WHY DO ARTISTS PAINT? Part 1.

My latest shell drawing has advanced somewhat since I last posted an update. I still have tone and texture detailing to add, but I’m pleased it’s at the ‘interesting’ stage at last.

Why do artists paint?

This was the question posed to me by Tasmanian artist Edna Broad the other week. Before I had a chance to respond, she answered, “Because they don’t know when to stop!” There’s a lot of truth in that.

Why indeed do artists immerse themselves in their art for hours at a time and longer?

I meet many artists thanks to my roles as a curator, teacher, judge and radio commentator. Some of them ‘live and breathe’ their art, others are more secretive. One thing all dedicated artists have is passion, that ‘fire in the belly’, focus, belief and most importantly, motivation and discipline. Artist don’t retire, it’s just that their work gets fuzzier and more abstract with age!

My favourite Australian painter Lloyd Rees got better with age. His later work was full of mystery and intrigue. He didn’t have the physical control he no doubt would have liked, but he had decades of experience that taught him how to say so much with so little. Our country has been blessed by Lloyd Rees’ contribution to art.

I believe that artists are not made; they are born with an ability to express themselves (in this case) visually. Yes, they all need some form of training at some stage, or someone to ‘unlock’ their creative potential. There’s something inside that drives you, urges you to express yourself. Some artists are driven by anger, joy, pain; whatever drives you needs to be fed, nurtured, encouraged and challenged. Complacency in art is dangerous as is painting to a formula. Artists must grow; they must mature as one’s thinking matures with age and experience.

What you are trying to say is one thing, how you say it is another.

Richard

ADVERTISING YOUR ART

As soon as you mention the word ‘advertising’, you mean money and finding such money to spend in this way is not always easy or appropriate. I have been saving for a new (Mac) Laptop that I will order next week. I’m buying it so I can write a book on coloured pencil drawing. I have experience in journalism, print design and production, and hope to do all the design and layout myself.

An opportunity arose to advertise in a local ‘Coffee Magazine’, a glossy production in which I was the only artist featured. I have enclosed a copy of my advert, which I designed myself. It was printed at 300dpi, not 72dpi as is the case with this Blog, and it came up a treat.

Such advertising is a gamble, but I thought I would try it and see if I get any response. The magazine has been out for two weeks, but as yet there have been no replies. At least I can claim the expense on my tax!

If you want to pay for advertising make sure it’s within your budget. Better still, when an opportunity for free advertising comes along, grab it!

I am supporting a local Foundation in a fund-raiser and as a ‘thankyou’ they are displaying some of my business cards and an A4 poster, a copy of which I have included below.

Richard

LABELLING YOUR ARTWORK

On several occasions over the past three years I have noticed that some artists have not had a label or some written information on the backs of their paintings. I find this quite astonishing. When checking such paintings against a catalogue, I have at times struggled to ensure that it had the right title. Can you believe that! It’s either a case of artists forgetting or not being bothered.

Labelling your work is important and also adds to the professionalism of how you present your work.

I have designed  and printed my own labels and attach them with double-sided tape, usually to the centre-top of my paintings. My picture framer attaches his label directly below mine along the bottom. Such attention to detail is not only informative, but shows that you take pride and are serious about your work.

I am in the process of designing a valuation certificate to be attached to the back of my work to confirm its authenticity and value. I want whoever purchases one of my paintings to know they are getting value for money. My framer is also an art dealer and certainly knows his stuff!

Richard

BUSINESS CARDS

Every artist who wants their work seen in the public domain needs a business card. It’s the perfect reminder to someone who has seen your work on how to contact you, and where to see more of your work.

You can leave your business card just about anywhere, it’s advertising in a subtle way. I always encourage the artists I show in Cafe Eleven, in Launceston, to leave some cards on the main counter. You never know when you may get a ’sale’.

There are sites where you can get a limited amount of cards for free. I paid for mine and was impressed by the service of the company I employed. I designed my own card and the logo featured is from the one I designed for my website.

Having a personal logo on your card is a good idea as it makes your card more eye-catching. Don’t have too much information, just basic contact details and make them clearly legible.

When I was teaching at a secondary college (grades 11 & 12) I was responsible for the graphic design syllabus. One of the topics concerned the design and manufacture of business cards. I am also a collector of business cards form all over the globe. I have nearly 4,600 in my collection.The variety of business cards is amazing! Have you got one?

Richard

NEW CP DRAWING

“Shell Study, Baker’s Beach, Northern Tasmania”,

Prismacolor pencils on Canson pastel board.

This week has resulted in  a new drawing which has reached the ‘blocked-out stage’. I am now ready to add the details of texture, light and shadow to give a more three-dimensional feel to the composition. I am going to put the drawing away for a few days and start another drawing, this one featuring river stones.

It’s good to take a break after a long stint at the same drawing. Giving yourself some time away enables you to look at the work with ‘fresh eyes’. You can get too familiar with the same drawing over an extended time. There is always the temptation to get it over with and move on to something new. No carefully planned artwork deserves to be rushed. The process must be enjoyable and the product is the reward at the end of its creative journey!

Richard

DO YOU HAVE A STUDIO? Part 2.

In the early 1990s I, had a large garage partly converted into my first “real” art studio. It was fitted out with racks to store my paintings, a large table, a wall to hang framed artwork and a small sink. It worked well for me until 1997 when I sold the house and moved to my present location.

The house I bought has two levels and my studio is downstairs. It isn’t what I would call ”perfect”, but it does provide me with the space and privacy I need. I have an area in which to draw, an area for my computer and the usual storage racks, shelves and cupboards. There is a large easel which is presently located in the garage. The only thing I would like is a little more space and ceiling height! My light comes from an easterly-facing window and sets of fluorescent tubes. It gets a little cool in Winter, but I have a reliable heater.

I spend around 40 hours a week in my studio, usually at least some part of every day. This is my space, my reclusive world where I can “think and do” all that is art-related. I need this type of space, this environment, it’s my haven, away from the rest of the world. I always work alone and have few people visit, as I want the creative process I work through to remain as private as is possible. It’s different when I teach and demonstrate, but I do that away from my studio.

I feel extremely relaxed when I enter my studio, ready for a day’s work. If though, I am suffering from “artist’s block” I read, research, or even head for the garden for some time-out, and it works!

My studio has been a much greater part of my life since my retirement from art teaching at the end of 2005. I do not take having such an area for granted and am truly grateful for having it and the creative drive.

What kind of studio space do you have?

Richard

DO YOU HAVE A STUDIO? Part 1.

A view of part of my studio showing my drawing table.

Every artist should have a studio! That’s great in theory, but it’s not always the case for every artist. For those who are able to have “their own space”, it provides the perfect opportunity to “do your thing”.

“Studios” can be a room, a shed, attic, basement, even “part” of a room. Not everyone has the space available to set up their equipment and leave it ready to be used at any time.

For each artist their own studio is vital as it provides the space and atmosphere to think and create. Once you enter your studio you are in your own world, you are detached from the outside world. Artists need to have the right environment to work in.

What do you have? Are you happy with your working environment? What is the perfect studio?

An artist’s studio can reveal so much about their personality as well as their work. I remember “wading” through one particular artist’s studio, trying to find the right area in which to take some promotional photographs. There was plenty to see, but it was everywhere!

I don’t think it’s such a great idea to have everything neatly arranged. Sure, you need a system, but one that suits you. We all work differently with different results. As a curator I get to visit many artists, often in their studio and I love not only seeing their work, but how they work. One of my friends, an excellent painter, has a downstairs studio facing East. The morning sun makes a magnificent entrance through the windows. How inspirational is that!

Whatever space you have it’s important that it works for you. In my younger days as a teacher (of Art) I had a variety of spaces in the various flats that I lived in, usually lounge rooms. When I got married I was able to have a room to work in. Today I have my own working, practical studio space that serves me well. This though isn’t “perfect”, but I make do.

Tomorrow I will talk about the first  “real” studio I had on the 1990s.

Richard

KEEPING IT SIMPLE

Today’s drawing is of Lake Pedder in Tasmania’s Southwest. What is interesting about this drawing from my point of view, is that I drew it quickly and with the minimum of information.

I admire artists who have the ability to “say a lot with very little”.

Richard

A DIFFERENT STYLE 6.

Upper Blessington Landscape,

Polychromos pencils on cartridge paper.

Today’s featured during is from the late 80s and is typical of the work I was doing at that time.

I went through a period of producing very ‘free’ work that was quick, even spontaneous at times. If I ever ‘revisit’ that style again, I wonder how will my work look? I must try one day!

One thing for sure is that I will need to use Polychromos pencils as their firmness and sharpness make them ideal for such ‘quicker’ work. Choosing the right paper is important. I found that smooth papers worked best. The pastel board I currently use would not be suitable as there is too much surface ‘tooth’ that would physically distract from the free-flowing lines that this style requires.

Richard

USING A GRID

Grids are are excellent way to draw up your composition with accuracy. The more complicated the drawing, the more grid tiles I use.

Drawing freehand is fine and is a method that I still employ from time to time, but grids are far more accurate.

Today’s photo of a slice of bread is a good example of when a grid is needed. The bread is now a landscape feature, actually it’s a section of coastline. It is vital to get the proportions right, hence the employment of a 32-tile grid.

How do you draw up your art?

Richard