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point. We start an artwork saying,
“Well, here we go!” Sort of like diving
off a cliff and swimming the English
Channel. (Please don’t consider: “Well,
maybe I better think this over.” What’s
in your mind is getting to the other
shore.) I use the English Channel to
highly dramatize the situation. Make it
your own memorable principle.
It’s the doing that is important. I’ve
done hundreds of artworks that have
never been seen. I did them for the
inspired purpose of creating them.
Between eating and sleeping, I live for
what I do. And part of what I do is draw
and paint. If some of it sells, all the better.
I never got into art to make money. If
I wanted to make money, there were a
dozen other occupations waiting for me.
Yes, I knew I’d had to make money with
my art to live...and by golly I did. Sounds
desperate but it worked. Incidentally,
“desperation” was half the fun.
A Reveal
Another important reason I feel
inspired, natural and competent with
my art, music and writing is because
I’ve not been concerned about my
lifetime memory problems. First of
all, I don’t have to be like those who
remember the intricacies of an office
meeting or how to answer questions
about the city’s financial future. My
complete admiration for them all,
including most of my friends and
relatives.
Here’s what I’m saying: I don’t have
to have a good memory while drawing
that fascinating face or writing these
words. That ability is waiting deep
within me to mix around as I see fit for
each moment.
This is most important to add:
My art friends’ memories go all over
the place from mid-level to perfect
recollection of everything. With all of
them, their remembering abilities have
absolutely no relationship to their skills
and passion and magnificent works.
Discovering That Talent
Just for the record, drawing doesn’t just
happen. Talent means nothing when
nothing is fed to it. My first drawings
were terrible; terrible like first learning
to walk and talk. Many reading these
words have a phenomenal talent
waiting inside. Too often that talent
will never be realized because it doesn’t
just hop out on its own and say, “Here
I am, let’s get going!”
It has to be found first and that often
happens by coincidence and chance.
Mine was my dad starting me to draw.
It didn’t take long and my of love of art
got hopping.
Times Do Change
Years ago, I loved searching the world
for inspiring subjects to paint. From
Russia to Spain, from Mexico to
Australia. Now, things local bring me
purest joy.
Some Things Stay the Same
I use a mirror when painting. Seeing
my work in reverse can often show me
a design or anatomic bungle. Also, it
gives a fresh view of the colors used.
“Whoops, that green doesn’t work in
that area.” “Goodness, the face needs
work in the jaw area.”
Periodically draw an extremely
detailed subject from a good
photograph. Whether a horse, face,
interesting pot, house pet, whatever has
interesting details. The detailing greatly
expands your observation powers.
What we’re after here is knowing
shading values, subtle light differences,
shapes of areas, overall feeling of
design. These moments will remain in
your subconscious and continue giving
you a lift when doing works that are
looser with brush or pastel stick. When
I was learning the piano, the technical
studies were intense and detailed
beyond belief. This got me to playing
Mozart with artistic accuracy, joy and
passion. This parallels with visual art.
Sometimes, I just know that whatever
repairs I’m making, a particular
painting is not coming alive. I don’t
like the pose or the overall design.
I mostly work on pieces where they
might have problems but will keep
hitting the high marks. On the other
hand, there are those rare times that
I say goodbye and grab a new piece of
paper. Those occasions I know well.
Experience is a good self-instructor.
I have had models that just didn’t
inspire me the moment they started a
pose. But as usual, I give it a go. And,
as usual, I’d see something happening.
Most often a twist or turn when my
enthused inner mind took over. A
number of my works, and I can point
them out to you, were started with an
average feeling and often ended up
bringing tears of joy. What I’m saying
here is that we artists make our lives
happen. No matter the outside world,
we’re here to make it our world.
Look intently at reflected light. If
overdone, it looks quite amateurish.
Also watch the subtle differences with
light on different parts of the face. The
slight differences are so very important.
Enough to make a painting finally sing
with truth and spirit.
Design
Watch me use a word that speaks for
me and all artists from thousands of
years ago to today. All art, traditional,
contemporary. It rates at the top. The
the word I’ve used over and over in
the world of art: Ddesign. I’ll push it
further: Brilliant Design. I can show
you a Degas, Lautrec, Rauschenberg
or de Kooning and describe to you the
importance of their design. And their
design is very personal.
I do use my imagination when into
my painting, but I need reality to help
that imagination spring with my eyes
to fingers.
Do me and yourself a favor within
this week. Start a painting and at the
barré
(Barré)
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