Opportunity Knocks

Okay, so I was feeling sorry for myself. It was of my own doing. I decided not to continue with my sketching group this summer. They all decided to pay our old teacher to lead us around sketching over the summer. With the economy as it is, and money being so tight, I decided that I could go it alone, and use the money for drop in drawing sessions instead. I was feeling sorry for myself, because I know I will miss the comradery, and insights of my fellow sketchers. I draw everyday, and many of those times I go sketching by myself. What I don't do is sketch with friends except for my sketching group.

My grandfather used to say "Never a door closes, than another one opens." Well, I have been pleasantly surprised to find that artists from some drawing classes I go to are all now inviting me to draw or paint with them. Some are groups, some are just one friend, but it is like once the others knew I was not going regularly with a group, they felt more at ease to invite me on their outings and I am thrilled.

I originally joined the sketching group to find places to go draw at a later time by myself. Instead, what I received was much more. Friendship and fellowship of other artists. And now I am finding that fellowship is much broader than I had ever imagined. I always thought of art as a lonely creative process. I have trouble talking and drawing or painting at the same time, and I have seen demonstrators having the same problem. I have heard that art is a lonely vocation, but I believe that as an artist, I need fellow artists as much as I need to breath.

It can be tough being an artist. We create, and often do not know where or when we may be able to show our work, or if anyone will like it. We display our souls to the public for all to see, and criticism, or poor reviews wound us to the quick. Eventually, we develop leathery skin that helps us withstand the negativity some people show us, and we are still able to move forward and create, but that does not mean it does not hurt.

This is where other artists come in. We share a common bond in our drive to create art, and our need for recognition. Other artists I know who critique my work have always done so in a constructive way, and never mean. They are honest because they know how important honesty is to each and everyone of our development, but they do it knowing that it can be very wounding, and really want to help.

Also, I find discussions with some of my artist friends to be mind expanding. For instance, I always believed that an artist develops a "style" and then enhances and continues to develop it. I was amazed when two of my artist friends said they believed they had several styles, and used different ones at different times. This was a completely foreign to me. I was struggling because I thought my multiple styles to be unnatural, and now I can accept them as just what I do.

Artists supporting artists is one of the keystones to the joy I feel living an artist's life.

The above image is the last sketch I did with my sketching club. I did it in charcoal because it seemed right. I wanted to depict the mass and roughness of the boulders, and I focused on feeling the shapes. At times I felt more like I was carving out the boulders, than drawing them on paper. A powerful experience, surrounded by my fellow artists, sharing a common bond.

Long Pose Life Drawing

It is not always easy being an artist. I had signed myself up for a long pose life drawing special sitting at the model's studio (she is an artist herself). It was advertised as a master artist session, and I can tell you I felt far from a master artist. I had been working Friday on a big canvas painting of my older daughter, and this painting has been nothing but a struggle since I began it several years ago. It started out all wrong, and then I tried to change it, but I found that my goal for that particular piece of art kept changing as well.

Finally, I got settled down, and repainted it in consistent colours and it has come up very well. Now, everyone is telling me it is pretty much done (my follow artists at a drop in painting session, but I was still struggling with the painting. I wanted it to be very realistic, but is really is pretty nice in its more painterly condition. I struggle with this, because I have changed my goals for this painting so much, am I copping out?

Well, this being said, I was facing this long pose modeling session and feeling pretty down on my skills with acrylics. I was again struggling with painting or drawing ( which I would feel more comfortable with), or just not going at all. I felt I had to go, as this was a limited seating session, and others had been closed out so I should go. The model was expecting a certain number of people and it wouldn't be right not to go.

So now I was faced with the dilemma of painting or drawing. Since this was a long pose, it was one of the few opportunities available to paint the model from life. Usually, the life drawing sessions are short poses, good for drawing practice but not long enough for painting. I had decided that if I were going to paint, I would try open acrylics, because I was really annoyed with the rapid drying times of acrylics, and the lack of blending times. (I have been seriously thinking about switching to water based oils, because of this.) My last experiment was a small kit of open acrylics (about six tubes - the Classical set by Golden).

So I went to the session, anxious about finding parking, anxious about finding the studio, never mind parking, and anxious about making a fool of myself in master session with a type of paint I had never used before, but I screwed up my courage and went. I felt that perhaps I was feeling less confident about my abilities than I should have because of being mad with myself over not having a clear goal for this large painting I was working on, and mad at myself for not trying the open acrylics before the modeling session, but time just wasn't there.

I got there about 45 minutes early, found parking easily, and was still somewhat anxious when the session began. Then we started with some one minute poses to warm up, and I found these comforting, as the drawing and the short poses where what I was used to.

This is why art is wonderful. Once I got more relaxed, I was able to get into the zone. I really liked the drying time of the open acrylics, and I could blend the way I wanted to. As well, so of the people at the masters session were friends of mine, so I didn't feel so intimated, and I meet a really nice artist there and hope to see him again at other sessions.

The painting, which I did not have any lofty hopes for, but for which I did make sure I had a clear goal in mind, really pleased me. It followed, and finished on time, and it represents the way I love to paint the most. We had great lighting,and I used it to my best advantage to make the painting more dynamic, and to bring out the mass of the figure.

I was thrilled with my new paints, my new painting, and my new friend. The lighting was great, and this happens to be my favorite model. She is very professional and easy to work with.

I found that by facing my fears, and pushing past my feelings of inadequacy I was able to have a marvelous experience, and learn the lessons I needed so I could overcome my inadequacies.

I haven't finished the studio touch ups on this painting yet, so I am going to post a painting from my archives instead.

Trip to Prince George

Sketching on the road is more challenging than I thought. I was traveling to see my daughter's convocation at the University of Northern BC, in British Columbia. I just got home yesterday, and it was a wonderful trip. I had clear, warm weather for the whole trip, and it was a great family event. One of my frustrations was that there was so much beautiful scenery. The trip was 14 hours each direction, so I really didn't have much time for stopping and drawing. I also had to teach a course on-line the first travel day, so I did not get out until after dark. The first day I sketched while waiting to get on the ferry. I did not have much time, but I did get a quick sketch in of the terminal market. It was challenging with the time frame, but I managed to get a likeness of the market. It was then that I found that I had forgotten my pencils. I had brought pen, ink and wash, but for the short time I had, I decided to sketch with the ballpoint pen I had. It was not as satisfying as using my sketch pen, but it was all I could find. I had it in my head, I would be able to erase and correct my work, but I could not do it. That increased the challenge. It is strange, because a few years ago I did most of my sketching with a ballpoint pen, and then switched and got hooked on a sketching pen. It just has a different feel, and as an artist, I really enjoy the feel of my tools as well as the drawing itself.

The next sketch I did was of a flower vase in the restaurant where I ate. It was a really nice steakhouse, and the decor matched. I was faced with a problem there too. I only had the ballpoint pen and small paper, as I did not want to bring my fancy pen sketching. I was tired, and hungry, and close to my final destination. I just wanted to get to my daughter's house. I am glad that I took the time to do the drawing. It really was an exercise in simplification first. I had to find a reasonable set of symbols for the little flowers of the lilac, and then in the end, I added a leaf in the lower left to put the leaves around the flowers. I also had to subtly widened the vase base without making it look changed. I was able to do this because of the shading lines.

Next, I found that I did a sketch while waiting for the convocation ceremony. I tried to draw the stage, but that did not work out as well as planned. The lighting made it hard to identify the images, and they were complicated. Oh well, not every sketch is a winner, but I had taken photos of the same image so I can revisit it in the future.

The next images I got to draw were really fun. My daughter and her husband have three cats. and this gave me a chance to work on cat sketches from life. I always thought that cats just sat around and for the most part didn't move. Boy was I surprised. They are constantly moving around, but small movements. That just goes to show, that I have some fundamental misconceptions about life, that my sketching corrected. Everything that I need to know, I learned from sketching. I like that expression. I think I will put that in my slogans memory.

These sketches were not as good as some, but I captured the action, and they look like the cats, even if they are not the best poses. I considered them a success, because I learned a lot about the subject, and captured the moving cats by drawing from memory a bit.

My final sketch was done the night I was driving home. I finished supper, and went out with my sketchbook as it was getting dark. I found a spot around the corner from the main street, and was standing on a deserted street, sketching in peace. Suddenly, this guy comes up to me, and tries to hit me up for money. I was fine, but it made me realize that in a strange town, after dark, I was standing on a deserted street because I chose my location based on what I wanted to sketch. I should have been more cognizant of my security.

There were a lot of lessons I learned on this trip. First, I need to carefully pack my materials, and make sure the tools match my hopes. Second, I need to leave more time to sketch. Third, I need to make sure that I am more careful about my personal security when I am in a place that is new to me. I learned that I need to sketch a lot more subjects that I usually ignore, to learn more about their habits (like the cats). Life is wonderful, with new discoveries all the time, and sketching is a great way to make those discoveries.

Sketching Outdoors

This past weekend I had a great time sketching outdoors with my sketching club. The Swiftsure Yacht Race was on and our club started on the top of a hill. From the top of the hill, we got an expansive landscape view, and all the yachts waiting to start. I normally don't do landscapes, but this view was just too good to pass up. The shoreline, the water with the yachts, and the mountains in the background. There is just something about a perfectly clear day, fresh air, and the colours of nature that make sketching outdoors so wonderful.

After I completed my first sketch, I moved down the hill to the shoreline. There were still yatchs waiting to start, and people to draw as well. The real challenge with people at events is that they move alot and often get up and walk away. I love this challenge though, and try to rough in the sketch first, so if the people leave, I still can fill in the details from my imagination.

The second sketch I did was of a cluster of three people with a dog. I just got it roughed in when they decided to leave. As they passed me by, they commented on how nice the sketch was, especially with the dog. I guess they appreciated that I didn't leave their dog out of the drawing!

The third sketch I did was of about five people who arrived right after the first group left. I know I would have probably at least 10 minutes before they would leave, and roughed the sketch in quickly, as they still do wiggle about. In all these sketches I put the yachts and water and mountain in last, since these will still be there after the people go.

I really had fun with this as I did the first sketch in graphite, the second in charcoal, and the third was pen and ink. I use these sketching sessions as learning experiences. I used to create drawings that I could sell, but the learning experience is more important. Where I used to complete one drawing, now I am up to three sketches, and can try multiple medium. If my production drawings and paintings ever get caught up, I plan to try to create finished paintings from some of these sketches. I probably should have brought my camera to get reference photos as well, for color and details, but alas I didn't. I left it behind on the prior sketching weekend, and was nervous about bringing it along this time. I will next time.

I am hoping now that the weather is getting better to do some painting outdoors as well. Alla prima. Direct and complete.

I find that combining the beautiful weather with the wonders of drawing to be one of the most pleasurable things I can do. Hurray, Spring!

The image I am posting with this blog was done on another day out on my own. I drew this one, then painted it in. It was an alla prima painting in watercolour. Not a sketch, but it was fun anyway, and that is what art is really all about isn't it?

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What Makes Good Art?

I was pondering in the shower today on what makes good art. I came to the conclusion that one way of looking at good art is looking at the audience that is deciding whether it is good art or not.

I could identify four audiences that I tend to refer to when I am trying to determine what is "good" art. These are the public, art buyers, the art community, and the artist himself or herself. Let's look at each one individually.

• The Public - I am a firm believer in public art, and try to participate in many public art programs. I believe most people really do enjoy art, and many do not have the means to purchase art for themselves. I know that artists in different cultures are treated differently. In Europe, artists are treated a bit like celebrities. In the United States and Canada, I think they are though of as a bit eccentric, and not main stream. I remember when I was a kid I told my Dad I wanted to be an artist when I graduated high school, and he said that is nice, but what was I going to do for a living? I think this was the same thing his father had said to him.
  
  I draw a lot in coffee shops, and do a lot of outdoor sketching and I am always amazed at the percentage of people in the public who feel compelled to look at my work and discuss it with me. I see true appreciation of the art in their eyes, and I get many ego inflating compliments about my work. The public seems to react directly to a piece of art, either they like it or they don't. This is the kindest audience when it comes to deciding if art is "good" or not.
  
  
• The Buyer or Collector - The second audience for art is the buyer or collector. If someone is willing to pay for your art, then they have definitely given you a "good" grade. The art buyer as far as I can tell, usually buys art for themselves (to hang in their home) or as an investment (they believe in the artist, and think his or her work will increase in value over time). This audience is most easily reached by works of art that fit the current trend in designers colours, and florals and peaceful landscapes for the most part. Art that makes people comfortable and beautifies the home. Many art buyers are women, so things that interest them are often good subjects.
  
  Goodness for this audience is easy to calibrate. The more money you earn, the better your art is. The nice part about this audience is they help with the mundane, but necessary need of earning a living.
  
  
• The Art Community - The third audience is the art community. By this, I am referring to the critics and judges. This community has certain criteria it uses to determine what is "good" art. Art history, the masters, the critic's or judge's personal taste in art, are all criteria used with a multitude of other things like technique, composition, creativity, originality and many, many others. This is a very difficult audience to receive a good rating from. Remember, though, that this audience, like the others above, are strongly effected by their culture and era. For example, Van Gough was not accepted in the art community of his time, his work was not popular with the public, and he was not successful at selling his work during his lifetime, yet failing in all te above markets, he is recognized today as a great master. Sometimes the art community audience is slow to accept someone as good, and as times and tastes change, work previously not accepted as "good" becomes "good". Like everything in art, there is no hard and fast rules.
  
  
• The Artist - The final audience that determines whether art is "good" or not is the artist himself or herself. I believe this is the most important audience of all. Art is an interaction between the artist and the subject. What the artist believes is "good" will drive the development of his or her work, create the artist's personal style, and give cohesiveness to their lifetime of work.
  
  It is the artist himself or herself that strives for perfection (what the artist believes to be "good") in each work, and is always disappointed and resolving to do better in the next work.
  
  And who is better at determining whether the artist achieved his or her creative goal than the artist?

What is "good" art? I think it depends on who is the audience and what factors are effecting them, such as culture, and the world they exist in. I think for myself as an artist, the only measure of "good" I am comfortable with in judging my art is my satisfaction with the artwork I created and has it progressed from prior works in a way that I want to go in.

The image in this post was done on an artist's weekend getaway to Quadra Island near Vancouver Island. The drawing was done between rain showers and depicts Cape Mudge lighthouse, a working lighthouse near the resort.

This week I went on an artists trip with a group of artists. I was part of the group that traveled together in one large vehicle. It was a very pleasant drive. I really enjoy the company of artists. I learned a lot about art classes in the area, shows, and how others approach the business of art. We also talked about art in general, and there was a buzz of anticipation in the vehicle as we were headed for the resort.

The first night there I had to teach on-line, so I could not join the others for dinner, and could not explore the area. What I did, since it was late after I ate dinner, was some contour drawings. I didn't want to stress myself, and contour drawing is an important exercise that I have to admit I don't do often enough.

I was worried because it rained the whole way to the resort, and it was raining that night with a 60% chance of rain in the morning. I had been really excited about this trip, because there was a lighthouse within a short hike from the resort. I love lighthouses, and this was my primary target for the trip.

As it turned out, there was about a three and half hour break in the rain, and I used that time to draw the lighthouse. I never seem to understand the limits of my time. I packed way too many supplies. Watercolours, pen and ink, brushes for ink, charcoal, and graphite. I actually only had time for one graphite drawing of the lighthouse that morning. In the afternoon it rained and I toured a local museum with a number of our group. At night we saw an art movie about the life of an artist. The movie was very good. I was just surprised about how little time there was to draw. Before breakfast that day, I did try a quick watercolour of the resort, but the moisture in the air made it impossible to dry, and the watercolours stayed so wet they ran into each other. Not a great experience, but the result was better than I thought they would be with the moisture conditions.

Some of the attendees only took photos. I wondered why, but I guess that some prefer to work from photos, and they only took references. I also wondered if they were afraid to work from life. I know I was a bit intimated, in case others wanted to see my work. As it worked out I used some of my photos of the lighthouse to add details I didn't get when I was sitting outside drawing the lighthouse. I got cold and was late for lunch, so I did not quite finish. Reference photos can be invaluable for finishing off a direct drawing if weather and time cause you to quit early.

I was proud of my experience with working directly outside. I set myself up by the edge of a woods, so if it rained, I could stomp down some of the underbrush and get protection from the rain in the trees. Luckily, I didn't need to do that.

One hazard I encountered that I did not expect, was the lighthouse keepers dog. The dog was really friendly, and layed down by me, like he was mine. What I didn't realize was that the dog had snuck into my pack, and stealthily removed my bottle of brown ink. Lucky for me the lighthouse keeper caught the dog with my ink, and luckily for me the ink bottle, though plastic, only had tooth marks, but the dog hadn't punctured the bottle.

The joys of working outdoors.

I was really surprised when I came back and went sketching with my sketch club. I did a sketch of a little harbor and I was really disappointed with the results. I realized some of it was due to an experiment with brown paper and graphite (they didn't go together) and more importantly, I just didn't get excited about the subject. I spent alot of time chatting with a woman who was on the beach with her dog. I understand now what a difference real interest in the topic can make to the success of a drawing.

I can not post the drawing with this post, because I left my camera behind at lunch with the sketching club, and I have to pick it up to photo my sketch. I am including another sketch from the work I do with my sketching club.

Going Back to Move Forward

Sometimes to move forward, I have to go back. I am trying very hard to improve my drawing. Drawing has been my focus for the last six months. I believe art is a journey not a destination, and learning is how we move along the path.

Recently, I did a copy of a Tintoretto, and it had a profound effect on my thinking and my art. At first, I just copied this master work because it looked easy to me, and I wanted something to draw. It was mostly line, and the human figure of a man, and I like drawing people. So I went about copying this master's work, and I started to feel different. I had had this experience before when I copied a Van Gough. When I copied the Van Gough, I got angry. I couldn't believe it, but the strokes I had to make with my charcoal were bringing up anger in me. This seemed amazing. Since that time I have been studying the mind/body connection, and physical memory, and don't find the idea of the body/mind interaction all that strange any more. But this time I was copying the Tintoretto, and I found a real flow going on in my drawing. It felt almost like ice skating. The most amazing thing was when I went to life drawing. I found I suddenly started to see the model in curved line, just like the Tintoretto I had copied earlier in the week. I still can't get this mind shift out of my mind. Whenever I go to life drawing, I still see the curves in the model in a way to mimics Tintoretto's work.

I have been studying master works and have not had time to copy them, but even reading analysis of them (Drawing Lessons from the Great Masters by Robert Beverly Hale) has effected the way I approach a lot of subjects, and how I see them, and approach them to draw. I would not see the master strokes without a guide, but seeing the analysis, I can apply the techniques using the right side of my brain. By copying the masters, I think I must be engaging the left side of my brain, because the feelings I get when I am drawing or seeing changes based on these experiences.

A third way I have benefitted from studying the masters is that I carry these lessons to my painting and well as my drawing. Drawing is a great way to learning value, composition, and structure, and then painting adds the complexity of color. For me, painting is just drawing with a brush and color. They are not separate art elements, but rather just different stops on a single continuum.

Each human starts out in art in the beginning, and must learn himself or herself all he or she can during his or her lifetime. Studying the masters and what they have learned just speeds up my trip down the path of art.