Archive for January, 2012
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)
New Year’s Resolutions for the Landscape Painter
Here we are almost a week into the New Year. Have all you landscape painters made your New Year’s resolutions? What do you want to achieve this year? Usually we make a few resolutions, then life gets in the way, and in a few weeks we have forgotten or neglected our heartfelt desires.
If you decide that this will be “your year”, you will need to: 1) Write down your goals. This gives you the focus to follow through. Make them realistic, but with leeway. Put this list where you can see it every day. 2) Make a plan. Develop a roadmap to achieve the goals and desires you want for this year. 3) Set a deadline. When you have a deadline for achieving a goal, you are more likely to follow through and actually make it happen. Highlight the deadline date for each idea and look at it every day. Challenge yourself to finish each idea by the selected deadline. 4) The “how” comes once you have decided to follow your dreams. So, decide what you want for the year, make a plan, set a deadline for each idea and know that the “how” will take care of itself.
Tips for Getting a Grant by the Landscape Painter – Part 2
Yesterday’s article about getting a grant for the landscape painter continues: Like the project you’re proposing. Only apply to a fellowship or propose a project that you’re actually interested in doing. Most programs have specific requirements for applications, so make certain you understand them. For example, if you’re not a sculptor, applying for a fellowship to support sculptors is not for you. Follow the proposal submission directions meticulously, with attention to page limitations, font size, spacing, number of copies, etc.
Be professional. Proofread your application for typos, misspellings and grammatical errors. If images of your work are required, provide high-quality photographs or digital files. Program themes and qualifications can and often do vary from year to year so always be certain you have a current grant prospectus. Don’t procrastinate in requesting letters of recommendation: Asking colleagues can be intimidating, but don’t put it off! Writing good letters will take your colleagues some time, so give them ample notice.
Tips for Getting a Grant for the Landscape Painter – Part 1
These tips are listed in the January issue of the Artist’s Magazine and are important for the landscape painter to heed. Search online for opportunities. The internet provides a wealth of information. Network with members of local art associations, such as city arts councils and sign up to receive the clubs’ newsletters. Be conscious of the application deadline. The application process will take time, so start preparing early.
Be wary of application fees. Most legitimate groups that distribute grants and fellowships are nonprofit organizations and don’t require fees for applicants. Many programs are theme-based; therefore your application should directly address the theme. Understand all budget restrictions. For example, if the granting organization is unable to provide support for capital equipment, your budget cannot include funding to buy a camera.