Henry is meticulous about keeping his pencil sharpened at all times. He uses the point for fine lines and the side for shading. He goes over this in his book.  I highly recommend getting it from his website. It's a minor investment which is highly worthwhile. A link to his site is off to the side on this blog. Save your money and get it.

Here are a couple of my five minute sketches on a full sheet of 18"x24" smooth newsprint. They're OK, but not a Yan. I noticed him drawing while everyone was sketching. He drew four five minute sketches on one sheet of paper. They were fabulous. So much information and rhythm was captured in five minutes. So, I started working smaller.

I realized that I need to work on the feeling and quality of my linework. Keeping my tools sharpened and in top quality should help. Good linework leads to a rythmic quality in the drawing. We can learn the steps to a dance and follow the footwork, but unless you throw in some movement of the hips, shoulders and arms, moving the whole body, a dancer can look stiff. I've found this analogy is true with drawing as well. Each mark needs to be meaningful and well executed.

Here is my final drawing attempting to use Henry's technique. I drew the face last and decided to crop the photo so it would be less distracting from my explanation of what I learned. Henry was drawing about ten feet away so I stopped by to watch how he handled a very similar pose to mine. Originally, I drew the underwear much darker. When I saw that Henry only indicated it, I realized how being less literal, picking and choosing is important. Does it add to the mood and effectiveness of your drawing? Yes, then add it. If not, minimize or remove it. As artists, we can change whatever we like. The actual model or subject matter will be gone, but the drawing continues on. Choose well.

Henry Yan Life Drawing Workshop

At the end of this week, I will be attending a Henry Yan workshop in Ann Arbor. I'm hoping that I'll gain some sort of new insight to propel me forward. Check back on Friday and Saturday- I promise to take notes.

Change is Coming

charcoal, from life

I've learned that the Literary Cafe is up for sale. It's likely that my Friday night routine of drawing people in the back of an old bar will change soon. Tremont is a trendy, gentrified area of Cleveland; I'm sure the bar, unchanged from the 1970's shooting of the Deer Hunter, will have an entirely new and updated look. Hopefully, someone will find a new location nearby. It's somewhat sad, but change is good. Change led me to this group and hopefully this transition will lead me onto the next best thing.

Big Orange Guy

Oil Painting - 3 hour pose

Claire Livingston

charcoal, from life

Scott Taylor - charcoal drawing

Day 22 - Lashanna Lawler

Oil Painting from Life,  3 hour pose, 4 hours to completion

This is the second time I've had the privilege to paint Lashanna. Being an artist herself, she's a fabulous model knowing what we artists are looking for in a pose. She wore a fabulous coral dress this time. I loved the way the color reflected in her face.

Day 21 - 30 Day Challenge

Here's my fourth set of collages with color changes made with photoshop. One more group and I'll review my work to see which I'd like to expand into a painting. 

Day 20 - 30 Day Challenge

The top image is the original collage. Below are variations I created with Photoshop. Eventually, I will use these as starters for an abstract painting.

Day 19 - Collage for reference 2

Here is my second collage sketch, cropped and stretched, that I will use as reference for my eventual painting.

Day 18 - collage sketch

The top image is a collage that I created from solid areas of color from a magazine.  I've tried painting abstractly by considering a color palette alone, but I've rarely liked the results. I photographed the collage from a few different angles; one or more of them will serve as inspiration for the painted version.

Day 17 - In Progress

Oil

Laura C. Paglin

Charcoal, 2.5 hour drawing from life

Day 15 - Portrait

Oil, 12 x 16 - 3 hour pose. 4 hours to complete

Day 13 - Is This Working For Me?

6" x 6" oil

I've been thinking about this 30 day challenge and whether it is working for me. This morning, I woke up exhausted to post a whimsy floral painting which does not reflect my personal goals and intention for doing this challenge. At times, I feel my work is reverting to decades gone by or I am rushed. Coming home from my design job, I have a window of about 3.5 hours to do all that I need to do. I wish I could paint full-time, but that's just the way things are at this point in time. Coming up with a worthwhile painting has been hit or miss and definitely scattered in subject matter and style.

So, a decision has been made. This challenge needs to work for me. I will paint daily for 2 hours - longer on weekends. My daily post will be of the progress I made the previous evening instead of a complete painting. I may choose to work on one painting for a few days or just a few hours. I will continue to paint 30 days, but not expect 30 paintings. Anyone else doing something different?

Day 12 - Coming Up Roses

Oil, 1 hour 6" x 6" sketch

Day 11 - Running with Scissors

Oil, 6" x 6"

This was a quick sketch - under one hour.

Day 10 - Willingness to Destroy

Oil, 8" x 8"

I've been learning much about myself during this 30 day challenge. I realize in order to grow creatively, there needs to be a willingness to destroy what is previously known. My philosophy and approach about art needs to change as well as the ability to view my work as impermanent and something less than precious.

 I may say that my work is not precious and be OK if it were to become damaged, yet it was difficult to freely try something unexpected in an area. I could feel my hesitation to extend my brushstroke beyond the object's boundaries to break into the background. I avoided destroying an area which I felt was working fairly well. I'll make strides in some areas only to meekly go back and fix it. Perhaps there is a balance of risk and familiar which should be considered.

Rafael Valdivieso

Charcoal,  aprx. 2 hour sketch



I can hardly believe I've been drawing with the Pretentious Tremont Artists for one year. Happily, I'm off to a good start. Rafael was inspirational; everyone's drawings were fabulous. Dressed stylishly in all black, he was a dream to draw in charcoal.

Day 8 - Getting to the Heart of the Matter

Oil Painting 10" x 10" - 2 hour study from life

It's the start of week 2 of the 30 day challenge and after reviewing my paintings from last week, I've noticed that my style is all over the place with no clear direction. My reason for doing the challenge was to force myself to paint daily and loosen up my style. Instead, I feel as if I'm leaning on old habits and styles from years ago rather than exploring new ways of painting. What have you done to shake yourself into the new and progress? Ever feel this way?

Day 7 - Follow Your Heart

Painting with hand lettering
© 2016

Day 6 - Trial and Error

 Oil Painting, 6" x 8"

With no plan or direction, I began abstractly, but then I ruined my painting, again and again. I'm surprised I created this flower...after the fourth wipe down.

Below, I started with a scene I saw driving home from work yesterday. It was a quick 6 x6 sketch of the sunset peaking through the thick winter clouds. I could see window lights beaming through the nearing darkness.

Day 5 - Embracing the Darkness

6" x 6" Oil Sketch

It's easy to keep repeating the same successes, but I know where that path leads. I jumped onto this 30 day challenge without much thought or hesitation. I keep wanting to plan this month out in advance, but I keep pulling myself back because I know my game. It's time to embrace the unknown and untried. Thanks Leslie for providing this safe space.

Day 4 - Now What?

10" x 10" Oil

Today was the last day before I return to my design job tomorrow. Having time off for the holidays has turned me nocturnal. Socializing and working while it's quiet, I was staying up until 2am. I tried to force myself to awaken at my usual time, but somehow slept through my alarm clock after hitting the snooze button.  Needless to say, I was exhausted all day and forced myself to paint. Not the best way to be creative.

Now what? What will I do to keep myself painting daily for the next month? I know I'll be tired when I get home and I don't want the rest of this month to feel like today.  My time available will not be the usual 3-5 hours I've had during my time off. Will I be able to avoid the temptation of skipping a day? I'll need to come up with a plan. Any ideas?

Day 3 - Don't Eat Your Still Life

10" x 10" Oil painting from life

I was going to paint an Avocado today, but I had a taste for a snack last night... It was excellent with salsa and a pinch of sea salt. Lesson learned... don't buy a cupcake until I'm ready to paint it or buy several cupcakes. 

Day 2 - Try Something Different

After painting traditional roses, I decided to shake things up and try something more stylized.  I'd like to pursue this look a bit more - I like the bright colors, but maybe try a more washy/abstract technique. It was fun trying something different from what I usually do.

Day 1 - 30 paintings in 30 days

10" x 10" Oil Painting from life - about 4-5 hours

I decided to take up Leslie Saeta's challenge of painting 30 works during the month of January. Here is the first. I was hoping it would be more abstract, but there is always another day to try again.