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Writing Daily

I cannot stress enough the importance of writing daily.  Whether it is done in a journal, sketchbook, or on the computer – an artist needs to write daily.  If you have ever had the experience of a profound insight while talking something out to yourself or to another person, then you know what I mean.  (This happens to me a lot in the car for some reason.)  Writing allows for an open stream of consciousness that leads to new ideas.  Sometimes it is really hard and I have to force myself.  I will begin by writing the most mundane things – what I am doing at that moment, what I dreamt about the night before, or what my plans for the day are.  Ideally this will lead to me writing about more complex issues regarding my life and art.  My life and art  are related and interwoven, so it is impossible to write about one without writing about the other.  Regardless, this active attention forces me to discover things about myself and my work.  It forces me to sit back and analyze my habits.  Writing leads to clarity and ultimately better art.  If necessary I often prompt myself with questions such as, “why am I painting this?” or “why did I use those colors?” or why is the painting this size?”.  These questions allow me to look more analytically at what I am doing and why.   This is helpful both before picking up the brush and also after putting it down.  Writing, done consistantly, will open creative doors you wouldn’t even know existed.  It all seems obvious enough but today I was looking back over some of my old journals and sketcbooks and I was reminded of this value.  I wanted to take the opportunity to share.  Happy writng!

 

 

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A Typical Day in the Studio

Making art is a deeply personal process for an artist, and I would imagine every artist has their own rituals and routines.  Of course, anything that becomes too routine fails to break new ground and so part of the process is always looking for a way to change things up.  In reflecting on my own process, I can take note of the things that have perhaps become to ritualistic and also the things where some new depths could be explored.

I am typically a morning person.  That is when my brain comes alive with energy, ideas, and inspiration.  By sunset I am usually spent and not interested in use of mental energy.  Despite being a morning person, coffee always helps.  I decide over the first cup what I will be working on, what my goals for the day are.  The best place to start is often at my image folder on the computer.  I have hundreds of landscape photos I have taken over the years.  I usually look for one I have not painted yet or have not painted in a while that strikes me in the moment.

Once I have a picture chosen I often do a quick sketch in my sketchbook, but not always.  If I don’t quite feel ready to dive into a painting, I may tape down some paper to do a pastel drawing.  This gives me a chance to play with color relationships for a while.  As I work I often listen to podcasts.  I listen to a wide range of talks and interviews on science, art, literature, philosophy, news, etc.

Eventually I get to painting.  I select the size canvas or panel I feel is appropriate for the image.  I usually put down a base coat of acrylic that is colored the compliment of whatever color dominates the photo I am working from.  Then I put on my apron and gloves, lay out my paints and medium, and get to work.  A painting sometimes takes hours, sometimes days.  I work from back to front, blocking in the sky first, then middle ground, then foreground.  I use a large painting knife.  Once the canvas is covered I switch to smaller knives and occasionally brushes to build any desired detail.

When the painting is complete to my satisfaction, I sign it and leave it to dry.  I clean off my palette completely.  If time permits I will sit back and think about the painting and write about the experience of painting it.  Over the next few days I will pass it several times.  Sometimes I will change my mind and decide it is not finished after all.  But usually I allow it to be as it is and move onto the next thing.

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The Colors of Winter

Winter is an exciting time for painting.  Yes, summer is full of bright colors, lush greens, and dramatic florals.  But winter offers some unique color situations as well.  In winter, the colors are cooler and the air seems thinner.  More importantly, when the snow falls everything is reflective.  The white snow and shimmery ice pick up all of the colors of the sky.  White snow is never really white as the surounding landscape bounces off of it.  These subtle reflections allow for so many possibilities beyond the standard earth and sky relationship.  I am fascinated and inspired by the season in exploring the colors of winter.

 

Image: Winter Colors, oil on canvas, 24″ x 36″

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Wolf Kahn

Wolf Kahn is one of my absolute favorite artists.  I am drawn to his simple, brilliant colors in landscape.  He works in both oil and pastel to create whimsical yet powerful images.  This library book currently sits on my coffee table.  I might just have to buy it.  There are some fascinating essays about Kahn’s life.  The author, Justin Spring, helps provide perspective to Kahn’s evolution as an artist.  This book is full color and is truly stunning.

Wolf Kahn, Justin Spring, Abrams, NY, 2011

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Currently Reading

I am working my way through Color by Victoria Finlay.  This book explores the historical background of colors.  I have thus far enjoyed the histories of ochre, brown, black, and white.  Finlay does a nice job balancing between history and anecdote to make it an entertaining read.  The book is dense at times, truthfully this is my second attempt at it. None the less, I find it well worth the effort.  For example- I didn’t know yellow pencils were painted yellow because the graphite originated in China and the color yellow made them look “oriental” .  I also just finished a section on how white lead paint was used in the early days for both painting and makeup.  As we now know,  many pale young women died of lead poisoning.

Color, Victoria Finlay, 2002, The Ballantine Publishing Group

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LARGER

I have finally started working larger.  It was time to explore my landscapes on a new scale.  The larger size allows me to loosen up a bit and have a wider range of mark making.  I am still using a painting knife regularly, but I now incorporate brushwork as well.  These can no longer be “alla prima” paintings and now I must readjust my work habits to paint in multiple sessions.  This means planning more carefully how the surface is built so that I can allow for adequate drying time.  This also means putting an unfinished painting aside for a week.  The downside is the anxiety I feel about just wanting to finish the thing.  The upside is that it forces me to sit back and take more time evaluating the painting in progress.  Transitioning into a new way of working is always challenging, but that which is challenging always inspires growth.

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iPad Paintings

So I recently acquired an iPad (thanks Ben) and the most useful tool I have found on it so far has been the Sketchbookx Application (this is the free version).  It is a drawing and painting application that allows me to select brush size, opacity, color, etc.  There are pencil and marker tools as well.  I am still learning all of the different things I can do with it.  There is definitely a digital “look” to the finished product.  However, it’s useful for sketching out ideas or studies quickly and easily.  As an artist, it is always fun to try new tools and see how they integrate into studio work.  Another option I have toyed with is importing pictures of in-process paintings to this application and playing with ideas for the next step.