"So how do you DO this?"

Behind the Scenes: my process

One of the things that’s most fun for me about my painting career is that I made up (or more accurately) am making up the technique every day I paint. To do that requires basic knowledge of color and proportions (thank you art school!) but the rest takes a sense of daring and exploration. It takes a huge dose of “I don’t care if I fail at this idea — I just want to see if this works” kind of attitude. About half of the main basic steps of what has become my technique were arrived at by exploring, and honestly, they were what I thought at the moment to be mistakes. But then the next day, I’d pull out the painting again and stare at it and (sometimes) be surprised at how the ingredients chemically reacted with each other overnight. Sometimes the result was horrendous; sometimes amazing. For the latter outcome, it was then a matter of trying to remember what all went into creating the results.

So what exactly is the technique I came up with? The core is a secret. It will be revealed at the reading of my will. Just kidding. :). But yeah, I don’t share everything. But here is what I DO share.

Step 1: Find some really good inspirational photos I can use for color reference.

Step 2: Create a pencil sketch on my canvas.

Step 3: Build up the sketch with layers and layers of gesso and modeling compound so that the sketch becomes dimensional

Step 4: Cover the entire textured surface of the painting with metallic leaf.

Step 5: Apply many layers of paint onto the surface.

Step 6: Seal the painting with either satin varnish or solar resistant resin.

That’s it! Easy huh? It’s actually not easy at all.  Through the years, we’ve had to call chemists and pick their brains about why the paint did this or that. To develop this technique, I’ve made so many, many mistakes but that’s how you invent anything really. I kind of enjoy being half artist, half mad scientist. At least I’ve not blown up anything yet (that only happens when I’m in the kitchen).

Discovering the Bond Between Nature and Art

I think that the beauty and grandeur of nature has long been a profound source of inspiration for artists. From the intricate patterns of leaves to the vastness of landscapes, the natural world offers endless possibilities for creative expression. When an artist sees something awesome, he or she is compelled to express that awe. I wanted to take a few minutes and explore how nature and art intertwine, creating a harmonious relationship that has captivated artists and audiences alike for centuries.

Nature’s Role in Art

Nature serves as both a muse and a medium for artists. The beauty, diversity, and complexity of the natural world provide a rich tapestry of subjects to explore. Artists like J.M.W. Turner, for example, use elements from nature such as leaves, branches, and flowers to create stunning pieces that blur the lines between art and nature. Her work is a testament to the deep connection between the two, showcasing how natural elements can be transformed into captivating art.

Historical Insights

Throughout history, artists have turned to nature for inspiration. The Romantic movement in the 19th century, for instance, emphasized the sublime beauty of nature, with artists like John Constable and Caspar David Friedrich creating dramatic landscapes that evoke a sense of awe and wonder. Similarly, the Impressionists, including Renoir and Degas, captured the fleeting effects of light and color in their depictions of natural scenes.

Contemporary Views

In contemporary art, the connection between nature and art continues to evolve. Artists are increasingly using their work to address environmental issues and promote sustainability. The movement of sustainable art, for example, encourages us to think more deeply about our impact on the planet and how we can use art to foster a greater appreciation for the natural world.

Art as a Conservation Tool

Art has the power to raise awareness about environmental conservation. Organizations like Artists for Conservation use art to support nature through their work, often donating a portion of their sales to conservation efforts. This not only highlights the beauty of the natural world but also underscores the importance of preserving it for future generations.

Really, the connection between nature and art is a testament to the enduring bond between humanity and the natural world. Through art, we can celebrate, contemplate, and preserve the wonders of nature, ensuring that its beauty continues to inspire and enrich our lives. Whether through traditional landscapes or innovative sustainable art, the relationship between nature and art remains a powerful and dynamic force in the world of creativity.

Book Review: The Artist’s Way

If you’re an artist looking for a game-changer, you’ve got to check out “The Artist’s Way” by Julia Cameron. This book is often praised as a must-read for anyone wanting to unlock their creativity and get past those pesky creative blocks. I went through it years ago and it continues to encourage creativity in me every time I refer to it.

OVERVIEW: “The Artist’s Way” is set up as a 12-week program to help you tap into your creative potential. Cameron introduces some cool exercises and tools, like Morning Pages (daily writing exercises) and Artist Dates (solo outings to nurture your inner artist). These activities are all about self-discovery and artistic growth. These Artist Dates were my favorite part of the book. You don’t often take time to just rest your mind and play and discover. That’s something we’ve lost since we were kids. The whole concept helps you rediscover the joy of discovery and play.

KEY THEMES OF THE BOOK

Creative Recovery: The author talks a lot about getting back in touch with your creative self, which might have been buried under self-doubt, criticism, or just life in general.

Spiritual Path: The book takes a spiritual approach to creativity, encouraging you to see your artistic journey as a kind of spiritual practice.

Practical Exercises: Each chapter is packed with practical exercises and tasks to help you explore your creativity in a structured way.

IMPACT: Many artists and creatives swear by “The Artist’s Way” as a life-changing resource. It not only helps you overcome creative blocks but also deepens your connection with your artistic self. The book’s mix of practical exercises and spiritual insights makes it a unique and powerful guide for anyone looking to boost their creative journey.

Overcoming Artist’s Block: Practical Tips

“I look into my creative soul for an idea…ANY idea. And it’s just a dark, silent abyss. I have absolutely nothing creative going on in my head. What do I do to get that spark back?”

First of all, look…every artist faces artist’s block at some point. It can be frustrating, but it’s a natural part of the creative process, so please be kind to yourself. I don’t have a cure-all, but I do have a few ideas you might try that have helped me:

 1. Start Creating Sometimes, the best way to overcome a block is to simply start. Put something—anything—on the canvas or sketch pad. It doesn’t have to be perfect. The act of creating can help break the inertia and get your creative juices flowing. 

2. Change Your Surroundings A change of scenery can do wonders for your creativity. Travel, visit an art museum, or even just take a walk in a new neighborhood. New experiences can provide fresh inspiration and new perspectives. 

“Creative block can be frustrating, but it’s a natural part of the creative process…”

3. Try Creative Exercises Engage in different creative exercises to stimulate your mind. This could be doodling, experimenting with new materials, or trying a different art style. These exercises can help you break out of your routine and spark new ideas. 

4. Take a Break Sometimes, the best thing you can do is step away from your work. Take a break, do something you enjoy, and give yourself time to recharge. When you return to your art, you may find that you have a fresh perspective. 

5. Seek Inspiration Look for inspiration in other artists’ work, read inspirational art quotes, or watch documentaries about artists. Seeing how others overcome their challenges can motivate you to push through your own block. 

6. Set Small Goals Break your project into smaller tasks and set achievable goals. This can make the process feel less overwhelming and help you build momentum as you complete each step. 

Trust me, artist’s block is a common challenge, but it doesn’t have to halt your creativity. Every artist goes through this at some point. Like it or not, it’s just part of the journey. If you have an idea for something that’s helped you, please by all means share that idea here in the comments!

Exploring Lessons from Vincent van Gogh

Vincent van Gogh, a towering figure in Western art, offers a legacy that transcends his vibrant paintings. His life and work provide profound lessons that can inspire and guide us in our creative endeavors. Here are some key takeaways from the life of this extraordinary artist:

Perseverance Amidst Adversity

Van Gogh’s life was fraught with personal struggles, including mental health issues and financial hardships. Despite these challenges, he remained steadfast in his dedication to art. His perseverance exemplifies the power of resilience. He created over 2,100 artworks, including around 860 oil paintings, many of which were produced in the last two years of his life.

Embrace Your Unique Vision

Van Gogh’s style was unique and often misunderstood during his lifetime. He chose not to conform to the artistic norms of his era, instead following his own vision. This commitment to authenticity reminds us to embrace our unique perspectives and not be swayed by external opinions.

Commit to Continuous Learning

Largely self-taught, Van Gogh was always striving to improve his skills. He studied the works of other artists, practiced relentlessly, and experimented with various techniques. His dedication to learning highlights the importance of continuous growth and development in any field.

Harness the Power of Passion

Van Gogh’s passion for art was evident in his prolific output and the emotional intensity of his work. His passion drove him to create, even in the face of numerous setbacks. This underscores the importance of finding and pursuing what we are passionate about, as it can fuel our creativity and perseverance.

Express Your Emotions

Van Gogh’s paintings are renowned for their emotional depth and vibrant colors. He used his art to express his inner world, resonating deeply with viewers. This teaches us the value of expressing our emotions and experiences through our creative endeavors.

Work Consistently

Van Gogh believed in working consistently rather than waiting for inspiration to strike. He once said, “I am seeking, I am striving, I am in it with all my heart.” This approach emphasizes the importance of dedication and hard work in the creative process.

In my opinion, Vincent van Gogh’s life and work offer timeless lessons in perseverance, authenticity, continuous learning, passion, emotional expression, and dedication. By embracing these principles, we can enrich our own creative journeys and leave a lasting impact, just as Van Gogh did.

Question 11: Where do you get inspiration for your work?

This question, “Where do you get your inspiration?” is one of the most asked questions I get. And it’s funny. It’s actually one of the most difficult questions to answer. It’s like someone asking you, “how do you breath?” Simple question, but how do you answer it? “I…uh…just do?” I don’t know how other artists might answer this question, but since this is my blog, I’ll answer it for myself.

For me personally, I need peace inside my head to create. I need quiet. This may just be because I’m an introvert rather than because peace is intricately connected to creativity. I don’t know. Maybe an extroverted artist would feel different, but that’s not me. And for me, quiet and peace happen best when I’m walking or (preferably) hiking in nature. It can take me a while to walk a few miles because I like to stop and just breathe, listen, take in the essence of the place. Hah! That sounds so “spiritual” but honestly, for me, I guess it really is. I can’t think outside the box and create when life is rushed, loud and crazy. I love rushed, loud and crazy (in bite sized pieces), don’t get me wrong. I just can’t create in that environment.

“…I feel the intense desire to communicate to someone else what I’m feeling at that moment in such a way that they feel it too.”

And usually, walking in that quiet place, taking it all in, I’m with my wife Joy. So it may be quiet around me, but I sometimes talk a lot in that context, expressing myself and processing the emotions the place excites inside my head. Does anyone else do this??? I’m probably really annoying to hike with.

Joy: “Why are we stopping?”

Me: “Listen to that!”

Joy: “What? I don’t hear anything”

Me: “I know. Isn’t it beautiful? Just the wind…that’s all I hear. That’s so beautiful!”

Joy is very patient and is really great at entering with me into that “sacred space”. It’s there I get ideas, and at that point, it’s not just “Oh, I can paint that mountain over there!” It’s more like I feel the intense desire to communicate to someone else what I’m feeling at that moment in such a way that they feel it too. When you look at it that way, it’s actually a very intimate thing — creating a piece of art.

So in a nutshell, I get my inspiration from walking, prayer, breathing and listening in the context of nature. It can take hours, so I can’t rush it at all. But given the time (and the quiet), inspiration comes and at that point, in that quiet moment, it can ironically break in like a hurricane. I love that.

How to Handle Failure

I’ve been super busy lately. Hint: I hate being super busy unless I’m super busy painting. I hear you can have too much of a good thing, but that rule of thumb does not apply to my artwork (not so far anyway). I get lost in my artwork. It’s really my very happy place.

Until last Wednesday.

I was working on a series of three pieces that will be hung together (as a triptych). It was a pretty simple scene — mountain ranges and sky. I know how to paint mountain ranges and sky so I figured that this was going to be pretty simple. I began to apply the paint day after day and eventually, the piece entered “the ugly stage”. So far so good. See, every painting I ever have done has gone through that dreaded “ugly stage”. That stage is where most fledgling artists stop and throw their canvas against the wall and shout out some colorful French obscenities. The thing about the ugly stage is that usually, the very next day, the piece rounds the corner and begins to take on some maturity — it starts to look like what you intended it to look like. That is such an awesome thing. That turning point happens within a day or two of entering that ugly stage.

Until last Wednesday.

I could not make this painting idea work. It was boring. It was ugly and I was coming to the realization that the ugly I was seeing was not just a stage. It was really bad. I’ve heard gallery visitors tell their children, “Oh sweetie, just remember…there are NO MISTAKES in art”.

IF ONLY.

I make mistakes. What you do with the mistake is what will sink you or what will propel you as a creative person into a completely different direction. But oh man, it’s so difficult. I hate failure.

I refrained from throwing the canvases across the room, and I don’t know French swear words and I don’t say English swear words so I was really stuck. I felt so discouraged and frustrated. My painting was ugly and boring. And that is not okay. I sat with that realization and had to just admit that I was not perfect and that THAT was okay.

By the time evening came, I was ready to just scrape off what I’d begun painting and start all over again with a different idea. The “ugly stage” bested me. I think my real problem was that I wanted to just knock out something easy — so I painted mountain ranges and sky. I can do that in my sleep. It turns out that laziness and pride is not the friend of creativity. When I do the best work is when I approach a subject with joy, curiosity, respect and reverence and that is definitely not how I approached my failed triptych.

Maybe creativity needs silence to be ignited.

So at 2:30 AM, I woke up. In that very quiet and still time of the night, nothing was in my head at all. My mind was a completely blank canvas (pardon the pun). And quite unbidden, I instantly saw in my head an idea I’d never thought of before. And then I got so excited, I walked up to my attic studio and seriously contemplated starting to scrape off my old composition so I could begin the new idea right then and there. With wisdom not my own, I decided that idea was over the top and that I needed sleep so…several hours later I began to transform this triptych into something completely different than I’ve ever done before. And I’m having so much fun with it, that I’ve started an additional single painting using the same technique I’m using for the triptych!

Why moments of insight can’t come at 2:00 PM rather than 2:00 AM is unknown to me but that’s often how it works. Maybe creativity needs silence to be ignited. Maybe my heart needs stillness to be able to hear the voice of the real Creator. I don’t know. It feels mystical though.

When I’m done with these pieces. I’m so excited and continue to have so much fun doing what I do. And I’m so thankful people are willing to part with their money in exchange for one of my paintings. That is amazing and humbling.

So, more than ever, I am committed never to forget my real task: to approach every subject I paint with joy, curiosity, respect and reverence, even if it means I need to slow down and be quiet in order to make sure that happens.

"Are All Artists Introverts?"

How many extroverts does it take to change a light bulb? Twenty. One to change the bulb and the others and cheers him on and enjoy that moment of comradery.

How many introverts does it take to change a light bulb. None. He’d rather light a candle instead because of the beautiful ambience that candlelight creates.

Wow, okay this morning I was talking to a studio visitor and she was really trying to understand the artist mind. GOOD LUCK WITH THAT ONE! After trying to figure me out, she said that she assumed that all artists were introverts and that it was so odd I was obviously an extrovert.

But…

I am no extrovert. I know how to act like an extrovert. I even enjoy it. But it’s exhausting to me. I don’t think she believed me when I told her that though. ”You seem like a happy person though,” she said, “and obviously one that likes being around people”.

This brings up so many thoughts in my head, and I need to write them down to process them:

• First of all, I would imagine an artist could be EITHER personality type. I would also imagine that the art an extrovert would come up with might look and feel different from that produced by an introverted mind, but maybe not. But yes, I don’t know what being an extrovert or introvert has to do with being an artist of some sort.

• This woman was seriously doubting that I was in truth an introvert (because I seemed happy and obviously enjoyed people). Okay look, introverts are not always depressed. There. I said it. You know, extroverts can get depressed too. Introversion and misery are not synonymous. I personally know introverts who laugh. True statement. And we can be very happy (as long as we get some alone time to recharge). And both introverts and extroverts have to recharge to love people well and to enjoy life. We both do it, we just recharge differently.

• Introverts don’t hate being with people. We get bad press. Being an introvert does not mean you don’t love and enjoy people. My gosh, from what I read, even Jesus Christ went off by himself at times to be with his own mind and his God. I don’t think people associate Jesus with someone who did not love and enjoy people though, right? Extroverts may like huge parties (with 100 of their closest friends) and loud music and lots of commotion. I get that. I don’t understand that but I get it. See, introverts like SMALL get togethers or one-on-one social settings so that we can have a real, deep, powerful and honest conversation. I’m not saying that extroverts don’t experience that at their large, loud parties. I just don’t fathom how that’s possible. But then, I’ve never been an extrovert so I’m completely ignorant on that point.

I admit I’m totally baffled by extroverts in general. You are a complete and wonderful mystery to me! I need y’all in my life though. My wife and three of my four kids are extroverts. Introverts desperately need extroverts in their lives. You keep life very entertaining! And I would think extroverts need introverts in their lives too. Because of our differences, we can compliment each other, like a bit of salt and a bit of sugar in that cookie recipe you like. Salt and sugar are very different but they go together so well.

So bottom line, I do not believe all artists are automatically introverts. I may be wrong. Honestly, I have no idea. I do think that what makes you introvert and extrovert is not really what you do per se, it’s where you go to recharge emotionally and spiritually AFTER you do whatever you do. My wife and kids totally get recharged by being with people. I get recharged by sitting by myself and letting my mind rest. It’s not that an introvert longs to sit in the dark and embrace misery. It’s joy we are trying to embrace there. Personally, I really crave quiet sometimes. We both (extroverts and introverts) need that recharging time so we can be ready to get back to the craziness and joy of life, it’s just that we have different types of batteries we’re charging I think. What a complex and beautiful thing is a human mind!

I feel better now. Back to painting.

"How do you know you're done with a painting?"

I love the balance between oil painting (a very introvertive exercise) and talking to various people that wander into my Asheville studio (a very extroversive exercise). I’m constantly switching between my introvert and extrovert skill sets. Though it can be exhausting sometimes, it feels very healthy because I’ve found that when I’m pushed and stretched, I grow. One of the ways I grow is by thinking through the questions I’m constantly asked. Most of the questions are the same “What am I looking at?”, “How do you do this?” ,“What’s the shiny finish coat on these”, “Are these photos?”. But now and then, I get a questions out of left field and THAT is invigorating! Those questions make me really think.

“…my goals is that the eyes of EVERY viewer is lead around the piece along exactly the same pathway.”

One question I got recently from some really cool folks from Ohio was “how do you know when I painting is done?” THAT is a really great question! So for any other people interested, here’s my answer:

My paintings are created in many, many steps. They each take about a month to complete, longer if they’re large. The oil paint is applied to a many-layered textured background that I’ve covered with metallic leaf (ultra-thin sheets of metal). THEN I begin colorizing the metal surface with very, very thin layers of paint. Each layer of paint deepens and intensifies the color. Each painting may get at least ten layers of paint, sometimes more.

I keep applying the paint until two things happen:

1) The color is saturated enough. I want the colors to be intense in most cases, so I just keep applying the paint until I get the intensity I’m looking for. Every layer I apply intensifies the color of the painting by about 10%.

2) The values are correct. This means that there are areas that are VERY dark and areas that are VERY light. The very light areas get very little paint. The dark areas get many layers. Value is important, because value is what leads the eye around the piece. I always want to make it very easy to find the focal point of the piece (the first thing you stare at) and then my goals is that the eyes of EVERY viewer is lead around the piece along exactly the same pathway.

I would love to say that when these two points are addressed, then I know the painting is done. But honestly, I usually get a second opinion. When my wife Joy (also an artist) concurs that it’s done, THEN it’s done. Getting the knowledgeable input of another artist can be humbling. I like to think I know exactly what I’m doing, but that’s a fantasy. I really need the input of other people. That’s the great thing about working with other artists. That’s why I love having my primary studio in Asheville (with over 220 other artists).

So basically, it takes skill you’ve developed over time and humility (that is constantly developing) to really be able to tell when a painting is “done”.

"Art from the Heart" vs "Commissioned Art"

There are really so few things that baffle and (to be honest) frustrate me as an artist. I am by nature a very “even keel” type of person, so when something stands out as “irritating”, it’s kind of a big deal for me. See, I regularly come across people that have a very set view of who and what an artist is (even before they meet me). No one likes to be pre-judged and I guess I’m no exception.

See, every now and then, I have people visit my studio and I can tell they like my work. For instance, they may hang out for fifteen to twenty minutes browsing slowly, leave and have lunch, then come back and browse even more slowly. That is usually a pretty good sign someone is genuinely interested in my work. Most of the time, behavior like this eventually results in a sale of one of my paintings or the commissioning of something specific. But every now and then, the couple at this point will look pained. Interested but pained. “Do you have all your work displayed or do you have something else in storage?” they’ll ask. I explain that basically, I don’t have storage. If I need to store paintings, my prices are too high. They smile, and then I explain that if they like something but it’s the wrong size, I can repaint it the right size for them. “No, we’re looking for a painting that is 36 x 48, probably a summer scene but you don’t really have anything that will work for our space”. “Well,” I explain, “if you have a photo you’d like me to use, or if you can give me an idea of something specific that you’d like to see, you can commission a painting based on that idea and size. I don’t charge any more for commissions, and I guarantee your satisfaction with what I paint and I do free shipping as a thank you.”

But then…

“Oh, we would rather just check in whenever we’re back in Asheville and see what you have available. We don’t want to dictate to the artist what they paint. We’d much rather have something that comes from your heart, not ours”.

“…my heart and joy are in every single painting I’ve ever painted.”

You may well think “Oh, that’s so sensitive! What a kind person that is!” Yes, probably. But that drives me crazy. It rattles me because that assumes that the art that comes from my own head will be of higher quality or have “more life and energy” in it than if it comes from the heart of the client. To be clear, the idea behind all the commissions I’ve ever done have come from my clients. But the heart and energy in the piece is from me. I don’t care at all where the idea comes from. I love to paint. May I just be honest? Look, if a client gives me a photo as inspiration for a painting, it saves me all sorts of time hunting down a good photo to use as inspiration for my next piece. No one who has commissioned a painting from me has received a lesser quality painting because it was commissioned by them. Honestly, my heart and joy are in every single painting I’ve ever painted. I simply love painting and I don’t care if that seed idea comes from my own head or from yours. The painting will always come from my heart.

Okay, time for a cup of herbal tea I think. I feel much better now.