View from Simiane, Provence

Oil on Linen - 20x16"

SOME CLASS STUDIES

NEW SHOW IN MARCH AT 20TH STREET GALLERY

40 x 40 " oil on linen

20th Street Gallery, 911 20th Street, Midtown Sacramento - 916-930-0500, will be showing some new works from Provence in March.

http://20art.net/upcomingevents.asp

I'm showing several large pieces and some medium pieces, landscapes from Provence and Giverney.

Check back for more information and new paintings for the show.

Romance is Red, oil on canvas, 12x12" $325.00 Hang It Up Gallery

Reception at the gallery on Saturday, January 30th, 6 to 9pm. Wine and appetizers. More than 20 artists presenting original works for the Valentine's Day Show.

More Good Stuff From Fine Art Views

Just wanted to share the latest blog from Fine Art Views. Just what I need to hear right now. Above is a photo from last summer in Avignon, France.

10 Tips for a Better (Painting) Life

by Louise B. Hafesh

This post is by guest author, Louise B. Hafesh. This article has been edited and published with the author's permission. You should submit an article and share your views as a guest author by clicking here.

Last year around the holidays, a good friend sent me a list entitled: "40 tips for a Better Life," which I have since seen published with various additions and deletions as "Enjoy the Ride," "45 life lessons and 5 to grown on," "20 tips for a better New Year."

As I read over the 40 inspiring tips, I realized with a little tweaking, some of the themes could easily be applied to us artists and set about drafting a version that became my 2009 New Year blog post. Heading into 2010, I took up the challenge again. Here, then, revamped are my "10 Tips for a Better (Painting) Life."

1. Set consistent work habits and painting goals; then stick to them. Start each painting session by abandoning preconceived notions and stumbling blocks.

2. Be true to YOUR 'art and soul'. Encourage your inner vision; listen to your private voice; let your imagination soar, and don't concern yourself with what others may think of your work.

3. Take short breaks, particularly when you've hit a rough spot or are experiencing a painting block. Stand back from your canvas on occasion. Quietly review your day’s work and take it all in with a fresh eye.

4. Take pleasure in the painting process. Continually advance your skills. Read instructional books, attend workshops and exhibits, frequent museums, and study the masters.

5. Be generous with your knowledge. Whenever possible, exchange ideas, tips, techniques with other artists. Fine Art Views ("FAV") is a great place to start, as are Facebook and Twitter. The more you share, the more you learn, and the benefits of networking are limitless.

6. Be passionate about creating your art, but do make time to nurture relationships. As in all things in life, balance is key!

7. Clear out the clutter from your studio. It will help you hone in and focus. Reassess unfinished work. Categorize as salvageable or not. Discard or sand down any canvases that don't make the grade and start anew.

8. Learn from the challenges that each painting offers and move on to your next masterpiece. Keep a positive mindset and resist being over critical. Give yourself the right to make mistakes, a free rein to experiment. Remember, oil paint is forgiving, can be wiped out if wet; painted over when dry.

9. Bring HEART to your work. Treasure wisdom and innocence wherever you may find it.

10. Work from promise not fear... the best is yet to come! Think of that blank canvas as an opportunity to color your world!



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This article appears courtesy of FineArtViews by Canvoo,

a free email newsletter about art, marketing, inspiration and fine living for artists,

collectors and galleries (and anyone else who loves art).



This article originally appeared at:

http://clintwatson.net/blog/16278/10-Tips-for-a-Better-Painting-Life



For a complimentary subscription, visit: http://www.fineartviews.com

Who is the Contrarian Art Marketer

"Nightfall, California Coast"

Oil on Canvas mounted on board, 30" x 40"

"Fall Colors, Napa"

Oil on Linen, 20" x 30"

I am the Contrarian Art Marketer

by Clint Watson

This article is by Clint Watson, former art gallery owner/director/salesperson and founder of FineArtViews. You should follow Clint on Twitter here.

"Be fearful when others are greedy, and greedy when others are fearful" - Warren Buffett.

Warren questions the wisdom of the masses, and thus wasn't invested in dotcoms in 2000 or residential real estate in 2008.

Just because something is popular doesn't mean it's a good idea. In fact, in investing, it often means it's a bad idea. This is sometimes called contrarian investing.


I'm the same way. I question everything. And the more popular something is, the more I question it. You can call me "The Contrarian Art Marketer."

There is definitely an online "echo chamber" effect out there. And when an idea starts echoing loudly, I start questioning it.

The echo chamber tells artists that SEO is extremely important, but I say it's not all that important. The echo chamber says that you need to develop a USP, but I say you are already developing a Wordless USP. The echo chamber says that having a really professional looking portfolio and image is important, but I say chill out - that's not all that important either. The Echo Chamber goes crazy over Facebook, but I'm not so sure. The Echo Chamber currently loves Twitter, but I questioned that too (and have sort of had to eat crow on that one). The echo chamber thinks a gallery must be in a great high-traffic location, but I used sell tons of art from a location that had zero walk-in traffic.

I'm sure that as the contrarian art marketer, I've missed the boat on some of my thoughts, just as I'm sure Warren has missed some good investments opportunities. But overall, it's served me well.

And it can serve you well too.

When "gurus" give you advice about your art career and ideas about marketing.....question it. Question everything. Especially if you're being charged for the ideas.

Question everything, and if it's an idea that's echoing loudly, or there's money to be made (like, currently, in selling "social media courses") be skeptical. However, try to minimize the chance of discounting an idea too soon (like I did with Twitter). When considering an idea, ask an artist who actually sells a lot of art what they think of it. Or at least ask someone who has a track record of selling art. Trust your gut. Does it make common sense? Can you find an example of an artist who's been successful with the idea? Or better yet, more than one? Will it hurt to wait a bit and see if the idea is a fad? (Waiting has been one of my best strategies. I've watched online services come along, gain traction, get hot and die before I had a chance to "check them out.")

Importantly: does it take you away from creating in your studio?

The most important thing you can be doing is creating your artwork. So even if an idea is "good, you might want to skip it for better uses of your time. You need to focus on the ones with low-time investment and high-payoff...so that you can get back to creating.

Sincerely,

Clint Watson

Software Craftsman, Art Fanatic, Contrarian Marketer
PS - sometimes ideas that were once "hot" fall out of favor, but remain effective or become even more effective: Hence my personal penchant for art marketing with phone calls and, especially, email newsletters. Newsletters are relatively low-time investment and high payoff. For most artists, SEO is a high time investment and a lower payoff.

PPS - "Questioning Everything" includes questioning me too. Everything I just wrote could be wrong. :-)

This article appears courtesy of FineArtViews by Canvoo,

a free email newsletter about art, marketing, inspiration and fine living for artists,

collectors and galleries (and anyone else who loves art).



This article originally appeared at:

http://clintwatson.net/blog/16163/I-am-the-Contrarian-Art-Marketer




For a complimentary subscription, visit: http://www.fineartviews.com



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A Couple of "Almost Done's"

A Good Start

Christ was born for us!

Hey All,


I taught my last class of the year last Wednesday. Class will reconvene on Wednesday, January 6th. It's that time of year again, already, and I'm looking forward to Christmas with my family.

These past few weeks have been a struggle for me as an artist. Don't know for sure why but I'm guessing it has to do with the fact that I have a huge desire to get onto canvas the ideas in my head, but I have not had too much success. Too much new information, not enough practice. I have the terrible habit of telling myself that I'm a failure as an artist if I can't paint the way I want! How silly is that?

Anyway, I've been working hard, but with nothing much to show for it. Well that's not altogether true. I did spit out a couple of promising pieces this week, so we'll see. But, when I am in the truth of it all I can see that it is just my lack of patience with myself and that I shouldn't let that get in the way of my progress. Let's face it, painting can be a struggle at times.

This year has been a year of learning. I had a wonderful trip to France. That was amazing! Things at home are wonderful and I'm so proud of my kids this year. My husband is the best.

I just want to wish you all a blessed Christmas filled with the joy of Our Lord. He was born into the world to be like us, and to take on all of our sin and conquer it to give us freedom from our sin, and life with Him!

MERRY CHRISTMAS

View From Aurel, Provence

"View from Aurel, Provence"

20 x 24" Original Oil on Linen

Smith Gallery, Midtown at the Sacramento Art Complex

2110 K Street

Friends and Family - God's Gifts To Me

I just want to say Thank you to all who are following the blog and the artwork. Life gives me many things to be grateful for. God has blessed me in ways that you would'nt believe! My son and daughter are an amazing gift to me. My husband has been a rock for me. My art class is a huge blessing - and the women who attend are truly a gift from God.
I have a show coming up in December at the Smith Midtown Gallery in the Sacramento Art Complex. 2010 K Street. It's a group thing entitled "12 at Christmas". Come on down for the reception on Saturday, December 12th. I'll be there all day. While you are there, check out the artists in resedence including my son Joe Tate, upstairs. He is painting so well these days. Also, my dear friend Allison Carlos downstairs. Wonderful painters both. Joe has been painting a lot lately and I think has found his passion. It shows in his artwork.
Do you see why I am so blessed? It's a wonderful thing to share this life as an artist with my son Joe. He's working on getting a website up soon, so hopefully I can post it for you.
So, the holidays are definitely here, and Christmas is sneaking up fast. Come see this show anytime after the first few days of December to avoid the crowds, but you might miss the fun of an exciting Second Saturday at the Sacramento Art Complex.
Next month, look for some new original pieces at the Hang It Up Gallery in El Dorado Hills. I was so pleased when Dave accepted some of my prints this passed year, but I'm even happier to be adding some originals to the gallery. It's located in the El Dorado Hills Town Center, just off hwy 50 at the El Dorado Hills exit. This is one of the best galleries around Sacramento. Come celebrate the tree lighting this Saturday night and stop by.
Note:
My computer is in the "repair" shop, so I will do my best to continue to post on my husband's computer, but I don't have all the tools I'm used to having. So hang in there, and continue to come by and see the artwork coming through. New larger paintings will be posted in the next week or so.
Happy Holidays my friends.

NEW CLASS DEMO - Silver Tea Pot

NOTES FOR STUDENTS

Monet's Water Garden, Giverny

Learn from other artists whose work you LOVE.

Paint with PASSION.

Learn to see COLOR.

Learn to see the BEAUTY in everything.

Find your OWN passions about art.

Remember art is a JOURNEY.

The journey NEVER ENDS.

PRACTICE, PRACTICE, PRACTICE.

Take WORKSHOPS.

Learn about VALUE, EDGES, BRUSHWORK, COMPOSITION.

Keep it SIMPLE.

Take the time to STUDY and READ about other artists.

VISIT galleries and museums.

It is a continual PROCESS.

Don't QUIT,  but remember that the journey is where you CREATE SUCCESSES, and their is no destination.

What's This About Edges?

STILL LIFE SET UP

DO YOU SEE WHERE THE EDGES ARE SHARP AND WHERE THEY ARE SOFT, OR LOST?

When an artist talks about edges, what are they talking about? I let this issue go for a number of years because I didn't really get it. I thought I understood the idea, but I really didn't know how to make edges "speak" in my paintings. Sadly, I am only capable of digesting one concept at a time when it comes to growing as an artist. Edges are an important concept in a painting. It helps the viewer "see" what you want them to see.
It seems there are at least 4 TYPES OF EDGES that we need to pay attention to. You may want to begin with a still life set up. Try to use a single light source. We are doing this in my weekly classes. Study the edge qualities of your set up. Are the edges hard, firm, soft or lost?
HARD edges contrast sharply. Use these edges in your focal point.
FIRM edges are less sharp than hard edges. Use these edges to direct the eye in your painting.
SOFT edges are fuzzy. Use these in the areas away from your focal point or focus, in areas such as the distance in a landscape, or when the side of an object blends into the surrounding area somewhat.
LOST edges are very useful and fade into the area around it. Very little or no contrast is visible.
Rounded objects have softer edges. Square objects have sharper edges. When you study what you "see" pay attention to the edges, and reflect those in your painting. If you find it necessary to move the edges around to say what you want to say about your subject, edges can be a wonderfully useful tool.
This is one of those principles in painting that just takes a lot of practice. For me, if I'm not paying strict attention to the edges in my painting, I am created too many "lines". One good thing that I've learned is that I don't have to paint the edges perfect from the beginning of the painting - I can actually decide later in the process and go back into those edges with adjustments. If I have to I will repaint an area to get the edges right. Just keep painting and "seeing" and it will come.

OIL PAINTING MEDIUMS -- CONFUSED?

Garden Study 9 x 12

Yes, it can be confusing when you've been painting for a relatively short time and you want to try a new technique using mediums. Your first instructor may have used one thing, but you find other artists using something entirely different. You go to the art supply store and become overwhelmed with the choices in front of you. What's not to be confusing?


Every experienced artist has their favorite medium for their favorite technique. For some artists, it may just depend on the final "feel" of the painting that you are going for. Others find a medium they like and stick with it. It is entirely up to you! It will take some knowledge and some experience, but it is worth effort!

Let’s look at what we have to work with - (just remember they are not the magic “fix” for your paintings).

Oil paint is formulated and intended to be used in a number of ways in and of itself. It doesn’t need anything added in order to do its job, but artists have experimented with and invented many mediums to modify the paint mixture for spreading and layering purposes, as well as for speeding or slowing drying times since the 19th century.

LINSEED OIL, TURPENTINE, & VARNISH:

When I first started painting, I was introduced to a mixed medium that has been around for at least 100 years. It was a mix of linseed oil, turpentine and varnish. This is an old fashioned mix that was used in different portions by different artists. Usually it involves mixing 1 or 2 parts linseed oil, 1 part varnish with 2 or 3 parts turpentine. Something like that. When you use a medium such as this it is important to remember the “fat over lean” rule of oil painting. That is to say, the under layers of your oil painting should be thinner, with added turpentine, and you don’t want to use too much oily mediums until the under layers are already painted. This is to help the layers dry properly. Remember this - its powerful odor is not always welcome in the house and may be an irritant for some artists.
Turpentine The best known thinner and cleaner for oil paints and brushes.

Low Odor Thinners An excellent substitute for turpentine, in all the areas mentioned above - without the smell! I use the the best quality that I can afford. The purest on the market is Gamblin Gamsol. Be sure to use artist grade. It is also excellent for cleaning brushes.

Linseed Oil After turps, probably the best known of the oil painting mediums. On its own gives colors a high gloss. Added to colors it produces a glaze effect. Slows down drying time. Compared to some oils, it can go a little more yellow over a period of time.

Prepared Oil Painting Mediums Varying from one manufacturer to another, a combination of white spirit and other oils to provide a ready-mixed, user-friendly paint diluent. A beginner could use this, instead of mixing their own combination of oils and other additives.

Stand Oil A faster-drying version of linseed oil. Reduces consistency of paint and brush marks.

Poppy Oil Walnut Oil/Safflower Oil For adding to lighter colors and white. Less inclined to yellow than linseed oil. However slower drying.

Alkyd Gel & Liquid Oil Painting Mediums Alkyd paint mediums can be added to conventional oil paints to speed drying time by up to 50%. Can also be used as a glazing medium. The glazing technique is where a translucent color is painted over another, dry color. The lower one glows through but is affected by the density of the top glaze. Creating misty or smoky backgrounds is a good example of a glaze.

Gloss or Matt Picture Varnish A spirit based varnish, equally at home on acrylics as well as oils. Dries to a gloss finish and will not yellow or bloom. Gloss and matt varnishes can be mixed to give a satin finish. Can be removed with turpentine or white spirit.

Retouching Varnish A thin varnish which can be painted over a touch-dry painting to 'lift' areas where the oil has sunk into the canvas, leaving dull spots. Can also be used as a temporary varnish, say for exhibitions, where thicker paint on a recently completed painting may take many months to dry through completely. Can be removed prior to, or left on underneath, the final varnish coat.

Damar Varnish Dries in a few hours with a satin - medium gloss. Removable.

NOW LET ME TELL YOU WHAT I’M USING RIGHT NOW

Brigitte Curt, one of my art teachers, uses her own homemade mixture that is A NON-TOXIC VARNISH. She teaches her students to use it as an underpainting, in a water color like technique. It has a wonderful luminous look and dries faster than anything I have ever tried. Because I like working wet into wet, it took some time to get used to it but now I love it. I can lay in my painting with a thin layer of luminous paint in luscious colors, and then dry brush with paint over the top, in just a few minutes. I can really make my painting shine by letting some of the underpainting show through in the finished painting.
Brigitte and Jim Smyth are coming to Sacramento on December 6th and 7th to teach at the Capital Art Center a landscape workshop. To see Jim and Brigitte’s works :

http://www.classart.org/


See Brigittes blog at

http://www.palettedreamer.blogspot.com/

Plein Air Study by Randy Blasquez

Comments?/Suggestions?

Provencial Study #3 16x20

In Progress...

I photographed some recent works in progress today and thought I would open it up for a critique/comment blog entry.

This is Gena in Provence, the underpainting and semi finished study. I plan to do a larger painting. Gena, (I'll call her that because I cannot pronounce or spell her complete name) lives in Belgium and was a guest of Brigitte and Jim at the Provence Workshop. She is a watercolorist - a very good one. I very much enjoyed her company, and even though she spoke mostly French I felt we had a special connection.

I started with a very warm (transparent oxide red) underpainting, the color of the dirt in that area. I took this painting to Brigitte on Saturday for a critique. She pointed out a couple of things to consider and suggested I paint it again. I'm looking forward to it.

This is a painting I did last January for Michael, my husbands birthday. He loves to golf. I finished it in a hurry and framed it so I could give it to him in time for his birthday. I've always planned to go back and fix a couple of problems, then varnish it. This is the time for comments. Then I'll let you know what I plan to do. You probably see it too.

One more for today, and I'll post some more tomorrow. This is another study from Provence. I'm using a photograph this time. Jim Smyth suggested to me that it might be wise to use a technique from the Reilly Method he learned some years ago. Two studies. One a value study and another a color study. Both small and painted on canvas in a little thumbnail size format. Very usefull. I will introduce this to my students this week also. Please let me know if you'd like more info about this method.

See ya soon!

Plein Air Gala

Thanks to all who came to the Gala Friday night. It was a very nice party. The show was amazing! So many wonderful paintings. This was Sacramento's very first plein air paint out and I'm looking forward to participating again next year.