Archive for the ‘Landscape Art’ Category
Abstract Art Class – Winter 2012 – #2 (2)
The lesson today was on Design Composition. Teacher gave each of us a sheet of paper with 12 designs for abstract art – probably the only different kinds of design formats possible. For each there was an example of the basic design and a painting using that format. For me, some were easy to see, some, not so much.
The Cruciform, Horizontal, Vertical and Diagonal formats were easy to see. The Cantilever and Golden Section (at the crossed lines of a tic-tac-toe game) formats looked similar in the paintings. The Constellation format was a series of mostly dots, a little heavier on one side than the other, perhaps shaped like a spiral. Meander was more like brush strokes all over the canvas (think Jackson Pollack). Curves was shown by overlapping circles or spheres, Overlapping Frames was overlapping squares and rectangles, some just outlined, some colored. Tension showed imbalance, large on one side, small on the other. Spiritual showed an equilateral triangle within a circle. Your challenge: Try to think up something different!
Abstract Art Class – Winter 2012 – #2
Last week teacher promised to show us a method of creating texture in abstract paintings and she began the class with this demonstration. We will put tissue paper on canvas or on 140# or 250# watercolor paper and she passed around samples of each for us to feel. She also folded the 140# paper to show that 2 or 3 foldings are necessary in order to tear it successfully. Also a little water on the edge weakens it making it easier to tear.
When applying tissue to paper or canvas always use craft tissue, not the tissue used for gift wrap. Apply a coat of matte medium to the paper or canvas, wad up a sheet of tissue and put it on the surface, allowing it to wrinkle in many directions. Be sure to cover the entire surface, using more tissue as needed. Using the matte medium again, paint over the entire surface, pasting down any loose parts. Put it in the sun to dry and it is ready for paint.
Selling Landscape Paintings
More and more artists are their own best handlers. They manage their distribution, their retail prices and their futures. Some of the current artists have closed out dealers altogether and make a handsome living selling on eBay and other inexpensive venues.
“Consignment is by far the best system,” says Robert Genn, Canadian landscape painter. “An artist’s efforts can be taken back and moved to other galleries – perhaps to ones with a more favorable commission structure.”
Particularly since the 2008 financial shakedown, Genn said he noticed that a lot more art buyers are contacting artists directly. Internet savvy and well-informed, they are people who seldom go to commercial galleries, but have a particular desire to get to know artists. They are not necessarily looking for deals. It may be that more people are trying to “think smart” these days and are like those who do their own research and buy stocks and bonds online. Maybe individual empowerment and self-management are the new normal.
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!
Abstract Art Class – Winter 2012 – #1
My long time friend, Thelma, stays with me in Florida for the winter. She also is a painter and together we take classes in abstract art at the Center for the Arts at Bonita Springs. Last Wednesday, was our first day of class this year, and class went something like this:
The teacher, Shirley Blake, welcomed her 12 students and we all introduced ourselves. She explained the class procedure: critique on any paintings completed since last class, lesson of the day, painting time and quick critique at end of class. She will show us a variety of methods of creating abstract paintings. We will be using acrylic paints.
The lesson began with teacher demonstrating creation of an abstract picture from a photo, and she had a variety of photos from which we could choose. The first step was to draw the general design of the objects in the chosen photo in a rectangle. In the second rectangle, enlarge some parts of the original drawing, diminishing or omitting other parts. Repeat for a third rectangle, and the picture is becoming abstract. Repeat again in a fourth rectangle and by this time, there should be no recognizable object in the drawing. In abstract art there must be no recognizable forms.
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 – Part-2
Money is not the only reason landscape painters should teach a workshop – and may not even be the primary incentive. Artist Li Gardiner says that her workshops stimulate her own creative juices, help to relieve artists’ block and give her ideas and inspiration for future work. Within the arts community, an overall increase of exposure results from teaching workshops. Artists add students’ names to their mailing lists for future workshops. Students return and often bring friends who are interested in painting.
Artists who teach other artists in their workshop report that they are great avenues for networking. Artists find that by maintaining contact with each other, they are more effective at creating and marketing their own art than those who go it alone. In addition, teaching lends an aura of authority to artists. Being a voice of experience can lead to opportunities in other areas, such as writing articles or books.
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.
Love and Anger of the Landscape Painter
Love and anger are two of the motivators for making art. Due to economic conditions, disabilities, peer pressure, teachers or others, a few landscape painters are able to fight the uphill battle to at least channel their anger and daily they are driven to “show the world”.
“Other creatures take a more gentle and loving approach. The finding of love within our work unlocks the studio and prompts the action of hand and mind. The extraordinary prevails and even ordinary and well-trodden subject matter can be freshly explored and rejuvenated. Between the turning on and turning off of the lights there’s a span of privilege. Held steady by the gentle hand of love, we begin, we keep going, and we sign off. There may not be a higher calling,” said Robert Genn in his January 6, 2012 newsletter. “Love does not just sit there, like a stone; it has to be made, like bread, remade all the time, made new.” (Ursula K. LeGuin)