Archive for the ‘Expressionism’ Category
Abstract Art Class – Winter 2012 #1 (2)
In this blog, I would like to expand somewhat the steps mentioned yesterday in the creation of an abstract painting. Step 1 is a detailed sketch of the view. This drawing could be done in pencil or other media. Step 1 helps you to recognize the detail, shapes, shadows and light areas that make the view interesting. You are learning to recognize the elements of the photo and how they interact with each other. Step 2 creates a “softened reality” of the drawing in Step 1. Fine details are eliminated and unnecessary shapes begin to meld with others nearby. The goal is a stylized work with a result that is still recognizable and has many similarities to the original detailed drawing.
Step 3 is where the true nature of abstraction begins to take shape. In Step 3, further simplification takes place and all semblance of recognition is eliminated. The predominant shapes take command and the lesser shapes and elements dissolve. In some situations, this could be the last step in the process. Step 4 is a full-blown personal interpretation of the elements of your design/scene/subject. The three steps previous to this final artwork help you learn ways to trim unnecessary details and clutter, to begin to express personal emotions based on the drawn designs. The freedom that is afforded the abstract artist can be very liberating and rewarding. Eventually you will be able to bypass Steps 1 through 3, perhaps doing only one quick study to lay out the design and visualize the end result. Think: examine, distill, express!
Why the Landscape Painter Should Teach a Workshop – Part 4
In his article in the December 2011 issue of Professional Artist, Alan Bamberger gives some additional hints for the landscape painter who is interested in holding a workshop. First, decide what you want to teach and plan your agenda ahead of time. Practice in order to make sure that you can accomplish what you want to do within a set time period.
Advertise that no experience is necessary in order to attend, but also indicate that artists who sign up will learn something new. A good workshop teacher knows how to address a variety of skill levels and make sure everyone is comfortable and learns something. Advertise in places where artists and people who like art congregate. These include bulletin boards, newsletters of arts and artist organizations, your own mailing lists, recreation centers, art centers, art schools, cafes, coffee shops and art sites on the Internet.
Determine what supplies are needed and whether or not to provide them. If you’re just starting out, providing them yourself is usually the best option, but be sure to work that into the price. Plan to have 3 to 10 students. You want to make sure each student gets individual attention. If your space is not adequate, ask your best collectors if they can provide you space in exchange for a painting or free workshop. Holding a workshop every month or two is a good frequency.
Why the Landscape Painter Should Teach a Workshop – Part 3
People attend workshops for a variety of reasons. Many have little or no previous experience with art and merely want to relax, have fun and explore their creative sides. Others want to take up art as a hobby but do not want to invest a great amount of time and effort in an ongoing program of study. Trained artists will attend them in order to acquire new skills or learn techniques outside their areas of expertise.
The big advantage of workshops is that participants receive individual attention and support from teachers. Beginners and hobbyists will appreciate the hands on approach for self esteem and personal creative growth. Artists will appreciate it for professional and technical reasons.
With such divergent interest among attendees, making students happy is of prime importance, and there are successful strategies you can employ. The two most important criteria the landscape painter should use for successful workshops are: choosing a method or technique that can be taught completely within the half-day or full day period of the workshop, and insuring that each student comes away with a finished work of art – a diploma.
Why the Landscape Painter Should Teach a Workshop
In the December 2011/January 2012 issue of Professional Artist, Alan Bamberger wrote about Why You Should Teach One-Day Workshops. The most immediate and obvious benefit of teaching a workshop is that they’re a good source of income. In addition, many artists use them to increase their effectiveness at creating and marketing art. Workshops involve working creatively and do not require large commitments in terms of preparation and overhead.
A one-day workshop could run from four to six hours in length, with the instructor charging $35 to $150 per person. A single workshop can net anywhere from several hundred to a thousand dollars depending on class size, if the artist teaches in her own studio. Another benefit of teaching a workshop is the opportunity to sell art. Most artists make sure to display a good selection of their art during the workshop. As students become more familiar with the artist’s work, they feel less intimidated and more inclined to purchase it. In addition, some artists further augment their income by selling art supplies. Teaching a one-day workshop should be considered by all landscape painters.
Tracking Cash Flow for the Oil Painter
In the December 2011 issue of the Professional Artist, Robert Reed, PH.D., wrote an article entitled, Planning Your Art Business Part 3: Tracking Cash Flow. Oil painters as well as others could use it. Two versions are built on Microsoft Excel (an earlier and a later version) and a third version for the Mac is built on Numbers. All are downloadable and free from www.yourartisyourbusiness.com.
In the magazine article, Dr. Reed discussed three of the worksheets available: The Income Worksheet, The Expenses Worksheet, and the Depreciation Worksheet. After I downloaded my copy, I found other worksheets are also available. The discussion seemed pretty straight forward so I’m looking forward to keeping better track of my income and expenses – and it’s just in time for the new year!
Art Walk Night
The third Thursday of the month is Art Walk night in Bonita Springs, FL. Tonight was the night and I decided to attend. Besides, my Abstract Art teacher has a studio there and I wanted to see where she works.
The Promenade in Bonita Springs is an uptown area that is part of a mall. Part of the mall is still open but many shops have been closed, mostly because of the economy of the times, and are being used by artists to display their works and use as a studio. What a wonderful use for those unused spaces.
During my walk, I saw beautiful paintings, some in acrylic, some in oils. There was also stunning fabric art like no other I had ever seen, by a lady whose mother and grandmother were also fabric artists. A lady who formerly did fashion design had absolutely beautiful jewelry. She also made the most delightful wall art from found objects like dresser handles and other antiques. Someone else had created large mobiles out of plastic of some kind – very colorful and amazing. I finally found my teacher’s studio and the art she had to display and had a wonderful time walking through the Promenade for December Art Walk.
My Abstract Art Class #4
Last week, the lesson in my Abstract Art class was about symbols. We thought of a bunch of symbols, some of which were heart, $, #, hand, star, @, !, yin yang, cross, +, =, fish, x o. An artist could make one or more paintings with each of these in mind.
Teacher then showed us photos which she had collected with some of these symbols in mind. Most of us used one of her photos as inspiration to make our own painting. This is the painting I made from one of her photos because my son was in a band for several years and that photo reminded me of him. I might even send it out to him as a gift!
My Abstract Art Class #3
Last week’s lesson in my Abstract Art class was creating a purely abstract painting. The teacher gave us each a large sheet of paper with 4 rectangles on it (assuming our canvases were rectangular). We were to put our left hand (if we were right handed) on two of the horizontal lines of a rectangle to mark where the rectangle was and close our eyes. With the other hand we made whatever kind of marks we desired. We repeated this exercise for each of the other 3 rectangles.
We then chose the design we wanted for our painting and drew it on the canvas. We could alter the design, if needed, to make the design more pleasing, and colored in the various shapes whatever colors we chose. Mine looked pretty good, no matter which side was up (we check each painting in this way) – but I may have to do something about “Snoopy”!
My Abstract Art Class
Recently, I began lessons in abstract art. Since my landscapes are pretty much abstract, I thought perhaps it would help me to learn more about purely abstract art and how it is created. It is such fun – and almost anything goes.
The instructor begins with a critique of work we bring in and one thing she always does is rotate the work to see which way looks better for hanging – and it often isn’t the way you painted it. Then perhaps she or others has a comment or suggestion. She has a demonstration regarding the topic for the day and pictures to stimulate our creativity, and we work on our new paintings until almost the end of the class when we look at every one’s new work.
The painting today came from a still life of apples. Some are enlarged, some diminished or eliminated and/or the colors changed. And voila!
Creativity for the Abstract Painter – Part 2
Here are a few more ideas about creativity that might help the artist who creates abstract paintings. Again, from Dr. Amabile’s report.
People are happiest when they come up with a creative idea, but they’re more likely to have a breakthrough if they were happy the day before. When people are excited about their work, there is a better chance that they will make a cognitive association that incubates overnight and shows up as a creative idea the next day. One day’s happiness often predicts the next day’s creativity.
The most creative teams are those that have the confidence to share and debate ideas. When people are doing work that they love and they are allowed to deeply engage in it – and when the work itself is valued and recognized – then creativity will flourish.