In June I had a small exhibit in a Co-op Gallery in Chanute, Kansas. This time I remembered to take a few pics during and not just afterwards :0)
Sitting here at my computer, it is a blustery day in Kansas. So windows are shut tight and allergy problems are being attempting to be avoided. I did get out over the weekend though. Sunday marked the annual Neosho Valley Art Exhibit at the Chanute Art Gallery. I was pleasantly surprised to be awarded the Best of Show for the second year in a row.
Mr. Derosa of Coffeyville judged and critiqued the show very professionally. But probably the best comment I heard was ‘The best thing Bob Ross ever did was die.”
Aside from the award it was amazing seeing everyone again. Many of these people I have known close to twenty-five years. Hubby even came with me. :0)
In the studio/office I am working through the piles of “stuff” I have let get away from me. Again I have a VERY large pile of books sitting on the floor, checked out from the library. I prefer to work in an orderly environment and like many always attempting to tame the clutter.
Aside from the expected knitting and art books I also read a number of business books. One particular book that is resonating with me is “Overcoming Underearning” by Barbara Stanny. Women and creatives seem to have a big problem in this area. or, at least I do and many around me do! (Note: Link on cover goes to Amazon, but I am not currently an affiliate.) FYI The copy I have checked out is covered with Post-It Notes for areas I need to look into further.
Easter is going to be here before I know it and we are hoping to have grandkids here that weekend. Oh and their parents too of course. So mentally I am thinking of what I need to get accomplished before then. On the top of the agenda, after getting all the books under control, is to have a painting currently on the easel completed and a shawl for the month of April begun.
The painting is for inclusion in a solo exhibit coming up in June and the shawl is for a collection i want to release later on in the year.
Last week I managed to get a new painted started. I only got as far as starting the underpainting. I have a show in June at a small local gallery co-op and one would think I would feel more pressure to have a LOT of new work to show.
But the truth is I am OBSESSED with knitting. Notice the painting is of hands knitting? Chances are most all new pieces will be knitting themed.
I have decided this is the month I will officially start designing some of my own things. The first thing I have in mind are working with lace. There just happen to be a number of lace weight yarns in my stash calling my name.
I made a New Year’s resolution at the beginning of this year to not buy anymore yarn until July. So far this year I had to buy one skein. ONE. That is pretty darn good if I do say so myself!
NOTE: And it was to finish a lace shawl I was making. (Pats self on back :0)
Today was spent boxing up all the work that is ready for a show that will be hung Monday. I also updated inventory lists and made sure marketing materials are up to date. There are still three paintings I could not pack up as they are still drying in some fashion. But they will be ready to go and walk out the door by Monday.
Below are two items that will be included.
So the big question now, what is next?
- Well hopefully I will have some sales (or LOTS!) at the exhibit, perhaps line up some more commission pieces?
- Then to line up more exhibits over the next year. There are some small galleries in the area I have not shone in for years so perhaps at least one will be on the agenda.
- I now have ties in Wichita so I need to look that direction for possible opportunities. I keep thinking KC also, but Wichita is calling me.
- I also need to have reproductions made: Something else I have not looked into for years.
- Finish writing that book, the one that I now have a multitude of notes on from research!
But for now, I need to get this studio back into shape. Every surface in here is covered with books, photos, notes and painting supplies. Then I want to just sit down and knit for a few days, without interruption. To clear my head and further challenge the analytical part of my brain…..while eating chocolate. Who knows maybe I will design a thing or two while I am at it. :0)
$7.99 eBook Sale Until August 12th Only!
(Regular Price $9.99)
Step-by-step examples and instructions show you how to create a realistic human head in polymer clay, grounded in fine art tradition.
You Will Discover:
- Tools and clays recommended by the author
- How to mix a wide variety of skin tones and ranges.
- Examples and demonstrations showing how-to create each portion of the human head.
- Two methods of sculpting heads will be covered, so you can find the method that works best for you.
- And much more!
The beginning of the ultimate collection of information for the polymer clay artist working with the realistic human form
Artist/Author Diane Dobson Barton’s work is in private and public collections around the globe. She holds a M.A. in Art and B.S.E.D. in Art Education from Pittsburg State University.
“This book is very thorough, well-written and illustrated. I think it is one of those must-have books for all levels. I feel it is great instruction for beginners, tips and methods for intermediates and reference for the more experienced sculptor.”
“I wish I had this YEARS ago!”
“The large number of images make it easy to follow and understand.”
So supposedly the ideal image to have on Pinterest for marketing is vertical. It helps to gain more exposure due to the layout. But HOW do you go about making one fast and inexpensive?
I have Photoshop and Gimp, both of which can do pretty amazing things. But I prefer to use PicMonkey these days for quick edits that do not require more complicated results.
Looking at JUST creating the layout that is necessary, lets get started!
- First you need the images you want to include in the collage. It is a good idea to have them where you can easily locate them, such as on a folder in the desktop, or on a jump-drive.
- Go to Picmonkey.com and click on Create a Collage, click Open Photos and add the ones you want to include.
- Go down to the icon below Create a Collage, choose Biggie Smalls with the largest number of squares on the right. You can easily change the number of whichever one you choose, but for ease of starting lets stick with that has the most.
- Click Open and drop and drag the images where you want them. If you want to add text in an open space keep that in mind and do not place images in each one. (To remove a square go to that square and click on the X to delete. To add drop and drag you image to the space between the squares)
- Save the image by hitting Save, then Save Photo – Again in an place that you can easily locate.
- Close the project by hitting the X in the upper right hand side of the PicMonkey work area. Not the browser “X”
- Open PicMonkey again and this time click on Edit a Photo and open the collage you just made.
- Click on Crop and adjust to create the shape you desire, click on Apply.
- Add any text by clicking on the P, choose the desired font and click on Add Text. A text Box will appear on the screen. Make necessary adjustments in the size of the font and location of the text box.
- Hit Save, then Save Photo again to your desired location.
TA-DAH! Now you can upload the image you just made to your Blog or Pinterest.
I strongly believe that drawing is the foundation of visual arts. If you do not have the necessary drawing skills your work suffers. So I have pulled this eBook out of our archives to help flex those drawing muscles!
Is it OK to use an opaque projector as a tool for creating representational art? It is ingrained in me to say “No”. Being able to draw and see as an artist is the basis of all fine artist. One does not want to skip past this important step. When I was first serious about learning to draw having an opaque projector was not an option, financially. For this I am thankful.
I posed this question on my facebook page(s) – Artist-How-To and Diane Dobson Barton. People proposed “Professional artist use one all the time.”, “It saves time.”, “The master’s used similar devices for centuries.” The problem as I see it arises when an artist uses a projection without the necessary skills to make it work in the end. When it is used as a crutch rather than a tool.
I have also heard people say it “saves time”. But if you can draw well, drawing is quicker. If you can not draw well, one must reason that you can also not see well. Seeing well is the basis of creating all representational art.
One can drive a car with cruise control and an automatic transmission just fine. But if they never learn to steer they won’t get very far. I sincerely wish I could say knowing someone uses one does not ruffle my feathers and make red flags pop up in my mind. Maybe I am just too old school?
The final installment of our “Painting In Oils” series.
There are probably as many ways to approach painting as artists. In this post I attempt to show how I paint portraits.
First, you need to gather your supplies:
- Mineral Spirits
- Rags (Or Paper Towels)
- 12X16″ Stretched Canvas
- Linseed Oil
- Oil Paints (Utrecht)- Titanium White, Burnt Umber, Cobalt Blue, Yellow Ochre, Burnt Sienna, Ultramarine Blue, Cadium Red. Naples Yellow and Dioxazine Purple
- Paint Brushes (Utrecht) – Round #00, #2, #3, Filbert #4
- Small Mirror
- Use mineral spirits with burnt umber oil paint to create a wash and lay in the basic shapes.
- Use only the larger brush during this step.
- Do not use any linseed oil or other medium at this point.
- Push and pull the values to work out the composition, working from big to small shapes.
- Use the small mirror to check your work. The mirror helps you to see problems in proportion etc…
- You are not committed at this point. If it not working just wipe off the thin paint and start over.
- Only concern yourself with getting the basic shapes and forms at this point.
- Make sure you keep with the traditional placement of the features in mind as you work.
- Remember the more white you add the slower it will dry so use it sparingly.
Take a brief break and step away before beginning step two. So you have a fresher perspective.
- If the paint is dry to the touch, oiling out will help with the paints flow and correct use of color.
- Correct anything that may not look correct from Step One.
- Begin to lay in the basic colors of the flesh and develop the values further.
- Keep the strokes loose and fresh as you can. Be sure of each stroke before you make it.
- Deepen and enrich the colors of the flesh further. Work with smaller brushes only if necessary, but keep the freshness of the strokes. Do not become too tight.
- Develop the clothing further and at least lay in the basic colors.
- Darken the background and play with the push and pull of edges of the figure.
- Notice the flesh here has blue in the shadows.
- Continue checking your work with a small mirror to be sure you are making the progress you think you are.
- Build up the shirt area with equal looseness you have in the flesh tones.
- Touch up detailed areas of the features, still trying to not be too tight.
- Reinforce the texture on highlighted areas of flesh.
- Be sure to include highlights on iris and pupil.
- Fill in the rest of the dark background.
- Develop edges of figure with the background so they are cohesive and not seen as being in two totally different spaces.
- Sign into the wet paint at this point. Or, try to wait to sign the work until the paint is dry. This way if you make an error it can easily be wiped off without disturbing what painting has been accomplished.
At this point I could continue building the piece with more and more detail. Instead I have chosen to stop here and leave it with the loose brushstrokes.
- Be sure to take regular breaks. I tend to do so every hour. It just happens that Pandora internet stations play approx ninety minutes before pausing.
- Clean your brushes well at the end of each painting session.
- To keep oil paint wet from one work session to another consider placing it in the freezer in a closed container.