Party time!

Sunday: Friday night "CELEBRATIONS" took a few days to recover from but what a way to celebrate the finish of any good project! Until now I never thought much about that as a painter.....design projects yes, but not painting. You work real hard for 3 or 4 months and you get to have a party at the end! This was just like finishing an installation....well in the end this was a project of sorts, not about a single painting but a cohesive collection of work, including the end party!

It oddly gives you a fresh start..... nothing on the easel, no punch list, absolutely nothing but a clean break to think or not think about what's next. My time is my own.....for awhile!

One of the down sides at parties is photography always suffers. I have few to none of the actual party. Your time is no longer yours once the bell rings. I do have some eye candy tho...:=)

 EYE CANDY
Welcome Debra to the Stravitz!

The gorgeous Debra at my side waiting for opening bell

Saki was never served better

All the wonderful sculpture is by the very talented Dick Stravitz - this one is just "perfect"

TIME TO GO
 

She has a favorite

MY FAVORITES!

 We did it!!!

 

Varnishing and primping

Friday: One of my favorite back house chores is varnishing! Something I wasn't really sure would happen on this particular collection. The unvarnished handcrafted look is very appealing but it would mean giving up some important depth and clarity. Varnishing as everyone knows magically brings paintings back to life - crisp and clean looking. Matte varnish might work if I had a good source equal to Gamblin's GAMVAR picture varnish.......but I don't. In the end, as I knew it would, depth and clarity won out. It did dry to a low semi-sheen because I applied it sparingly.

Linen is susceptible to atmospheric changes which can cause canvas to loosen up a bit. A quick water spray lightly on the back side gets things tight as drum again...... Water shrinking is useful at the front end on a larger canvas. I don't use the stretcher "keys" because water shrinking works in my situation.

I also check to see if any additional cross bracing is needed.....especially if you water shrink. It can put a lot of tension on longer bars and occasionally cause centers to cave in.

In between all this, stretching canvas for the next collection will sneak in. I won't start painting until this collection is hung and the reception next Friday night in over.

THINGS LEARNED 

As a daily painter, I'm really excited about the progress made over the last 3 1/2 months. Perhaps the most important part for me was simplifying my subject range to one, coined "Singular Focus".

Painting with a plan made me think more broadly why I was standing at the easel everyday. It was not to simply paint a painting, but a cohesive collection of paintings to fill walls. It kept me engaged throughout the entire process because each painting lead to the next and so on. Will it do the same with a gallery audience? Opening night tells that story well...

Increased efficiency was significant using the "Singular Focus Concept". It also made a difference in the quality and advancement department.... which I was more interested in. I can comfortably produce "X" number of paintings over a 4-month period, enough for any exhibit, using it. However, uninterrupted time was essential. Keeping appointments after 2:00 and barbarian tasks only between painting worked well maintaining focus.

I narrowed down my canvas sizes based on potential exhibit needs and previous sales experience. This also allowed me to take advantage of the most economical roll cuts.  All my canvas going forward, regardless of size will be on 1 1/2" gallery wrap for display versatility. Meaning, able to be shown with or without frames - who could ask for more....well? GOOD SUPPLIER SALES!

I also found a floater frame I'll use exclusively on the next collection from JFM, my framer.

The most unexpected thing was an added reproduction capability because of a tour and my signing with the World Art Group last week. I'm looking forward to a long association. The next collections will have an additional focus......quality reproductions. That means 1st class high resolution images will be secured during the process, not an after thought as it was with this collection. The door is certainly open there, but once the paintings are in a gallery........nothing is certain.

Saturday: I had to paint the bottom edge of 942, one of the first paintings in the collection. actually it was the concept painting I used that best represented what I was after.

Unfortunately I left it on the easel sideways while it dried..... it gave me some study time. The white lily always bothered me so yesterday I removed it!

BEFORE

942 Koi and Lily 66x60 oil on linen gallery wrap (1-11-15)

AFTER

 

 942-2 Rework (4-4-15)

I ended up doing another pass over much of the upper left pads. I like it better but adding a few pads extending off the canvas might be a good thing?

Sunday: A little painting on 942, structural supports, a few frames from storage and stretching up a canvas made for a full day.

FINAL MOVE

942 Koi and Lilies 66x60 oil on linen gallery wrap (4-5-15)

Works for me:=)

Wednesday: Well, yesterday was a big day, the day everything gets delivered. As expected, it was a long eventful day.......lots of new gallery personnel to meet for the first time. Paintings to hang, lighting and all the rest that goes with it. Fun day even though we'll all feel it today.... The staff however won't get to rest until the last guest leaves Friday night. Yet somehow everyone gets a second wind when the party starts. 

RAW SET UP

kimono

Sometimes the unexpected happens - you use a painting you didn't think you would, a new gallery director and her associate brings in a group of dazzling kimono's from the 60's - things start to happen. The kimono still has to be dressed and fluffed but the game is clearly on.  Does it really need the painting at the top?....perhaps not, but this is also about display and a bit of showmanship too.

The varnish even at a low sheen caused a bit of glare here and there - so a bit of matte varnish research going forward. The mix of framed and unframed painting worked well again. I used the same concept in my last show too. Some simply need a floater or gallery frame to finish them off. Plus the eye feeds on detail changes from one painting to the next. Otherwise it would become sterile....it's kinda like using the same frame on everything.....it gets boring as hell unless its part of an organized design detail. The canvas wrap is fine, perhaps perfect on its own as a statement piece but not necessarily a constant theme. From a gallery's standpoint and the buyer for that matter, versatility is clearly in place with this collection and how it's displayed.

The right painting looks fine on the overall....until viewed as a single wall (below)

 Both gallery wrap - right painting needs a standout

Left has a bronze floater (single wall)

All this might sound a bit silly, BUT! The sales staff will love it once they realize the client can easily see the difference and decide for themselves if they prefer a frame or not. Plus in my case, its a free incentive either way. The paintings value is not based on the frame but the painting itself.....a frame is the cost of doing business. If the client loves the painting and it fills a need and if you've given them a bit more than they expected.....it happily leaves the room:=) 

Frames can be daunting for any collector and kill a sale if they have to do it..... much less pay additionally for it. It's an aggravation like sales tax tacked on at the end. Plus retail framing is truly expensive for anyone.

I'd rather include a frame as an incentive than a discount method to sell original art. It's a method which clouds the true value and hurts the collector who invests in us and our work. Besides the artist, I think the utmost effort by a gallery should be protecting and building the value of the artist and the collector who supports them. The truth of the matter, if the painting fills a need it doesn't require an incentive to leave the room. An upscale business didn't get there by using discounts........ filling the clients needs first did.

If the sales staff does not know what the artist or a painting is about they can't talk intelligently about it to anyone....... Its a real art reading people, knowing when to step back or how to answer, what might seem an innocuous question on the surface but important to them. They may walk in with a need, but trying to pin that down instantly is a mistake. They have to be visually attracted to something first.... if it rings true, regardless of why they walked in, they create a need. It's a process I'm not sure an outsider can influence. We can answer questions, but offering personal opinions about taste - I'm not sure holds water....in fact it could be a serious turn off. Listening carefully and intelligently answer the questions is key....I try to avoid embellishment.

An interesting question, "what do you like about it?," is quicksand when it comes to visual arts.....you gotta hope the person is comfortable verbally translating feelings.....otherwise you could be faced with an uncomfortable shut down.

While many are engaging, many people don't want to be bothered and prefer to make the first move.....you better be ready! Because as fast as they make that decision, they leave if no one responds. I'm in this camp, so like I said, it's a real art!

Thursday: I thought today would be a quiet do nothing day other than get a haircut. However this morning the gallery requested another painting..... of course bigger than will fit in my SUV..:=) So another rental van on reserve for my return trip tomorrow. I'm just glad I have the painting - actually it works out because I can get a floater frame for the painting that needs a pop....small detail but perhaps an important one in a paintings future.

All done

Nearing the exhibt finish line

Friday: Sun is out, time to start that new project! A project I really wanted to start in the middle of my last painting.......the extreme width panorama..:=) Yes I did! Couldn't wait! I modified an unusable stretcher bar and made a 14x60 linen wrap canvas....to my surprise it actually worked!

10:14am: time to play a bit...

NEW PROJECT 959, END OF DAY

 1

Good comparison to a square

 Floater Samples

What can I say, the weather was exceptional. My new floater frame samples came in from JFM and one thing led to another. Before I knew it, an unexpected day off.

Friday: Any painting sessions will be tenuous at best for the next few weeks. The barbarians are starting to loiter outside the cave doors.

There are massive amounts of back-of-house chores in front of me... All (20) paintings have to be varnished or not...... a decision yet to be made. Plus, hanging straps applied, and stretch wrap all my edges.

Canvas wraps are fragile and subject to damage until off the floor and on the walls. I found stretch wrap helps at the front end......even for the framed paintings. Some will be installed in "floater frames" and a few in appropriate gallery frames for a little balance between the wraps.

9:14am: I'm good to go!

END OF DAY

 959-1 14x60 oil on linen gallery wrap (3-27-15)

Saturday: The lily pad structure was well established yesterday with the promise of a lily flower amongst a cluster of pads. Against white they look a bit aggressive.....plus a few Koi poking around. Again I used the dark outline to finish my edges and establish values against the white background. It allows me to paint in my background in one continuous move.

7:30am: time to work.... Today, the flower will command center stage. The white lilies are more demanding than most. Getting white on white to read properly at 30 plus feet is a bit tricky.... What's interesting about this one is a very subtle colour shift reflecting on the wet lily pads. Even though it was a bright day, it just stopped raining. Aside from the extreme width, capturing the rain effect is the real challenge of this project.

BTW all the lilies are from my little deck pond installed a few years ago. The pond has a white and a yellow variety common to the area. Last season I also discovered they were aggressive growers too. The thriving goldfish population doesn't seem to mind tho......no Koi yet.

END OF DAY

 959-2 14x60 oil on linen gallery wrap (3-28-15)

Sunday: Yesterday, the lily was being a real prima Donna, the worst kind! So.....today I'm going to ignore it! Since this will be a broken studio day I'll play it safe and work on refining individual lily pads.

I was invited to see the new Flower exhibit this afternoon at the VMFA....something I'm looking forward to doing.

8:29: Time to paint.....

END OF DAY

959-3 oil on linen gallery wrap (3-29-15)

Detail

Monday: My pads around the lily look a bit messy, somewhere along the line I moved towards the idea of painting lots of water drops....might say this is the setup for doing it.

LOL, I smell impending disaster.....

I enjoyed my experience at the VMFA Flower Exhibit yesterday. The exhibit goes from Traditional Hyper Realism thru the Impressionists...not sure, but about 150 year span. They had a book covering the whole thing I'll pick-up next visit. To my surprise, I was more drawn to the Hyper Realism by the traditionalists.....in fact somewhat disappointed with the Impressionist showing (not the first time). The exhibit shows the extreme differences very clearly.....perhaps unfairly to the revolutionists. My impression and only reference is what I see....not necessarily the intent of the exhibits curators. In that regard, I didn't take the time to read anything much about the exhibit. I was more taken with the visual  and technical achievements in paint produced by a mixed group of past artists.

If you appreciate an artists use of subtle light and colour with great skill, you're in for a Hyper Realist treat. If you, on the other hand, enjoy artists trying to "figure it out", the Impressionists will delight you.....I had a couple of favorites in that camp too. "What's in a name" comes to mind when viewing the Impressionist......the "names" exhibited were great indeed, perhaps not represented at their best in all cases tho.

NOTE: I went to the VMFA site (needed the link) - The big three on the Impressionist side; Monet, Van Gogh and Matisse headlined. Those Traditional Realists......who made up the vast majority of the exhibit.... are not even mentioned. I guess they were used as fill.

Regardless. the "hyper camp" had my attention..... It was clearly commanding crowd loitering. Which ever camp you might find yourself in - the exhibit is certainly worth the trip!


8:11: time to paint! Water drops! What was I thinking yesterday? My last paintings clearly have me sticking my toe in hyper space or some version of it.  Plus...I was more open to the VMFA Hyper crowd yesterday than ever before. Not the polished photo type, but the esthetically crafted sort...

END OF DAY

959-4 oil on linen gallery wrap (3-30-15)

 Detail - emerging water drops

Tuesday: OK! This is sorta fun, making this thing feel wet should be... but my energy on this painting is being sapped! Where do you stop with it! I don't think I'll ever be that polished hyper painter where every detail is refined to death with teeny tiny round brushes. Perhaps not even close to those wonderful craftsmen who speed-bumped me Sunday at the VMFA.

I don't like constants while painting.....or finding myself cornered. Yesterday I found myself not going with the flow, but more concerned about photo accurate detail. In other words, I was "hard coping" my reference. Not my game, never was....unless I was trying to figure out something. So, this is definitely a study painting about a detail.....water drops in mass.

When water and light is liquid, bleeding through colours and shapes, causing edges to simply disappear; indistinguishable only through intense colour. When it happens, it tells me I'm on the right track. I'm not sure that really happens successfully in the hyper world of painting. It's what's added by the artist that makes the difference, and, I suspect it comes with no constants and understanding your subject well.

If all these things happen in unison and a painting glows....almost on it's own.... a painting hits the mark for me. Regardless who did it or how refined a painting might be, it still needs to happen to get my attention. Learning how to translate that using photo references can be a very fine line when it comes to hard core detail.

Following the light with interesting texture and colour effects.....action typically in the moment! Controlled, yes, but open to possibilities of spontaneity.  Something I found can easily be lost during the refining process of this collection. The challenge was and still is finding the balance between that and freedom in aesthetic realism.

All I know, wet-in-wet is ultimately my ruler along with getting the "feel" right visually........it either looks right or it doesn't!

8:02: time to finish 959.....

DAYS END AND FINISHED!

 959 Koi and Lily 14x60 oil on gallery wrap (3-31-15)

Yesterday, I had an extra treat, Jennie (Crossroads owner) and I toured the World Art Group facilities here in Richmond. WOW! Who would have ever guessed we had such a wonderful global operation here in Richmond.....well we do! They license, produce and create art on canvas or paper for a world market....any image - any size. I might add, in a good quality range too.

It has my attention for many reasons - for one, broad based exposure in a market place where my original paintings are not affordable. Most of the population can not afford originals. Why exclude them from enjoying our work? If you can own an original, hey, cool, but there's not enough original work to go around and never will be! I'm asked all the time "do I have prints" well, not really....DUH!

In my defense, it's time consuming and requires marketing expertise. My priority is making art not selling it. Our tour yesterday gave me another option - let someone else do it...:=) The after market royalty money, broad based exposure of art in my book is a good thing.

World Art Group and others like them fill an important commercial need for artists and public consumption.

Wednesday: Aside from a very long blog post, it's been an interesting week.... not all of it was spent at the easel either. I experienced a wonderful exhibit at the VMFA, toured a World Art Group and finished a painting on a very cool shape. A nice finish to my first Singular Focus collection. Not the painting, it suffered from too many interruptions to make it into the exhibit......plus I have to work more on water drops!

More importantly those back-of-house chores can't be avoided any longer. The collection has to be delivered in less than a week.

A weeks worth of paint and canvas - exposed

Saturday: Last night I went to the Crossroads opening - well attended. They had a basket full of good exhibits.... one featured four art friends with a book signing. The entertainment was, as usual, over the top and included children playing violins (missed that). Chatting art with my art buddies and friends is always a welcome diversion from self-imposed cave existence.

Today is about clean up work on 957 (updated photo is on last post) and start thinking seriously about 958, my next project..... because the mood is set for something new.

While blog tinkering, a possible blog title cropped up, "Oil Painter Exposed"......it certainly fits! I guess in the end I don't mind sharing the journey with the unknown. Perhaps useful for someone out there.

Sunday:  Well, yesterday saw an early end to my clean-up work and a foolish attempt to start my new canvas..... I'm so crappy at it late in the day.

The vision is a feel of space.... an important concept in this collection. My last project started losing sight of that "less is more intent".  So, that means roping in this project with fewer design elements too. We'll see.....

8:03am time for work. Clean and simple please!

NEW PROJECT, CANVAS 958 - END OF DAY

958-1 30x66 oil on linen gallery wrap (3-23-15)

Monday: With a fresh start, the 1st pass on my lily and pads is done. As you can see, by omitting quite a few pads from my feeble attempt Sunday, there will be more negative space than before. You'll also notice each design element is now outlined - shown more clearly in the Lily detail above. It makes short work of outside edges and helps proof my shapes. This simple last step helps clarify values from my white canvas. Currently there are (8) well advanced design elements that can be noodled with independently until finished....even before painting in my unifying background. The amazing part for me is, it's done in one movement, so the story unfolds very quickly. The energy that single move produces is a rush that makes the whole thing worthwhile. It's hard to get bored painting when that happens. The hallmark of this collection.

My separated design elements could allow this painting to be easily broken down into short sessions... a workable solution for night painters with a day job. I found most paintings can be staged with a little planning and a good working process.....mine is simple. Its broken down into structured sequences called "the process" listed below. In this case there are (4) with a variable number of sessions for each.

• Lily pads - structure
• Lily flowers
• Koi fish
• Unifying background

Because I have full sessions, mine advance more rapidly with fewer stop points. The more complicated the design is, the more time it takes. I always try to finish each design element in one session....allowing for some tinkering at the end. The 1st session is the most difficult because the structure or base composition needs to be established. The last one caused many lily pads towards the end to be simple rough block-outs.....not my normal way of working.

The lily, my second composition element, was the last thing yesterday and it would normally be left to the second session. The simpler lily pads gave me the extra time so I took advantage of it.

7:33 time to paint.....so today is fish day. It's my third element, actually an important composition detail..... in this case, the last piece to the puzzle. Right now it's still a mystery!

END OF DAY

958-2 30x66 oil on linen gallery wrap (3-23-15)

DETAIL

Tuesday: Yesterday, the Koi, my last piece of the puzzle, caused my painting to be more bottom stacked than originally planned. There were several locations the Koi would have been perfectly happy in, but this seems right with the more negative space intent.

While doing the background, there was a need for some additional balance that happened with some shadowed lily stems just above the Koi and to the left.

However, as it is, it gave me an idea of doing more extreme panoramas, like the 15x66 (crop) below. This is a shape I genuinely like......perhaps more so because it's also more unique.....something different. Perhaps a wonderful balance piece amongst my other painting shapes. It's basically the same size as my 30x30s but more impact! Its an oddly good solution to my small works needs with this collection. The extreme width gives the impression of space - not the cramping fishbowl effect squares did below.

EXTREME WIDTH CROP

14x66 = 924 sq. in.

SQUARE FISHBOWL 

30x30 = 900 sq.in

This 30X30 square using a "cluster composition" cramps the Koi with the fish bowl effect.... easily resolved by reducing scale and running the composition off the canvas. In larger squares, this works without reducing my design scale.....something that's important to this collection.

7:58am. It's that time again......

END OF DAY

958-3 30x66 oil on linen gallery wrap (3-24-15)

Wednesday: Yesterdays work dried so the whole painting was in play. Most of the session was refining lily pads and extending the left lily stems - it did help balance my composition. But, it should  have established that part more clearly in the 1st session with the background. I really don't like working over my finished background. However it did result in some very clever effects.

8:32: Time to work on that lily.....

END OF DAY - SIGNED

958 Koi and Lily 30x66 oil on linen gallery wrap (3-25-15)

DETAIL

Thursday: My last day on a project..:=) It was a good day for some serious concentrated painting and was well spent on the lily and some Koi noodling. Speaking of noodling, noodling can go on forever and ever.  There comes a point when the energy is gone, as in anything really. If your interest is there the energy is too. No second wind is required. Perhaps the interest and energy level test is an easy way to establish checkout time and move on.

This particular painting lead me to another idea....the "extreme width panorama".... and certainly on to the next canvas, 959.......in my book a very good result regardless of any aesthetic value on the table.... something only time will sort out. My job with this painting is done. Aside from the usual opportunities an artist gives a painting, it will either find life on a good wall or end up as dusty storage. Today I'm more interested in the "next one".

I always like the "last day" of a blog post too.  I get to review the week, my wife gets to proof it; find out what makes me tick..... while I get to start a new project....it's a win/win

I'm not sure what the "unknown reader" gets out of it......perhaps some eye candy:=)   

Airing out my art cave my blog got a new look!

Sunday: Time of rest?...Perhaps for some but not cave men, especially the kind that paint! After cave airing and needed body work was done I thought my blog could use a facelift too. So creative juice was channeled to my geek side and the old guy got into the backroom blogger buttons.......forgot how much fun it was to work in our creative digital world. Changed the title too....not quite happy there yet.

The panoramic shaped horizontals, like the new lead painting on my blog has my attention.  I don't do them very often.....if memory serves me right, back in the 60's there was a popular 24x48 size (perhaps there still is).  Never liked them or the size. I guess it was the perfect sofa painting during the low ceiling craze. Not much for low ceilings either...then or now.

During the planing of this show I inadvertently ordered a lot of 30" stretcher bars for (6) 30x30's. I wanted them as my small show canvases. However, after doing one it didn't lend itself well to my intent. The scale was wrong and everything seemed cramped. I still don't have a good solution to a small works painting yet and probably won't. But, I do for the 30" bars....I might cannibalize a 60x66 set and do a 30x66 and a 30x60 instead. It might be fun using one as a vertical composition too.

11:54am time to work. Although it's late, I'm in the mood to start a new painting. Yesterday I stretched a 48x44 linen gallery wrap canvas just in case.

DAYS END

 957-1 oil on linen gallery wrap (3-15-15)

Monday: Can't say enough about yesterday; besides a lovely day outside, and a new blog look, it was also productive for canvas 957. The first pass is done on my lily pads. The important highlights and shadows were loosely established and believe me, nowhere near finished.

This morning I'm not sure it needs my next design element, a full blown lily....I'm thinking only the few buds it has now works better.

9:36am time to work....a simple plan... find a fish or two then establish a background tone. In one sense I am closing up the painting.....not necessarily a good thing unless you know where you're going....and I do. I'm not really looking for "happy accidents" especially in my composition!

DAYS END

 957-2 48x44 oil on linen gallery wrap (3-16-15)

Tuesday: Yesterday went well - can't say much for this photo tho......the background is a warmer grey, not on the darker blue side.......Photoshop magic wasn't much help either.

I still have a few weeks till my solo at Stravitz. It would be nice to generate a few more canvases before making a final selection......perhaps even a few extras to send out to my galleries as a sample of my new collection. With that idea in mind, one of the more interesting marketing moves last week was putting the collection on my website then sending an email link to the galleries who represent me. It was a simple thing when you think about it - I didn't before this....duh! I was going to keep it off my site until the exhibit, but I like this idea better.

I got a good response... they even made selections..... unfortunately, almost identical to each other and of course all were set as my exhibit paintings......now what!

Not that I don't want to give them the paintings, because I do.......it would require more paintings than I was planning and certainly beyond sending out a "few" samples, my original thought. The singular subject may actually be the solution......at the moment, it's a narrow focus field. On the other side of the coin it's also a reason to get up in the morning and paint; although potential artist quicksand to be avoided. BTW....This is how my blog is meant to work..... it makes me think a bit before jumping in full force or making a wrong move. In this regard it works well for me.

If you have 5 or 6 galleries, each will want a half a dozen or so paintings on hand. That's 30 or 40 paintings out there....perhaps 6 months or years work - they won't all be the magic speed-bump paintings either so you need extras. "Required Production" comes to mind here and in my mind self imposed artist quicksand!

One of the unexpected side benefits from this move, was I found their common "speed bump paintings". Not a bad sampling because it was more than one gallery. The collection is still evolving and, as expected, they seemed drawn to the larger works and the later paintings......a good thing, because I would have trouble backtracking. The newer ones are more refined than the first, plus each time I'm more comfortable adding a bit more depth and perspective......much like the last painting 956. If nothing else, all this is a good indicator they like the direction. Maybe I shouldn't worry about it and just do it!

One of the problems of getting up at 4:00am - lots of words between pictures.....blame the dog!

7:46am time to work. I'm going to spend the day on my lily pads...some are well advanced but there's a lot of em!

DAYS END

 957-3 48x44 oil on linen (3-17-15)
(Photoshop is picking up the warm transparent cross light)

Painting in crisp late afternoon sunlight from my overhead skylights.....love it!... because it means break time!

Wednesday: Yesterday was really a long day.... mostly working on my left side lily pads. The lily leaves are visually much more complicated than most I do in one painting. The intense sunlight, one of my favorite things to paint, is harder to capture.... it takes time......sometimes a third pass. So, my selections unwittingly raised the difficulty factor. A bit of quicksand, but it is my nature to do so and I have a long history doing it. It was a defense mechanism I used effectively as a custom designer to keep my competitors at bay. Probably works in art as well - after all, artists thrive on show competitions.....drawn to the money.

You know the old story, you do the creative work and the snakes try shopping it. New clients, if they don't know, might try it but soon come crawling back or end up getting a poor copy.......in fairness perhaps happy, because it was solely about money for them. I promise you there are a few out there in both camps. I was never worried about the competition trying to reproduce my signature look or do it cheaper. They would have to be equally capable, have the same resources, attention to detail, and more importantly know why I did this or that in the first place! Impossible without a lot of compromise......equally true in art and the artist trying to be a "Sargent", Monet or even Rembrandt. It might be technically possible if it where not for one thing; why "this over that" instinctive moves and choices are impossible to duplicate. The tragedy I see, is missing out by not developing beyond our hero's into our own personal signature style...... I would hate at the end to be known only because I painted in the style of another artist or have it on the info tag....."in the style of". I see this all the time in antique and junk shops pushing dusty old paintings. It may be my faith but never my intent.

If a client likes your work and is financially stretched, it's simple, you omit before cutting the quality or compromising the project.....for the artist perhaps a smaller work. Most projects are about solving problems first. If the problems are solved, money is secondary, even for the client........it's an easy sell when you think about it. I avoid the client when money is their first and only concern. Generally that comes out in the first meeting...... I'm not the right guy for them if it's all about money, because I'm wired to solve problems first and foremost - preferably in the process, aesthetically pleasing. When I do, it's a win/win for everyone!

What does that have to do with art......even this painting? I think everything, absolutely everything, if you care about yourself and the quality of your work! Fascinating subject I'll chat more on later.......especially when it comes to art!

9:08am it's that time.......no plan other than continuing my 2nd pass on lily pads. As you can tell by the number 956-4 I'm starting day 4....in case you wondered what the last number represented.

DAYS END

957-4 48x44 oil on linen gallery wrap (3-18-15)

DETAIL

Thursday: I only had about 4 hours to work on the bottom left leaves and do a 3rd pass on my Koi. I'm pretty happy with the shadow part of it now. The background colour is still off in the photos.......I think the problem is light bouncing off my white canvas surface. A lot of the colours I use are very transparent so it does change with light. The upside of doing this is lots of depth in one pass. This painting does have the feel of warm light washing across the waters surface. Photoshop is picking up the effect. If I were to do a second pass, the effect would be destroyed because light has a more difficult time reflecting off the white base. The photos will have to be "off"....sorry.

Picking up from yesterdays rant: I'm not sure if it was, but it was, one of the things I learned early in the game;  know your client and what they expect, give them that, and a bit more. You'll never really have to sell anything to make a living. Art may be the same way......speed bumps sell themselves if they fill a need and annoy the hell out of you on any road with no reasonable need.....except in extreme situations.

In today's world of mass production, good or bad, we have choices. In the end it's space, quality, attention to detail, and craftsmanship that rules and is more desired by those that can afford it. (the ones who, BTW, also buy art) In my experience as a custom designer, they don't want "off the shelf" anything. What they do want is a good solution that fits their own needs. Which explains why they have no qualms about gutting an absolutely gorgeous home they just purchased. Well they liked something about it, but not everything. Regardless, a good design will last and transcend time while the garbage is decaying at the local landfills. The dumpster divers retrieve the "good stuff" first, so even in that eventuality, quality rules! Seems logical it would also apply to the art they buy.

You can be the one who spends your time struggling with clients about money, or you can become good at what you do and command a fair price for your talents, expect it, and get it!

8:46am time to settle down and finish this painting. I'm at day five...and still don't have my lily pads done...gurrr. I really did open up a can of worms with this thing! But, they'll have caricature and perhaps a bit of personality..:=)

DAYS END & SIGNED!

 957 Koi and Lily Pads 48x44 oil on linen gallery wrap (3-19-15)

Friday: I finally got to the bottom of the painting yesterday. It even got signed.....however, today there are still a few tiny items needing a dib and a dab....so I'm not really free to start the next one! Right now it's sideways while the bottom edge dries. Last night while studying it I realized as a top view it theoretically can be rotated and still visually work. This one does that rather well.....nice:=) As cool as that is, I think 957 also requires a full 3rd pass.....even at dibs and dabs certainly another day or so.

Yesterday I also followed up with my panoramic view idea and stretched up a 30x66 linen gallery wrap for my next project.

"art cave existence"

Thursday: Yesterday, albeit a bit late, I started canvas 956, a 48x56 horizontal linen gallery wrap. I did lose a day to "other things". I always like starting a new canvas because I forget the outside spin and know the next 3 or 4 days are real and I get a reward at the end of it.......sounds like a treat for a kept pet. Well, there's a lot to be said for an "art cave existence"....preferably with force field to keep the barbarians from the gate. When working on a canvas, you're frequently in the moment and either move with it or you don't. I'm an opportunist when painting, once the rhythm starts it becomes an original movement. Some marks on the canvas are brilliant and unexpected, executed in a single stroke, and it shows in a painting. Moves that are clean, confident, not muddy or blurred marks a good session in my book. 

8:15 and time to work. Yesterday was a good session. Normally I only get the lily pads blocked out. This time the lily flower and a bud also entered (detail). This particular series of Koi and Lilies was also learning how to paint my structured pond lilies. I normally allow a full day for this alone and expect to do a 2nd pass when it dries. After (19) paintings in this series I finally developed a process that works well. And, in the last 2 or 3 paintings, my lilies are starting to fall in line too. Today I'll let it dry, and add a Koi or two along with my background. In this series I let the design dictate that and the mood, as it develops. 

956-1 48x46 oil on linen wrap (3-11-15)

DETAIL

Friday: My new collection is becoming rather important to me as an artist. It marks a very clear shift from constant research and development to being completely comfortable painting a single subject with a theme. While working at the easel, every part of the body is in synch. The speed your hands and brain can work together dictates how confident your painting will ultimately be. Hesitation does not seem part of the equation when this happens. I wouldn't call it automatic exactly, because decisions do have to be made constantly throughout the process. I think the difference is, they are choices, decisions between a group of known design elements.....I would also include paint colours in this selection process. I suspect this is commonly called "painting in the moment". I actually thought that at the beginning of the series. Now, I know it's not, I'm just simply comfortable at what I'm doing. It's not problem solving as in research and development but knowing what to do next and doing it!

7:55 it's time to work. As expected, my work yesterday was still tacky, so I followed my plan. This is what I got in high gear after about 8 hours.

956-2 48x56 oil on linen gallery wrap (3-12-15)

It's incredible how fast the background unifies all my elements into one cohesive movement. I spent the most time on my Koi which are well advanced for one session and won't require much more attention......first they have to dry. Today my hands will be full bringing up the detailing of each lily pad to match the level of my lily and Koi.  

Saturday: Today is going to be a grim, dark, rainy day at the easel. I'll have to depend more on my studio LED lighting for my sunshine than my overhead skylights. I got used to bright light painting plein air so I like my palette in the sun. In the studio I use between (8) and (10) large lamps, mostly 5000 (closest to daylight) and a few 3000 to 4000 (warm). I'm not sure I need the warm tho. The big lamps are powerful, energy efficient and generate little to no heat. Using direct sun or LED my colour range is infinitely expanded.... certainly superior to any studio light I have ever used.

8:06 time to work again. I like where this painting is going. Yesterday was long and sunny... made more constant with my LED's. I stayed on plan and did the second pass detail work on my lily pads. My second pass also allows me to adjust my colour values laid down over a white canvas. My completed background made it easier colour balancing my design elements. It's really about simple  staging in creating session breaks on a large canvas. Each of these design elements could be spread out if time was limited. The only danger is losing focus......

956-3 Oil on linen gallery wrap (3-13-15)

DETAIL

Today, I'll start with my lily; it's an important element to my design so I want my best efforts on it. I have a small bit to do on my lily pads that I didn't get to yesterday and some noodling on the Koi. This is the fun part.... almost at the finish line, not drained from over thinking, still in the mood, so it will get signed today..........LAST DAY:=)

Sunday: Yesterday went well, canvas 956 was completed and signed off. I had some extra time so I stretched a 48x44 linen wrap canvas.....just thinking ahead.

My energy levels in this series seem to increase with each painting. They don't seem to drain me as some did in the past when I was rotating my subjects....perhaps because I stopped short when one pleased me, not expecting to top it!  Regardless, I expect this series still has a lot of life left in it.

COMPLETED PAINTING

956 Koi and Lilies 48x56 oil on linen gallery wrap (3-14-15)

I'm getting an annoying top glare in all my photos from my skylights......a testy issue with these dark background paintings.

7:51 Time to work or not. I still have to paint the bottom edge on 956. However, my art cave stinks and needs airing out.... it's been off limits and the doors have been locked. A bath and clean clothes wouldn't hurt either..:=)

10 things that worked for me as an artist

When I returned to painting in 2009, I did it with a clear state of mind, not the typical romantic idea of it. I knew it would be hard work. I wanted to approach it equally as a business. That meant marketing and selling my work would be as important as my easel, another tool and my art.

1. One painting at a time - finish it! Good or bad, move on! 
2. Discipline, paint daily, develop subject matter, size and ultimately a signature style.
3. Paint with a coordinated focus as in solo exhibit, real or not.....think like a star, be a star
4. Mastering a singular subject but be capable of painting anything.
5. Know your market and paint for it.
6. Paint large and for the best walls - make paintings deserving of those sweet spots
7. Hughes easels are in my opinion the most efficient and professional way to work.
8. American Art Collector - National advertizing for brand and gallery representation.
9. Fine Art Studios Online - Professional Website at $28.00 a month - can't say enough about that.
10. JFM wholesale framers - you need a resale number

Perhaps each of these deserve more explanation. However, they are meant as bullets... a few of the requirements and products I found that worked well. If you are in the game you'll relate to each of these in your own way. The one thing I found unshakable, the quicksand if you will, the professional artist has to know their market, have champions, a product with a signature look and be prolific!

If possible develop a partnership with your gallery - easy to be friends, hard to be partners.

1. Galleries need closers and some are in a frequent state of change. Gallery ownership is another romantic idea that's really a hard business venture - be wary of that fact.
2. Galleries have to champion you - galleries with too many artists can't do that well.

Before I go to work some eye candy. This painting is an interesting shape and size, perhaps because it's more custom and not commonly found. One of the things the affluent buyer looks for......uniqueness in their lives and environment.

EYE CANDY

947 Koi and Lilies 40x84 linen gallery wrap (2-15-15)

A weeks worth of paint and canvas

Saturday: Sometimes I get negative or annoyed when something doesn't go to plan. Kinda normal I guess. Some things can certainly cause derailments.  Some more serious than others. Fortunately, our nature is to get back on track. The more serious stuff I frequently call quicksand and it's not exclusive to any career choice.

Speaking of choice, as artists, we can be a successful artist or a financially successful artist. The latter becomes a career choice, a profession, and commands the title Professional Artist. It begs the question " is the non selling artist any less a professional"?  It probably doesn't make a big difference.  Look it up, it has variable meanings. Although commonly it's referred to as education and a means to a living.

The artist can sell or not and be clearly satisfied producing a good painting; perhaps teaching, joining organizations and doing juried shows. They can enjoy the pleasure of the occasional sale as a testimonial to their achievements and the fact someone loved their work enough to pay hard earned money for it. I expect all artists in any field do their craft for exactly the same reason.... they have a natural ability and do it. I don't think any one choice has more passion attached to it than another. We are predisposed to gravitate toward things that interest us....if you can make a living at it, even better. In the end we all have to make a living.....unless supported or we're trust fund babies.....not lucky there, sooooo..... like most others I rely on my own devices.

My blog has always been more about marketing than "how to paint". I am, by nature, someone who passes information on to others primarily to get things done. My position was unique as a custom designer and it placed me squarely in the creative end of things. Over time I became organized and disciplined because I had to solve problems daily; mostly design, production and delivery... but it also included sales. Creativity was more important there because you had to sell an idea; the concept with a few samples, graphics and waving hands.... But more important, with words of confidence! In truth, a reputation for quality and attention to detail has to precede you before the checkbook really opens. I learned quality and execution ruled even if the budget didn't hold. They didn't come to me because of the budget but what I could deliver. Art is no different! Art and good design is a luxury few can really afford......unless they can do it themselves. The planet has it's share of those trying. 

It's 7:40 am and I have to start work. Yesterday I completed my 2nd day on a 56x48 canvas. The first pass is done on my lily pads and yesterday was spent on the single flower...... Today I'll install my Koi and paint in the background. This, like all my canvases is a gallery wrap and I'll paint the sides along with my background. I found it to be more efficient and aesthetically pleasing if it is in one movement.

955-3 56x48 oil on gallery wrap (3-6-15)

Sunday: The clock moved forward last night, so my work day might start a little later but not for awhile yet.

I recently made an important career decision to master a single subject, Koi and Lilies. Given my limited time frame it made perfect sense....at least to me. In the past I rotated my subjects.... it helped keep my attention span in focus. It wasn't a waste of time because there's not much today I can't put down on a canvas.....painting is second nature. I also removed most outside distractions to give me more time at the easel. BTW the Hughes easel is an extraordinary piece of equipment for any artist, professional or not.

This might have come about because of another choice I made; painting with another singular focus....the solo exhibit, as opposed to a fragmented way I was working; filling gallery walls with individual paintings for imaginary collectors. The solo, even if it doesn't exist when you start, causes you to rethink the whole....the bigger picture if you will. The solo requires an artist to hold all the gallery walls as a cohesive unit. It needs flow with controlled interest, variable sizes, speed bumps and rests plus a little mood music wouldn't hurt. A serious gallery closer wouldn't hurt either......another time on that subject!

The last months at the easel produced a collection of Koi and Lily paintings for a solo at the Stravitz Gallery in Virginia Beach next month. My last solo there was 2 years ago and I think everyone would agree a financial success. This time it will be a bit different. All the players won't be the same and there won't be any Venice paintings, landscapes or seascapes.... not even a wild pony painting....only Koi and Lilies. They have a fair compliment of previous work on the second floor. This show with my new collection will be somewhat of a gamble for everyone involved. However the collection is done, so no turning back now. 

It's 8:27 and time to work again. Yesterday I completed my 3rd day on canvas 955.... as you can see, my Koi is placed as is my background.......what a difference a day makes!

955-4 56x48 oil on gallery wrap (3-7-15)

Monday: Time moves quickly, especially when you're focused on something important. Yesterday was all about detail.... a whole day doing the 2nd pass on my main design elements; lily pads, lily flower and Koi fish. No question it can wear you out. Of course the reward comes when it works and you get to see positive results.

I think it would be destructive to any creative process if it where interrupted and had to be set aside. In my experience, the mind never quite gets back into the same spot again. I've learned over time it pays to keep the process going until it's finished....for better or worse. For that same reason I choose never to work or think about 2 paintings at a time.... only the one I'm working on......limited brain capacity I guess. As children we were taught never to leave the table without finishing our plate....not sure that holds true today but actually it's the beginning of good work habits. A studio filled with unfinished canvases doesn't bode well for any artist much less a creative individual....it has to be a very unsatisfying situation indeed. Even if you are a daily painter and your time is your own it can still be a challenge keeping the Barbarians from the door. My rule is simple, no chores until after 2:00 pm and only conduct business between paintings. On the last day of a painting I stretch and prep a new canvas or at least think about it.

It's 8:08 am and time to work. Yesterday I did sign it. Today I have a few things I need to tidy up, plus rotate the canvas on it's side and paint my top and bottom edges.

955-4 56x48 oil on linen gallery wrap (3-8-15)

Tuesday: Yesterday I finished canvas 955. My noodling took most of the morning and part of the afternoon. The changes are hard to see here, but it did made a huge difference and was well worth the time. Because I used a full gallery wrap, this painting has a gallery display choice attached to it. It can be hung without a frame, a floater or even a 4" or 5" gallery frame.

I also stretched another canvas 48x56; the same size only I'll use it as a horizontal, not my normal preference, but this size lends itself well to it. Generally, I like an elongated rectangle round twice the height......plus they seem to find homes faster than the norm. 

COMPLETED CANVAS

955 Koi and Lilies 56x48 oil on linen (3-9-15)

If you got to the end of this blog you deserve something extra. My next post will be shorter and about (10) things that worked well for me. Some were revealed in this post.

Derailed Impressionist or what?

Last year was about change, looking for a new horizon in my work. It was so successful I abandoned my blog, my sounding board, and at one point even my easel for several months.

I follow a few blogs and forget some follow mine too. In many respects, it's my sounding board, and sometimes more candid than it should be....that by nature makes it private. However, it is one of the things I enjoy doing in the early morning hours. My mind is fresh, it's still dark, it's a good time to reflect or explore a wide range of ideas and I missed it.....private seemed a good course going forward. But the other day an artist pal reminded me they missed it too. 

Mine felt redundant. My rants for the most part get deleted and my blog title no longer fits. I also don't like labels like impressionists, realist, photo realist or any other ones being thrown out by millions of artists hoping something will stick so they can identify with this or that group. When I first started it seemed important so I eagerly joined all those millions wasting valuable time.

I no longer belong to art groups or do juried group shows and the like.....at some point it no longer makes sense. I'm certainly not painting for them or their walls.....neither am I looking for their approval. Besides, why would any artist want to be judged by another artist as is often the case.....the competition! The one's I do paint for don't know all these things even exist. Are all buyers collectors as commonly coined? Logically no, they have a simple need to decorate their homes. Sometimes that includes original art. The artist can either ignore that simple fact or embrace it and as Liberace who made famous the saying " laughing all the way to the bank"!

This month I'll start my seventh year as a serious oil painter - so for all intent and purposes, I'm still a newbie trying to avoid the quicksand.  I'm also fast tracking, making quick career decisions which include making course changes when it stalls or just trying to figure it out. My blog was meant to be part of the process.....I'm not much at small talk needed on social media like Facebook.....great for staying connected and finding people; some you'd like to forget... but beyond that a waste of valuable time. Time is valuable and we as humans use that resource with reckless abandonment more often than not!

When I look back, my blog reminds me  I did make serious progress with my original goals....actually most were met long ago. More recently new ones were invented to keep the evolutionary ball rolling, if you will..... a tricky situation stirring up the pot like that.

Last year I was like a loose cannon firing in all directions, totally bored and disappointed with the industry as a whole.....some of that has not changed. If I had any goals I don't think it ever hit my target, the mainstream contemporary art market......but on reflection I did. On the surface it looked like I was wasting my time. What I actually went through was part of my own personal process which eventually did lead to a workable solution......I might add, just in time too. It goes back to the simple knowledge of  "why art is bought in the first place"; aside from the current craze "art as an asset class". Obviously not a new thing, but the new herd is bigger with more serious dough. As an artist, it's not my market. It's kind of like the grass is greener on the other side and we want it bad! More waste of time.

The artist who can fill a wall, make the buyer, client, collector or art gallery jump, is the artist I want to be. It's the painting we produce that's important. If it's important it will find a buyer and a wall......the rest is a waste of time.  Also including small paintings, good for secondary walls, more waste of time. Been there, done that, and in my opinion clutter in the larger scheme of a " best wall painter"......the only label I really care about!

If you got to the end of my rant then you deserve some eye candy:=)

953 Koi and Lilies 48x44 oil on linen (2-27-15)

Yesterday I decided to start a new blog and link it to this one. Before I do that, I'll see if I can change the title without losing everyone in the process.