Skip to main content

What Will I Have to Show for Months of Shelter in Place?

So, reader, let's jump right in. It's week six (or so) of California's shelter in place for Covid-19 and after much thinking, journaling, dabbling, I've decided once and for all I want to "figure out" this art stuff or quit. Well, maybe not quit, but at least decide not to be a "real" artist and instead just play. The problem is, it's not in my nature to just play.

Composition #1. My drawing skills are rusty,
to say the least.
Here's the plan I've been using for years, which really hasn't been working: order more books, watch more videos, buy more online classes, take more in-person classes, try this method and that method, get confused, go insane; repeat. But with all this time on my hands and no outside distractions, I've had a chance to ponder, what do all these other artists I admire have in common? I've decided it's a dedication, a plan, a method of self-study. So I've borrowed from a few of my heroes, and I've created my own plan. I'm going to do a "composition a day" (thanks Ian Roberts), then I'm going to paint a daily small painting (thanks Bob Burridge and Carol Marine), and I'm going to write about it here. For my own sanity.

What do I hope to accomplish? A joy for painting/making art (which right now, honestly, is just not there). An understanding of what medium (media?) is right for me. (Watercolors are on my s--t list right now, and I'm dabbling in acrylics, but three years ago it was dabbling in oils when I was mad at watercolors, and then pastels are on my mind, which I've bought but never really tried, and don't forget collage, UGH, can you say mixed media? I'd like to be accomplished with at least one, first, before trying to combine them all.) And finally, a painting (or many) that makes me happy, that I'm proud of, that I feel came from me and not from someone else's influence, a painting that I look at and think, "I created that, and I like it, and I'm proud of myself." This last one is tough; I'm a hard person to please.

Comments

Popular posts from this blog

Mean Critic Meets Scary Progress

I'm continuing to work on my value studies and bouncing all over the place, both with subject and with medium. I swear that one of these days I'll find my lane. There are things I like and dislike about oils, acrylic, and watercolor. There's not a perfect medium, but oils sure are easier for working on composition and value.  As the year is coming to an end, I'm wrapping some things up and getting ready to launch other things. I went through my last three years of paintings (about 150) and categorized them as keep for myself, make available for gifts or purchase, or repurpose (at first I had labeled them trash, but that just seemed so mean, and I really can use the paper for other things). With the gift/sell category, I created a PowerPoint file with all available paintings, categorized by subject. Each was labeled and priced...a scary declaration on my part that my creativity is valuable. In the coming year, I will use this file to create a new website for my growing a...

Down the Value Study Rabbit Hole

What's the best way to create a value study for me? I'm trying to figure that out. And how to paint from it once I've done it? I'm trying to figure that out, too. Been re-reading Ian Roberts' Mastering Composition . Have re-dedicated myself to working on a value composition a day (my original goal). He promises that a year of these daily compositions will make a HUGE difference in my art. Even with the few I've done, I'm seeing improvement and I'm asking a lot more questions, which I think means I'm on the right track for me right now.   Overall, I've done five value studies of the rose, and it's getting tedious. But each one had me asking another question, so I continued on. It was a great exercise, trying different methods. I should have done one last one, a pencil sketch, but I've run out of steam. What's interesting, though, is that they all look similar yet different. Referring to the quad image at right, the simplest studies (3 ...

Finishing My Acrylic Complementary Study

I'm rereading Carlson's Guide to Landscape Painting, as I've decided that I really miss painting landscapes, especially in plein air, but the reason I stopped doing it was because I wasn't happy with my results and I wasn't making progress (ugh, watercolors!). Carlson's book is  DENSE. I gave up highlighting it because almost every paragraph would need a highlight, but I am typing up notes as I read, with the hopes of eventually creating a cheat sheet for myself.  One of the first lessons he writes about is his "theory of angles," where, for an average landscape, the sky, ground, trees, and mountains have certain relative values. Thinking about the six studies I just completed , I realized that I had arbitrarily assigned the sky a mid value, to make the house more the focal point, but according to Carlson, the sky should be the lightest value of the natural objects. Oops. So I redid the value study, using his theory. I kind of like it. Looks more ...