The second of my two unfinished rock drawings is taking shape. This particular drawing is of rocks near the Mersey Bluff, Devonport on Tasmania’s Northwest coast. The first drawing I did is the drawing featured in my blog banner.
Rocks are extremely interesting to draw in that they are (often) so individual in content, texture and character. I hope to have this one completed during the coming week.
Richard
“Far from the madding crowd, DuckReach backwater”, coloured pencil on Canson pastelboard.
At last I have completed one of two drawings that have been crying out for attention for the past few months. I’m glad though I left these until now because I have been able to approach them with a fresh outlook.
This drawing is about a small trout that is hiding from predators in a small backwater in the South Esk River near Launceston, Tasmania.
One wonders how long it will be before the trout heads off in search of food, or will it be the food for something else?
Tomorrow: An update of the second drawing, “Devonport Rocks 2.”
Richard
My entry for next year’s Glover Prize is starting to take shape. The cigarette butts featured in yesterday’s post can be seen on the right-hand side while there are other objects to the top-left that have been added to give a fuller definition to my artist’s statement.
Although I won’t publish the full image at this stage, I can reveal that all of the detail surrounding the main subject is in greyscale. This is vitally important in respect to the contents of the artist’s statement.
I’ve put the drawing away for a month for a break. I am completing some unfinished work, the first of which I will post tomorrow.
Richard
“The things you do for your art”, cigarette butts destined to be immortalised (?) in coloured pencil.
Most artists collect objects of interest which often end up somewhere in their art. I’m no different, I collect all sorts of “stuff” – sticks, rocks, shells, seaside treasures, even cigarette butts! I hate cigarettes, but I had to use some butts in my latest drawing, an entry in next year’s Glover Prize. The theme is “smoko time on the farm”, hence the need for butts.
Tomorrow I will post a photo of the part of the drawing that is home for my recently gathered objects. The drawing itself is very advanced and I have put it away for a month as it has been my constant companion in my studio for the past two months. I have completed one of the two unfinished drawings that were crying out for attention and I will post an image of that on Saturday.
Richard
“St. George’s Island, Lake Sorell, Tasmania”, coloured pencil.
We’ve all grown up to know and love coloured pencils. They were probably introduced to you as a child following your first forays with waxed crayons. Most adults don’t give coloured pencils (CPs) a second thought these days and as for seeing CP art in galleries, well that’s just not on! Or is it?
Attitudes are all to do with education. As a CP artist I have experienced the frustration of having people walk past my work without giving it a second glance. I’ve heard the comments, I’ve watched people stare into the frame and try to work out what the medium is. When they are told they often reply “Oh, it doesn’t look like coloured pencil”. What’s all that about? It’s about how we perceive things, it’s about how educated we are, it’s about our understanding and appreciation of the vast array of art forms on offer.
The more people see CP work, the better. The cleverer the CP artist, the more acceptable is the work because it challenges and excites the viewer. Unfortunately, too many people demand realism and detail ahead of feeling and emotion in the art they “like”. CP does not have to compete with other art mediums, it’s simply another way of art expression. Sure, it has its limitations, but so do all other art mediums. This however, should not stop the CP artist from stretching the perceived boundaries of the medium.
YOU DON’T COLOUR-IN WITH COLOURED PENCILS, YOU PAINT. This is where the general public and the CP artist differ. People think back to their childhood when confronted by CP drawings. If on the other hand, you are clever enough, the work will speak for itself.
I am continually amazed and encouraged, even excited by some of the work I see from CP artists from around the world.
CP is not over-rated, it’s under-rated and under-appreciated!
Richard
“St. Patrick’s River”, coloured pencil on Canson paper.
Most artists don’t think of obtaining sponsors for their art. I’m not referring to art patrons, but support from the commercial world to help you with your work in some way.
About 30 years ago, an art group that I belonged to gained the support from a local car dealer for a series of exhibitions. This was an excellent arrangement and resulted in good sales. The Launceston Art Society, of which I am a member, enlisted the support of a number of local businesses for their centenary exhibition in 1988, again with much success. During the past two years the Society has forged an excellent relationship between it, a local council and a major business that has seen an important and prized art award established.
One other group that I once belonged to even held an exhibition in a butcher’s shop!
Of course such sponsorship cannot be a one-way arrangement. Something has to be given in return. The latter award has realised 5 prizes from local businesses, a substantial major award from the main sponsor, and in return the Society conducts a series of art classes with local schools. This is a win – win situation!
I recently gained the support of a local bakery and a café for my “Bread” exhibition. It took some work to organise, but it worked and I thoroughly enjoyed the experience. I made sure that both my sponsors were mentioned (advertised) when and wherever possible. I was given an excellent write-up and two photos in the local newspaper.
Sponsors can also support you by buying some of your work. It shouldn’t be expected but if you offer them the opportunity, you may be rewarded!
If you’re about to develop a theme that is the subject for a forthcoming exhibition, why not try to get the interest of a business that is associated with your art in some way and obtain some sponsorship?
Richard
Tomorrow: Are coloured pencils over-rated?
“Oatlands Backyard”, blacklead pencil on 300gsm (medium) watercolour paper.
It’s a great feeling when you have your work chosen for a selective exhibition, or you make the final of a major art prize. Winning an award or gaining a commendation, no matter how small, can give you a real boost. People who make such decisions are (usually) respected in the art world and what they say carries “weight” in the eyes of not only the general public, but also artists.
Art critics have a very important role to play; they can make or break an artist with what they say. A bad review though can work in one’s favour as it should result in just as much interest as a glowing report.
The general viewing public don’t count as they are influenced by other factors such as price and their attitudes to art – “I know what I like”. Popularity doesn’t necessarily equate to being a “good” artist.
Fellow artists making such judgements can provide constructive feedback and give the artists concerned a “picture” on how their work is perceived (by them). Artists aren’t that concerned with buying each other’s work, although I know it does happen. They are more interested in the artistic merits of the work they pass judgement on.
I have been to exhibitions where “very average “ artwork gains praise, usually from fellow artists. This is wrong as it gives artists a false sense of achievement. Honesty is the best policy!
If you are passing judgement on someone’s work and can’t be positive, be encouraging!
Richard
Tomorrow: The value of sponsorship.
I love my Canon 350D SLR, 8.1mp camera. I also have a Kodak EasyShare DX 6340, 4mp. Both cameras have been well and truly superseded, but they are still great servants. The former is fairly large and a bit weighty, but I always try and use it in preference to the Kodak because it has a better lens and more options. When I am fishing or bushwalking, I prefer the smaller Kodak.
I take lots of photos, at least 6000 from the past 3 years are stored on my computer and are always there when I need some inspiration or are required for something I’m researching. I certainly value the technology and have even framed and exhibited some of my photographs.
Having a computer allows me to “play” with photos and manipulate them, resulting in some very interesting work that has often led to a coloured pencil drawing.
Many of the photos I take are objects and compositions that I arrange in my backyard. I try to construct “scenes” that are often the subject of my symbolic work. If I didn’t have a camera I would sit and draw my arrangements as I was taught at Art School. It’s very convenient having a camera to record your ideas.
The greatest danger when using a camera is to simply “copy” all that is in the photograph without any regard for the true feeling of the subject. Cameras make it easy, sometimes too easy. You must learn to draw properly (three-dimensionally) to understand all the elements of design. Working from two-dimensional photos can teach you bad habits.
I “use” the camera and find it especially handy when recording the exact nature of light and shadow particularly in relation to the main objects in whatever I intend to draw. I find a lot of art photography leaves me quite “cold” at times. I do however, love digitally manipulated images and see tremendous potential in this field.
By all means employ a camera as an aide, but keep it under control, never let it take over as your identity (individuality) as an artist will be lost.
Richard
Tomorrow: How important is recognition by your peers?
A “snippet” from my current drawing.
It’s another lovely Autumn day. The sun is sitting proudly in the sky but its warmth is somewhat mediocre. Outside my studio my aviary is full of the sounds of contented budgerigars, their pleasant chatter echoing around the neighbourhood.
Inside where I am working on a very large drawing, talkback radio is broadcasting responses from an unhappy audience. I’m on-line; E-mails come and go. I’ve finished the post for one of my two Blogs. “Why does he have two Blogs?”, I hear you say, but that’s a post for another day!
My drawing table hasn’t seen much daylight for some time, as it’s been home for a (very) large coloured pencil drawing that I intend to enter in next year’s Glover Art Prize. It’s a slow painstaking process adding all the required information. Colours are often re-applied, additions are made and there’s the occasional correction.
I’m about 60% through the journey and overall, it’s been a pleasant experience. Before I started, I conducted a lot of research. I didn’t want this one to fail; it’s too big and time-consuming to spend 6 months for no result . Of course I may not pass the selection stage, but I have to accept that this may happen. If it does, I shall enter it in another prize. I will never give up trying!
I have nearly finished adding the main detail to my drawing and the composition is about right, although I will be adding a deal of “macro” information at some stage.
My forthcoming artist’s statement must be visually accountable. This document is vital in explaining what the work is about. In this piece there is a lot more than meets the eye! For once I actually thought of the statement before I had finished planning the drawing. The idea just came to me one day when I was examining the object in question. I have since developed the statement a little further, but it’s made me more aware of how important it is the relate the statement to the content and intent of the drawing.
I’m having some difficulties with some of my pencils breaking and this is annoying as I have to revert to sharpening with a knife and this is time-consuming.
Two other half-finished drawings constantly stare at me from nearby. They are due for completion within the next two months.
Well, back to the drawing board…
Richard
“Cottage at Dunrobbin, Derwent Valley, Tasmania”, blacklead pencil on 300gsm watercolour paper.
Today’s post is my 200th since I began this blog last October.
Artists would love to demand and receive a fortune for every piece of work they create, but that’s just a dream! If your work is highly sought after, you belong to a unique minority. Good artwork will gain in value once you have passed away, unfortunately, you won’t reap the benefits!
The reality is that art prices are influenced by a multitude of factors. People will usually pay what they think the work is worth. Galleries set their prices that are strongly influenced by the commission they charge. Art auctions depend on (bidding) demand. Charity art auctions usually realise the cheapest of prices and can “confuse” the art market in regards to the true value of each artwork sold. Artists can set their own prices if they sell direct to their “customers”. The current economic climate has certainly impacted on art prices. Where’s the “consistency” in all this?
How do you decide on a price for your art? When I first began showing my work in 1976, I looked around at the work on display in the gallery where it all began for me. I hung my first painting at 9am and it was sold at 10.30am! I decided on a “humble” price as I was showing with a number of established artists. For my first major exhibition in 1982, I took the advice of the gallery owner and sold 10 out of 20, which was very encouraging as I was sharing the exhibition with a well-known and established artist. Today I take the advice of my framer of 20 years. He is an art dealer and valuer and really knows his stuff. I respect his judgement.
What your work is worth may not be the same as the price you actually get. One cannot value one’s art according to how long it took to create. Size is a fair guide, but you must add the cost of framing as that alone can count for one-third of the retail price. Then there’s the cost of commission to consider. You can also take into account the “cleverness”, uniqueness or success of the artwork in determining a price.
Though your work is individual you cannot expect a high price in the “early years”. As you gain experience you can expect your standard to improve. It is then time to (slowly) increase your prices, say by 10% per year.
Patrons know when artists’ prices fluctuate. I have seen that occur especially when artists make the final of major art awards. Some think that this is the time to exaggerate their price in line with the status of the award. This is not good and indeed is dishonest and can damage the artist’s following and reputation. Granted, if the work is “special”, ask more, but be careful. Don’t be greedy; know what your work is worth. Remember, your “buyers” are to be valued at all times, without them you won’t sell! People who often buy artwork know all about prices. Imagine how you would feel if you bought a painting only to see a similar work by the artist in another exhibition at half the price!
Richard
Tomorrow: My Greatest Challenge: Update
 | artkleko on SKETCHING Part 3. |
 | Donnie Evertsen on THE CAMERA: ALLY OR MILLSTONE?… |
 | Gillian on SKETCHING Part 3. |
| artkleko on ANOTHER ROOM: UPDATE |
| Gillian on ANOTHER ROOM: UPDATE |
