Tea Time Sketch

Tea Time (Alternate title: "Dueling Teapots")
Graphite and white charcoal study on Strathmore 400 Series Toned Tan paper

It's raining here today, instead of snowing - hurrah! Good weather for a cup of tea.

It's also good weather to stay in my studio. I've been playing with these teapots all week, arranging and rearranging the composition. This started out as just a rough sketch to consider the potential of this set-up for a painting, but I ended up not being able to put the pencil down. The placement of the teapots is still bothering me though.

While there are some interesting negative shapes, many of the teapot lids, spouts, and handles are all gathered along the same horizontal line, and the little teapot kind of disappears into the big one, so I'm not done working out the grouping yet. 

Making Lemonade Out of Failed Woodcuts

A few less-than-ideal proofs

I'm discovering that you can accumulate A LOT of "failed" woodcut prints. There are smudges, bare spots, prints where the register was off, areas where I either over-inked or under-inked the block, or prints that I discovered later had random bits of detritus accidentally adhere themselves to the print and are now an unwelcome part of the artwork. (For a good overview of the most common problems in block printing and how to fix them, check here). My pile of rejects is towering over my pile of acceptable prints, and it is rather disheartening.

As I delve deeper into the world of relief printmaking, I've been making a general pest of myself with other printmakers, asking all sorts of questions and soliciting advice. Thankfully they all seem to be a very generous and patient bunch. The other week I was having an email conversation with the wonderful and talented printmaker Belinda Del Pesco about a totally unrelated issue when she happened to mention using colored media on the reject prints. My brain packed that little nugget away, but it didn't take long for it to come in handy.

One of the most challenging pieces I'm working on is a woodcut of a tree in winter. I love the image, but have been having the hardest time getting it to print the way I want. Part of the problem is that I live in a very dry climate. (I'll be posting about the problems of and solutions for printmaking in a dry climate sometime soon) The wood just soaks up any ink I put on it. The other day I was looking at all the sad proofs of the tree print in my studio and Belinda's comment popped into my brain again. I took a proof off the pile, reached for my watercolors that just happened to be sitting close by, and...

Tree in Winter
5.5x5 inches, woodcut with watercolor

In some ways, I actually like this better than my intended vision for the woodcut. The color seems to bring out the texture in the tree bark and the cold wintry feel of the night. Suddenly that pile of reject prints looks more like a pile of artistic gold!

Obviously a huge thanks to Belinda Del Pesco for making this blog post possible. Belinda has a time lapse video on using watercolor on a woodcut print. Check out her other printmaking videos on her YouTube channel here.

The Cellist - Part II

Study for The Cellist
oil painting work in progress - Take II

Earlier this month I had the opportunity to work with a cellist as my model. It was an amazing experience which you can read about here, but while the study from that session was very spontaneous and fresh, it was also very rough. Since the cellist was willing to sit for me again, I jumped at the chance to improve upon what I had already done. I've been learning in leaps and bounds during these sessions, pushing myself waaaaaay out of my comfort zone and really surprising myself with what I've been able to pull off. I'm also falling into some classic beginner portrait painting traps. I think stating "I don't paint humans" is a defense mechanism so I don't have to feel bad if the piece doesn't come out. For example, the proportions of the cellist's hand and arm are off compared to her face, but I can just shrug my shoulders and say, "Well, what did you expect? I don't paint humans." While this keeps me from beating myself up about any mistakes, I have to be careful: I'm starting to really like painting humans...

Live Model Drawing

Still working on humans. Here are a few drawings out of my sketchbook from a couple of live model sessions I've attended in the last month.

Model with head scarf
Graphite and white charcoal pencil on tan paper.

Model at Sketch Club
Graphite, charcoal pencil and white charcoal pencil on tan paper.

You may have noticed that most of my sketches have the model turned away from me. It's because I'm terribly intimidated by drawing faces. I forced myself to draw this model's profile and thankfully it didn't turn out half bad. Maybe I'll be a little braver next time. Then I have to conquer my fear of drawing hands...

The cellist I painted in my last post sat for me again this weekend! The study of her that I've been working on has come a long way. As soon as I can get a good photograph of it, I'll post about it.

Can I Paint You?

Warm up sketches

Although I enjoy painting and drawing people occasionally, I don't think of myself as a portrait or figure painter. I tend to do it as an exercise, but the more I've been attending live model sessions, the more I've been noticing people in general; the way the light shines across someone's face, or a particularly interesting-looking person in a crowd. A few times I've seen someone who I desperately wanted to paint, but had no idea how to go up to a perfect stranger and ask, "Can I paint you?”. Er, awkward! 


Even though we live in a smaller city in a rural area, we do have a surprisingly good symphony orchestra. At a concert last year I noticed how one of the cello players and her instrument had a perfect combination of lighting, colors and form. Every concert we attended after that, I'd sit there and try to figure out how in the world I could get a chance to paint her. "Just go up and ask her after the concert." my husband would say. Uh yeah, right.

Finally this past November, after a particularly wonderful concert, I figured what have I got to lose? So at the end of the performance while the musicians were packing up their instruments, I pushed my way through the exiting crowd to the base of the stage. I managed to get the cellist's attention and introduced myself, complimented her on that evening's performance, and explained that I was an artist and I wanted to paint her playing the cello. I handed her my business card and told her to check out my website, think about it, and if she was interested, to email me. She didn’t back away from me or call security, so that was a relief, but I was surprised when she sent me an email two days later. She was interested!

Our schedules finally coincided last Saturday and we met at our local art center. This was the first time I’d ever arranged a model for myself, and her first time posing. In a lot of ways this felt like a first date back in high school, with all the awkwardness and worry. I was nervous about what she would think of my art. What if I accidentally offended her with poor painting skills or a less-than-complimentary likeness? I also wanted to make sure she had a positive experience. I knew that holding a pose is hard work and since she was new and volunteering to do this for me, I didn’t want to ask too much so I just told her to practice and I’d work while she played.

We both warmed up with some exercises; me sketching and her tuning up and playing scales, and then we both launched into our respective art forms. I’ve had music on while I’ve painted before, but having someone play live while you are working adds a whole different dimension to the experience. I picked up on the energy of the music and the musician’s movements. I found that I wasn’t thinking - just reacting with my paint. My brushstrokes were much looser than usual. It really was an incredible feeling. It was challenging to paint someone who was constantly in motion, but in hindsight, I think it would have felt very stale if she had held a pose, pretending to play.

Study of Cellist - WIP
16x20 inches, oil on canvas

Fresh snow was beginning to pile up outside, so we ended the session a half hour early. My mental energy was starting to lag anyway, after such an intense bout of painting. I asked her to get in touch with me sometime if she was ever interested in modeling again. Much to my surprise, she texted me later that evening and said she would like to! I am definitely looking forward to the next session.

Technical notes: A week after I first approached the cello player at the concert, I saw this article online about asking strangers to model for you. It would’ve been helpful to me to read beforehand, but it also felt good to know I’d navigated the process on my own. I’m sure that not everyone I ask is going to have a positive reaction to me wanting to paint them, but this was certainly a good first experience. 

If you are painting someone's likeness, don't forget to consider if you should use a model release contract. Here are a couple of articles on the topic: here and here

During the painting session I used a Thomas Sully palette that I was introduced to during a figure painting class at the Pennsylvania Academy of the Fine Arts with Ted Xaras in 2014.

Printmaking Exhibit From Last Summer

Stock Market
Ted Davies, 1959
Woodcut with gold leaf

With the Thanksgiving holiday and family obligations, I haven't had much time to paint lately, so thought I'd share some images from Breaking Ground: Printmaking in the US 1940-1960, an exhibit I saw at the Philadelphia Museum of Art last summer.

This first piece is a woodblock print by Ted Davies (1928-1993).  I don't have the exact dimensions of the print, but it was a good 3 ft. wide. What appears to be tan ink in the photos of this piece is actually gold leaf.

Stock Market detail from lower right hand corner

The details in the piece really blew me away. Each person is unique and doing their own thing. Look at the swags on the window drapes in the detail below.

Stock Market detail from upper left hand corner

Next up is The Hydrogen Man by Leonard Baskin (1922-2000).

The Hydrogen Man
Leonard Baskin, 1954
Woodcut

According to the label for this piece at the Philadelphia Museum of Art, "...Baskin made this life-sized print in response to the US testing of the Castle Bravo hydrogen bomb on Bikini Atoll in the Marshall Islands." It's a pretty powerful image, gruesome yet captivating. My photo doesn't do it justice and doesn't convey the size of the piece.

Detail from The Hydrogen Man

The intricate maze of veins must've taken a lot of patience and a very steady hand to carve out of wood.

Monoprint
Harry Bertoia, c. 1942-43
Color relief monoprint

I really liked this monoprint by designer and artist Harry Bertoia. Unfortunately the label for the piece didn't offer any information about it. A quick google-search didn't produce any further insight into this particular piece, but the website for the Harry Bertoia Foundation talks about how in 1943 Mr. Bertoia sent around 100 monoprints to the curator Hilla Rebay at the Guggenheim (then known as the Museum of Non-Objective Art) for a critique. Much to his surprise, she wanted to buy the entire collection for the museum! I can see why.

I took photos of twelve of the pieces in this show, but no matter how hard I tried, many of them ended up with harsh reflections in the glass from the gallery lighting, so they aren't worth showing here. It was really quite an inspirational show, and we caught it just a week before it closed. Of course the Philadelphia Museum of Art regularly has special exhibits of famous artists and artwork, but they also have these smaller shows of works on paper which gives the visitor who is willing to explore the museum a little deeper a real treat with the added bonus of not needing an extra ticket or having to try to view artwork in a crowd. Truth be told, they are my favorite exhibits.

Blackbird Woodcut

I may have mentioned in passing that aside from oil painting I'm crazy about printmaking, specifically woodblock printing. I've tried linocut printing (carving an image out of a block of linoleum) but there's something about working with wood that I really love. I usually work with white pine, since it is a soft wood and easy to carve. Over the last couple of months I've been working on a woodcut of a blackbird in reeds.

The inspiration

During spring migration, male yellow-headed blackbirds congregate in huge numbers at Bear River Migratory Bird Refuge in Utah, just north of Salt Lake City. On our annual trip to the Refuge, we see hundreds of them at a time and this year the image of them in the reeds really struck me and ideas for a painting began to form.

While I was sketching studies and thumbnails for a painting it occurred to me that the scene would also make a great woodcut image, so I changed gears and began working on a print.

The bird's face reminded me too much of the bald eagle in The Muppets.

At first my plan was to use just one block of wood and black ink, however I was not happy with the bird's face after seeing the first proof. The only way to change the face was to completely carve it away and create a second block with a new face carved into it which would print over the first block. Since I was going to the trouble of carving a second block, I decided to change a few other things, too. Can you spot what I changed?

The new face

I printed the original block of wood with gray ink and printed the second block with black ink on top of the gray layer and got some interesting results. This got me thinking about printing with multiple colors. I think this might be part of the reason I love working with woodblock - it seems that every step leads to a new idea.

The brown layer.
When I inked the block, I wiped the brown ink off the area of the bird
before printing so that the bird's black ink layer would print clean and sharp over top.

So I printed the original wood block with brown ink, then inked the second block of wood with blue in the water areas and black on the bird and printed that over top the brown layer.

The completed image

The random black marks in this print are happy accidents. The unexpected things that happen with printmaking is one of the things I love about working in this medium.

For now I'm pretty pleased with this print, but I may make more changes as they occur to me.

Options for Painting Lights and Darks

In my oil painting class for beginners, we've started to delve into color after working in black and white for a while. This week I did a painting demo for them showing two different ways to lighten and darken an object, in this case an apple, so they could compare the two methods side-by-side.

Apple 1

The first method I showed them was using white to lighten and black to darken the paint. I used titanium white, but I did mix my own black rather then using a tube black. I think the difference between the dark areas of the two paintings would have been more striking if I'd used black from a tube (full disclosure here: I forgot to bring a tube of black). It's been a long time since I used white as my predominant lightener and it felt awkward. I had to really concentrate and fight my now-automatic color choices!

Apple 2

In the second painting I used yellow and orange to lighten the apple and only added white when absolutely necessary. For the dark areas, I used purple and blue. I had planned to use a more white-looking tabletop color, but I accidentally put a streak of that rusty peach color down and we all loved it, so I kept going with it.

While comparing the two paintings side-by-side, the students commented on how much more vibrant Apple 2 was, and they noticed that in Apple 1 the white mixed with alizarin crimson created a pink tone, rather than a sense of light striking the apple. As they were leaving class pondering all these color choices, one student half-jokingly said, "Can't we just go back to black and white? It's so much easier!"

Varnishing

Before applying varnish

I have been a rather haphazard varnisher; some paintings I remember to varnish and others get forgotten. I used to use Crystal Clear spray varnish, but with mixed results. For one thing, we live in a perpetually windy and dusty area, so using spray varnish outside could be a nightmare. I also found it challenging to get an even coat. After reading about Mitchell Albala's experience with Gamvar varnish, I decided to try some myself. In my mind, there are two main advantages to this varnish: you apply it with a brush, which makes it much easier to control that spray varnish, and you can apply it as soon as the thickest part of your painting is dry to the touch. For oil painters, this is a huge time savings.

After applying varnish

So I decided to document my first experiment with Gamvar*. In his aforementioned blog post on the subject, Mitchell Albala stressed how important it was to use as little varnish as possible and apply it with a soft brush in a scrubbing motion (have a special brush for this purpose - don't use one of your good painting brushes!). I closely followed his instructions and found the varnish quite easy to apply. I didn't have any problem with streaks, either. 

One thing I did note is that in the past when I've applies varnishes, the varnish tended to bring out the darks and liven up the painting in general. However, I didn't see much of a difference in the appearance of my painting after applying this varnish.

Detail - can you see any difference in appearance?

But regardless of whether the varnish heightens darks and brightens colors (sounds like a laundry detergent...) in your paintings or not, varnishing also plays an important role in protecting your artwork. Over time dirt can build up on the surface of a painting and cleaning it can harm the painting. If you have a layer of varnish, the dirt attaches to the varnish and the old varnish can be removed and a new clean layer of varnish applied with no harm to the painting underneath. Here's a discussion about varnishing from Scott Gellatly when he was a guest blogger on Lori Putnam's blog. And if you're a painter and you don't know about Lori Putnam's blog, you best go check it out right now! 

Meanwhile, I think I'll become a more regular varnisher, since using the Gamvar was very easy.

*This is not a commercial for Gamvar and I did not receive any compensation from Gamblin.

Bird Bookplates

“It is with the reading of books the same as with looking at pictures; one must, without doubt, without hesitations, with assurance, admire what is beautiful.”
                                                                                                     ~ Vincent Van Gogh

Wood Engraving
J. Bieruma Oosting, Dutch, b. 1898, d. 1994

Hidden in the basement of the Midtown Scholar Bookstore in Harrisburg, Pennsylvania is Robinson's Fine Prints. If you are a fan of prints, you might want to pay this store a visit. Plan to spend a few hours going through the racks and bins of prints, with prices ranging from just a few dollars to a few thousand. They also have a remarkable collection of books for sale on printmaking and printmakers.

Wood Engraving
Emil Kotrba, Czech, b. 1912, d. 1983

One of the things Robinson's Fine Prints specializes in is bookplates, sometimes called "ex libris", which are usually glued to the inside cover of someone's book to show that it belongs to them. Some book-lovers commission printmakers to create a series of hand-pulled bookplates for their personal library.

Wood engraving
Josef Weiser, Czech, b. 1914, d. 1994

Not all bookplates are of birds, of course. I'm just into birds, so these were the ones that caught my eye. The American Society of Bookplate Collectors and Designers has a website with the history of ex libris and examples of hundreds of designs, and articles about various related topics. Aren't these just wonderful little treasures?

The Delights of Drawing

"The process of drawing is, before all else, the process of putting the visual intelligence into action, the very mechanics of visual thought. Unlike painting and sculpture it is the process by which the artist makes clear to himself, and not to the spectator, what he is doing. It is a soliloquy before it becomes communication."
                                                                                                   ~ Michael Ayerton

Drawing materials - graphite on paper

Every time I've been away from drawing, when I return I am reminded of how much I love to draw. To me, it is very soothing and comes much more naturally than painting. But perhaps that's why I take it for granted, that is until I haven't done it in a while.

Wrist Watch - graphite on paper

There are endless things to draw around us all the time and no expensive materials or lengthy set-ups are needed, so I have no excuse not to draw. When I am in a drawing phase, I like to get out of bed and draw something before I do anything else. It's a wonderful way to start the day.

Shirt on a hanger - graphite and white charcoal on toned paper.

Everyone has their preferences, but my favorite drawing tools are mechanical pencils and Pigma Micron pens, which I will occasionally add watercolor to. I prefer paper with a smooth surface. I started using Strathmore 400 Series Toned Tan paper this summer and I really love the effect of the white charcoal pencil on the tan paper. It's been a nice change from white paper.

So now that I'm done the 30 Pears project, I'm eager to get back to making daily drawing a priority.

Drum Roll Please - Pear #30

Pear #30
6 x 6 inches, oil on canvas panel

Have you ever been to a fantastic workshop that was incredibly intense and you learned an amazing amount, but by the last day your brain had shut down and you just couldn't force another bit of information into it, no matter how hard you tried? That's kind of how I'm feeling at the end of my 30 Pears in 30 Days project. Worthwhile? Yes! Exhausting? Oh yeah.

I had fantasies of my 30th painting being so brilliant that blog-readers were blown away by the difference between Pear #1 and Pear #30. Well, that remained a fantasy. Honestly, I could barely think straight as I painted this final piece. Sure, it would've been nice to finish the project with a stunning painting, but in the end I'm just happy it's done. There will be other chances to paint stunning pieces. Right now I am in desperate need of some rest and some time to absorb everything I've learned this past month. A break from painting pears might be nice too, although surprisingly I do still like them.

So did I achieve my goals for this project? Did limiting the subject matter lead to greater creativity and getting a good workout on some key artistic concepts? I believe it really did. I explored color palettes and color temperature, brushwork, and composition. I concentrated on tricky things such as fabric, and I tried to loosen up, be more expressive, and not overwork things (still struggling with that one!). And at this point, I think I could paint a pear blindfolded.

I am looking forward to blogging about other things now, looking forward to not having a daily deadline hanging over my head. There are woodblock projects to work on and I want to get back to my sketching routine. However, I've got a collection of vintage Hall china teapots that keep catching my eye. I wonder what a month of painting those would do...

Pear #26 - 29: Lots More Experimenting

"A deadline is negative inspiration. Still, it's better than no inspiration at all."
                                                                                            ~ Rita May Brown

Pear #26

As I type, there's a severe thunderstorm giving a final lashing to our area before it moves on. I fully expected the power to go out tonight, leaving me to paint Pear #30 by candlelight. Thankfully that didn't happen and my last painting for the month is finished and waiting for daylight so I can photograph it and post my final 30 Pears in 30 Days on Tuesday. It's no beauty, but it's DONE.

I apologize for the less-than-perfect photos of Pear 26 - 29. It's been gloomy out for a few days now, so I've been completely dependent on indoor lighting for photos. Even with color-corrected bulbs to augment the regular room lighting, my camera has not been happy.

Pear #27

This one, however, is not the camera's fault. I don't even know what to say. What happened???

Pear #28

Experimenting with temperature shifts across the folds of the cloth. This is one of those pieces that I absolutely love parts of and can't stand other parts.

Pear #29

I had a lot of fun with this one. I added naphthol red to my palette, which mixed with cadmium yellow light to make the delicious orange in the foreground. If you look carefully, I've got the full spectrum (good ol' Roy G Biv) represented here.

Happy Halloween everyone! 

Pear #21 - 25: More Exercises and a Whole Different Palette

Pear #25
6 x 6 inches, oil on canvas board

I have to admit to feeling a little pressure right now. The end of October is fast approaching and I lost a few days for painting this month when Life happened, so I'm running slightly behind. Although I profess to believe in the importance of sharing both good and bad efforts to show that artists don't create perfect paintings every time, I am sweating the quality of some of these pieces. That's why Pear 21 through 24 are not displayed at the top of this post...

However, I suspect that Pear 21 through 24 directly led to Pear 25, and not just numerically. I tried another exercise from Sarah Sedwick; this one on brushstroke economy. I painted my pear model 4 times, for 10 minutes each time. However, I was only allowed 25 brushstrokes in the first painting, then 20, 15, and finally just 10 brushstrokes in the last painting. (A brushstroke is from the time you touch the canvas with the brush to the time you take the brush off, so you can swirl the paint around a lot, as long as you don't lift the brush off the canvas.) Finishing the background was not a requirement. The point is to really think and observe, and consider each brushstroke very carefully. What do you really need to create the impression of your subject?

Pear # 21 - 24
Limited brushstroke exercise

Oh dear, I didn't do very well with this one. I often used up my brushstrokes long before the timer went off, which meant I was rushing and not concentrating on my subject. I came out of the exercise not only with some very ugly pears, but also knowing I hadn't gotten the point of it. I was feeling very frustrated with myself. I knew I needed to keep going and paint another painting, but my brain was refusing to cooperate. I looked down at my palette and felt an overwhelming sense of frustration and boredom, and I was very reluctant to pick up my paintbrushes.

As I was hesitating, I had a mini-temper tantrum inside my head. I berated myself for ever committing to this Pear Project, telling myself I was going to fail and embarrass myself, and that I was never going to be able to paint another decent painting ever again. Luckily another, louder part of me stepped in and decided that if I was going to fail, then I should just have some f*****g fun. I was sick of the palette I'd been using all month, sick of trying to get the values and shapes right: I just wanted to paint. So I cleared off my palette and grabbed the colors that appealed to me at that moment: yellow ochre, Indian red, Venetian red, burnt umber and raw umber (I couldn't find my siennas, otherwise I would've included them, too.). I made a very sketchy drawing of the pears on the canvas and then just started adding paint all around them. It was all very spontaneous, and when I was done it surprised the heck out of me that I discovered I actually liked the piece.

This was exactly why I took on this project in the first place - to see what would happen when I pushed myself, when I got bored, to find out if there was some way to tap into the more expressive side of my creativity. I just hope that I don't have to go through such angst every time I want to paint like that!

Pear #19 & 20 - Color Scheme Shifts

Pear #19 - Experimenting with reflections

I seem to be unconsciously shifting towards more earth tones and darker colors. Perhaps it's all the brown leaves drifting down past my window, or perhaps it's that Halloween is in the air...

Pear #20 - using up what was on my palette

Pear #15 - 18

"I must continue to follow the path I take now. If I do nothing, if I study nothing,
if I cease searching, then, woe is me, I am lost. That is how I look at it -
keep going, keep going come what may.
                                                                                                ~ Vincent Van Gogh

Pear #15
6 x 6 inches, oil on canvas board

I have long admired other artist's rendering of cloth, especially if the fabric has a pattern on it. Oh, those tantalizing polka dots, plaids, or stripes! My hope during this month was to experiment enough with painting fabric that I would achieve a decent ability to reproduce it. When I completed this painting, I did a little happy dance in front of my easel.

My palette
Mmmm, love all those luscious greens

I should note that I added cadmium yellow light alongside my usual azo yellow in my primary color line-up this time.

I also did a couple of demos for my beginning oil painting students: 

Pears #16 and 17 - each done in 10 minutes.

One was Carol Marine's classic 10 Minute Apple exercise - only obviously I did it with pears.

Pear #18 - study in blue and orange

The other demo was to paint using only complimentary colors - this time blue and orange. This was also a good example of "do what I say, not what I do" as I overworked this one!

I can't believe it's October 26th already! This 30 Pears project has been great, but I'm going to have to start cramming my posts with paintings if I'm going to show you all 30 pieces by the end of the month!

The Rejects

 "To try and fail is at least to learn; to fail to try is to suffer the inestimable loss of what might have been."
                                                                                                   ~ Chester Barnard

The duds. Let's call them Pear #12, 13 and 14

The problem with painting is that it doesn't always go well. Many paintings, for whatever reason, miss the mark and end up in an artist's reject pile. Even the great Masters painted over unwanted pieces, which modern science is now allowing us to see. (If those artists knew we were exposing their abandoned works, I wonder how they'd feel...) This should give us artists some comfort, but I will admit it is small comfort to me. As many times as I tell my students "Every painting is just practice for the next.", my failed paintings eat away at me. I was not even going to show you the "bad" paintings from my 30 Pears in 30 Days project, but if I didn't then I'd just be perpetuating the belief that a "real" artist has talent that magically makes every painting perfect, which I firmly believe is a myth that needs to be dispelled. So many people give up on making art because their work is not perfect.

My mother subscribed to this belief, which is why she did not support me as a developing artist. I stopped showing her my work after a while. Many years later she happened to see some of my work through a family friend and was shocked at how far I'd come. Yet this still didn't dispel her belief in the myth. A few years later she decided she wanted to learn how to draw, so she enrolled in an evening class for beginning drawers. She quit after two classes because, in her words, the instructor hadn't taught her how to draw.

There is no magic formula to making art - just hard work and study. Art, just like any other skill, takes practice. Lots of it. Years and years of it. And even when you've reached a certain level of mastery, there will still be bad paintings, bad days when you wonder why you're even bothering, months when you wonder if you'll ever be "good enough". Too much self-doubt can lead to giving up, but in moderation, that doubt is a good thing. Perhaps without that doubt, we wouldn't push ourselves to keep getting better. If we thought our work was already perfect, we might not be motivated to keep improving. As the Robert Hughes quote goes: "The greater the artist, the greater the doubt. Perfect confidence is granted to the less talented as a consolation prize."

Pear #11 - Double The Fun

"Today is a good day. Today she feels she is the master of her craft. Today she is
free of the grinding tyranny of doubt. The voice that mocks her ambition. The voice
that bites and slanders and causes her more heartache that any other voice. Today
she is focused, she is exultant... If only painting were like this every day."
                                                    ~ Glenn Haybittle from The Way Back to Florence

Pear #11
oil, 6 x 6 inches on canvas board

This is the kind of painting that makes you want to keep painting, the kind that makes all the frustration and self-doubt and stacks of failed pieces worth it. The kind that makes you blink and say "I managed to paint that!?" And yet, when you've stopped congratulating yourself, all that elation quickly dissolves into the realization of how much further you still have to go. Paintings like this are just mile markers on the long, long road.

Art and Stress

STRESS!

Our internet service was down for 4 days less than a week before my 30 Pears in 30 Days project was due to start. I had a long list of things I needed to take care of for my website, Etsy store, the new blog, etc. I was feeling a little stressed and overwhelmed, to say the least.

Life is stressful enough as it is, but being self-employed or an entrepreneur in a creative field has its own special set of stressors. We need to be focused and energized to accomplish all we have to do, as well as relaxed enough to allow creativity and new ideas to flow, and unmanaged stress can zap our ability to do any of that. Top that with the surprising number of artists who are full-time caregivers, or live with chronic pain, or any other added long-term stressor, and it’s amazing anyone can finish a piece of art.

If only we could relax like this!
Spending time with animals is a good stress reliever.

Dr. Eric Maisel is an author and creativity coach who writes a column for Professional Artist Magazine. In a blog post last year, he discussed stress and the artist:

            “An artist needs to honor the reality of stress and make plans
              for dealing with it...

            Take some time, have a fruitful conversation with yourself and
             answer the following four questions:
            1. What are my current stressors?
            2. What unhealthy strategies am I currently employing to deal
                with these stressors?
            3. What healthy strategies am I currently employing to deal with
                these stressors?
            4. What new stress management strategies would I like to learn?”

We’ve all heard the “eat right, get enough sleep, and exercise regularly” recipe for stress-busting, but honestly, when I’m stressed out, that doesn’t help much. Through trial and error, I’ve had to figure out what works for me. I hope you find something here that’s helpful to you.

Mmmm

Chocolate has always been my go-to quick relief for stress, and there's scientific proof to back me up. Eating dark chocolate (in moderation!) actually helps reduce stress hormones in the body. Hurrah!

I’ve had an on-again, off-again meditation practice for 5 years now. When I meditate regularly, I feel much more clear-headed and better able to deal with Life’s little surprises. However, there are times when my mind is just too active or distracted by something to be able to meditate on my own, so I also use guided meditations, or guided visualizations to help me relax. I just pop on the headphones and let someone talk me into relaxation.

One of my favorite guided meditation/relaxation collections is from Joanne D'Amico and her "Relax for A While" channel on YouTube. She has the most amazingly soothing voice, and many of her guided meditations are short enough to use as a quick break during a busy day. Some of her videos include relaxing sounds such as rain or a babbling mountain stream. (My apologies - try as I might with YouTube's Share/Embed settings, I could not get the YouTube related videos at the end of this video to go away. According to the HTML, they shouldn't be there, but they are. At least I managed to eliminate the ads at the beginning!)

Okay, so maybe this sounds a little crazy, but I find doing the dishes relaxing. I kind of get into a zone in my head and the sound of water probably helps. Weeding the garden helps me de-stress as well. It's so satisfying to pull out stubborn weeds!

Many people find putting on upbeat music helps to clear their head and get them in a better mood. You can burn off the stress (and maybe some of that chocolate) by dancing to the music or playing air guitar. Even just a few minutes can make you feel better.

Nature is a natural stress relief

Getting outside in the fresh air, whether to a local park, your own backyard, or out in the wilderness is a wonderful stress reliever. Throw a ball around, play with your dog, go hiking. If you've been holed up in your studio for too long, maybe it's time to see what that bright thing in the sky is.

We've now come full circle: just the act of creating art has been scientifically shown to decrease stress in the body, regardless of whether you're "talented" or not. So perhaps when we are feeling stressed, we just need to drop everything and make more art.

Please leave a comment and share what you do to combat stress.