Bodies in motion...

...stay in motion.

This is what went through my mind the other day when, as I was running with my little sidekick in her jogging stroller a neighbor said, "You have so much energy!" I laughed (a sort of panting, half laugh), but the fact of the matter is that I exercise in order to have energy. It's a vicious cycle, but the less I exercise, the less I feel like exercising, so the less I exercise, so the less I feel like exercising, etc.  I'm sure you all know what I mean. As I ran along thinking this it occurred to me that creativity is the same way. If I'm creating, I'm constantly inspired and ideas seem to flow. If, however, I sit around waiting for inspiration it never comes and my well runs dry.  

In painting, as in exercising, there are days when I feel like I just don't have it in me. However, I've realized I very rarely feel better because I "rested." Instead I usually feel annoyed with myself, short-tempered, off-center. So, on the days when painting seems like a monumental task (because anything you're committed to will, at times, be hard work), I tell myself I'm just going to "show up." I savor the ritual of laying out my paints on my palette; I dab at my colors, mixing, experimenting; I touch up just this tiny section. Usually, by this point, either I'm feeling better and back in my element, or I've uncovered the real source of my resistance ("I hate this subject," or, "I'm bored with this size," or often, "I'm scared I won't be able to pull this off."). 

You're allowed to walk. You're allowed to take it easy. You're allowed to have off days. The important thing is to keep moving. 

I was rewarded by a beautiful sunset at the end of my run.

*Note: I'm in the process of changing blogs. Please follow me at erinhardin.wordpress.com. Thanks!

The Next Right Thing

When my husband and I were just a guy and a girl who kind of liked each other but weren't dating, we went running together a lot. These were our "dates." I remember one time when I was just about dying for the timer on his watch to go off, signaling the end of our run.
"How much longer do we have to go?" I wheezed.
"Ten minutes," Josh answered, looking at his watch.
Ten minutes! I couldn't go ten more minutes! Overwhelmed by the thought of such an insurmountable amount of time, I stopped. Sure I probably could have gone a little longer, but not ten whole minutes longer, so why bother? Thirty seconds later his alarm went off.
He had been attempting to motivate me to keep going by implying that we hadn't been running nearly as long as it had seemed. However, that's just not how my mind works. I'm not one of those that can look toward the summit as motivation to get up the mountain. I have to focus on this step, then the next, then the next, each in its own turn.

I've discovered this applies not just in running, but in other aspects of my life. Kitchen's a mess? Just do the dishes in the sink. Then just put away the clean dishes, clear off just this area of the counter, etc.  I find it especially applicable to art where every creation is, in some way shape or form, unchartered territory. This painting is too huge and I have a deadline? Don't focus on the deadline. Just paint in this moment, just work on this square inch. I have a show coming up and I'll never get enough work finished? Just focus on this step. Go to the art supply store, sit at your easel, paint, clean your brushes, block off your painting time for tomorrow, and so forth. Julia Cameron, author of The Artist's Way and several other books on creativity calls this doing, "the next right thing." Last week when I wanted to cry constantly for the loss of my pet, "the next right thing" kept me moving through that initial pain to bittersweet acceptance and peace. From exercise, to art, to life and loss, taking one more right step will see you through. What is the next right thing that will take you one step further up your mountain?

My current "mountain." I feel like I'll never get this pine cone right!

Anyone have any overwhelming projects looming on the horizon? How do you handle them? Any tricks to share? I'd love to hear from you!

To see my last painting of a pine cone (which I also moaned over until the last coat, when I ended up loving it), click here.

On to adulthood

I few posts ago I showed you picture of an "adolescent"painting still in its ugly awkward phase (click here to see). Here's the finished painting, all ready to be delivered to its new home. 

T.J.'s Winter, oil on copper

I'm so proud to have been able to usher it on to adulthood.  ;-)

T.J.'s Winter, detail

Drastic Measures had to be taken

New Beginnings and New Beginnings II

You may remember this picture of two of my paintings at the Birmingham Art Association juried show from this post and I told you here of some of the struggles I had with New Beginnings. However, I don't think I ever shared with you the kinda scary measures I had to take to complete New Beginnings II.  

I was having a REALLY hard time getting the shape of the egg right. It was turned at a sort of awkward angle and I just couldn't quite get the curve. One of the things I love about painting is that pretty much everything is fixable. Just paint over it! This time, though, more extreme measures had to be taken. I felt the need for a clean start in that area (a "new beginning," Ha!). So, I sanded it down. Yep! It was a little scary. Look below-

Sorry for the kinda awful photos. My husband had the good camera with him. Do you see the really shiny halo around the egg? That's where I sanded it back down to the bare aluminum. Then I turned both the painting and my reference photo upside down (a good little trick to turn off that voice in your head that says, "An egg looks like this,").

                                                 

I've written a lot about letting your paintings go through their ugly stage and not giving up on them prematurely (see this post and this post, for example). In this case, it just took a little more extreme parental involvement!

Adolescence

A current painting in its "adolescent" phase

You remember that age- the awkward tween years when suddenly your body didn't fit you right, your skin started doing weird things, and you forgot how to talk to anyone over the age of 12 or any member of the opposite sex of any age. It was rough. It was embarrassing. But you got through it, and look at you now! Wearing clothes that fit, understanding how makeup works, and talking to bank tellers and grocery store clerks without stuttering or blushing. 

Well this is just a reminder that brain children go through the same awkward phase. They start out as beautiful, pristine canvases (or lumps of clay, or in my case, sheets of metal) full of potential. Then, as they develop you may reach a point where you say, "Is this really going to work?" and you fear that your poor little creation is destined to forever be an ugly duckling. See it through. Nurture and love it for what it could and will be. Like I've said before, you gotta work past the ugly (click the link for other works in progress and the source of that quote)! 

Any of you ever given up on a project because you just couldn't stand the ugly phase? It happens. Any of you ever pick that abandoned project back up and see it through? I'd love to see the results and hear your stories!

Stay tuned for follow-up pictures in the development of the painting above.

Brain Child Wins a Prize!

New Beginnings at the Birmingham Art Association juried show

Guess what! My painting, New Beginnings won Best in Show at the Birmingham Art Association's annual juried show. I was very excited just to be involved the show. I felt that the work this year was especially beautiful, so I'm all the more honored by the award.

Mary Liz Ingram and Dariana Dervis with Dariana's lovely
 mixed-media collages (and second place ribbon).

My dear friends (and fellow members of the art group, Eclectic Art Social Club) Mary Liz Ingram and Dariana Dervis also each received second place ribbons in (respectively) "drawing/printmaking" and "mixed-media" for their work in the show! Way to represent!!

Dariana Dervis, Mary Liz Ingram, and Chi Roach with
Mary Liz's beautiful pastel
 (her second place ribbon is behind Chi's head :)

A pretty awful picture of me,
but pretty good of my paintings.

You may remember New Beginnings (and my struggles completing it) from this post. Just goes to show, the brain child is worth the labor pains. So proud :).

New Beginnings

 Hi all! I was excited to see some of you at the show the other night at Parkside. It was a really fun night- good turnout, relaxing evening. All in all I'd call it a success!

A couple of posts ago I showed you an area of a painting that I had to just leave alone for a while. However, I never did show you the finished painting! Here it is!

New Beginnings I

And here is a companion piece:

New Beginnings II

These are actually kind of big paintings for me. I typically work rather small (around 10"x10" size). These are both 20"x24" inches. I really enjoyed doing some bigger work, however, and I think I'm going to continue experimenting with size and scale.

Upcoming events!

Wow, everyone! Sorry I've been m.i.a. lately! I feel like life has gotten crazy! Ironically, it is art related things keeping me from art and all of you. I have two shows coming up. This Friday, for one night only, Eclectic Art Social Club (that's me, Mary Liz Ingram, Dariana Dervis, Chi Roach, Cecily Hill Lowe, and Sunny Carvalho) presents "Eclectic Cool: The Colors of Calm" at Parkside Bar in Avondale, AL. Then, November 3-4 I'll be at Moss Rock Festival in Hoover, AL. I'll post more info on that later. Oh, and in between those 2 shows my sweet baby girl turns 1! Can you believe it's been a year!? I can't!

Nesting

Nesting 10"x10"
Oil on metal

At long last here it is, my latest painting depicting a tiny speckled egg nestled in a what I imagined I would use for a nest if I were a mama bird held, of course, in a silver bowl.

Magic

A freshly prepared sheet of aluminum, awaiting a painting.

I've had a sort of interesting experience with the last couple of paintings I've started. I've cut, prepared, and mounted my copper or aluminum, I know what I'm going to paint, however when I pick up my brush I'm struck with a sense of, "Wait... how do I do this again?" You may think that the idea that it's not all automatic would scare me, but it doesn't. Instead it sort of thrills me. I love that even after all this time and all the paintings I've done, nothing is rote. Despite the fact that I'm confident in my ability to face any challenge there's still a little spark of, "Will it work this time?" that makes painting feel a little like magic.
I have a newly finished painting I can't wait to show y'all. Stay tuned! All it needs is some drying time before its big debut.

Bi-State Art Competition

Shine
5"x7"
Oil on Brass

I am excited to announce that two of my paintings, Bright Idea and Shine have been accepted to the 39th annual Bi-State Art Competition at the Meridian Museum of Art.

Bright Idea
12"x12"
Oil on Copper

Currently they are on their way to Meridian. Please join me in wishing them good luck, God speed, and safe travels!

You may remember Bright Idea from my series of "work-in-progress" posts. You were a part of its birth and development! Now don't you feel proud of our little painting going out on its own? ;-)

Rock Garden?

My latest painting. I'm still working on a title, but I'm thinking "Rock Garden." 

What do you think?

I was reminded with this painting how much I really love realism. I love looking at something like a brown rock and seeing not just brown, but all the myriad of colors that make it appear brown. If you look closely, nothing is ever just the color it immediately seems. I'm not sure I'm ever more content than when I'm gazing at something beautiful and teasing out the unexpected colors that make up its highlights, shadows, and contours.

Shiny things

Here's a quick study of the little nesting metal canisters I unearthed in my messy studio

Everyday Beauty: Cup of tea

What caught my eye today:

 And my quick study interpretation of it (from a slightly different angle).

I especially love the reflections in the spoon, of course. You know me!

Common Mistakes of the New Artist and How to Avoid Them; Part II

Disclaimer: As I said in Part I of this post, there are no hard and fast rules to art. At some point you may purposefully choose to commit one of these "mistakes" to achieve a specific goal. The important thing is that you choose to do do it, rather than doing one of these things because of lack of knowledge. Ok, let's carry on!

Mistake #6: Bad Composition. Composition is one of those details that can truly make or break a painting. You might have an absolutely beautiful subject that you've painted wonderfully, but if your composition is wrong it may leave the viewer unsettled or bored. Here are some examples of bad composition and why they are bad. 

Exhibit A:

What's happening here?

The image above almost achieves an L shaped composition, which can be used to sort of "frame" an object of interest. However, there is nothing of interest in that vast expanse of blue so the picture is just boring and a little confusing. To improve the composition I may add a red balloon or some other point of interest to that space of blue.

Exhibit B1:

The edges of the subject just barely
 fit inside the picture, appearing forced.

The above painting of an apple is not great composition for a couple of reasons. Problem #1 is that it feels forced. The apple comes right to the edges of the painting, making it appear that the artist (me) was trying too hard to get all of the subject into the frame. To fix this problem, I would either need to zoom in closer on my subject, or back up enough that there is comfortable space between the edges of the apple and the border of the picture. Problem #2 is that the stem is pointing out of the picture. However, it is far enough away from the edge of the picture that it's not a serious problem. The picture below shows a similar problem.

Exhibit B2:

The beetle is walking out of the picture, possibly
leading the viewer's interest out of the picture as well.

Exhibit B3:

This is a better composition than B3
because of the position of the subject.

Exhibit C1:

There is no clear center of interest, making the picture boring.

Again, there are a couple of problems with this picture. Problem #1 is that the center of interest is not clear. Problem # 2 has to do with color and balance of light and dark. Most of the colors in the picture are of the same value (level of light or dark). If we zoom in like so:

Exhibit C2:

It greatly improves the picture, however it would still benefit from greater contrast between lights and darks, and perhaps in the colors themselves, as well (for example, a purple butterfly instead of one that matches the flowers). 

Once again, these are only guidelines. Don't let rules dictate your art (or worse, intimidate you from creating art all together). If you feel that your pictures are missing the mark somehow, however, a look at these tips may help you put your finger on the problem. Remember, experience is the best teacher and with time you'll develop a sense of what works and what doesn't. 

Common mistakes of the new artist and how to avoid them; Part I

I'm trying to provide plenty of visual examples, therefore this will be a 2 part post.
I've been looking at some of my older paintings and noticing the mistakes I made as a newbie artist. About 6 years ago when I started painting, I had no formal training. I just bought some acrylic paints and sorta went to town. Over the years I have gained some knowledge (both from mentors and formal training, and from experience) and the quality of my work (as well as my style) has WILDLY changed. I won't say that one style is better than the other, but my techniques have definitely improved. Below are some mistakes I made and that other rookie painters  tend to make and how to avoid or fix them.

Note: There are exceptions to every rule and you may choose at some point to commit one of these "mistakes" in order to achieve a specific effect.  However, the important word there is "choose." What I have listed here are mistakes people often unconsciously make when getting started painting. 

Mistakes to avoid:

Mistake #1: Making brush strokes go in all one direction. Check it out: 

Brush strokes should not go all one direction

Vary the directions of the strokes

It is especially tempting to make your strokes go in one direction when you're trying to fill a large space like an empty background. Varying your strokes looks much more natural. While we're on the subject of backgrounds...

Mistake # 2: Making the background an after-thought. Ideally you want to paint the background before the main subject. Especially on the last coat (or, of you work with one thick coat instead of many thin coats, you probably want to add to the edges of the items in the foreground of the picture at the end).  If you completely finish the subject and then try to paint the background, the edges will have a forced feel to them. I usually try to paint from back to front. For example, in the painting below, I painted the yellow and red marbles before the blue, since the blue one is in front.

Mistake #3: Finishing one area of the painting at a time. I know that you don't have endless time to paint and painting a layer over the entire painting at each sitting may not be doable. That's not what this is about. The mistake many new artists make is completely finishing one part of the picture before starting on another part. The result is usually a very disjointed final picture. Below are some examples of working on the whole painting rather than one bit at a time. These pictures show one of my paintings in progress.

See how the entire painting progresses from less detail to more detailed rather than filling in all the details of one part while neglecting the rest of the painting? If you find yourself getting too caught up in one little part of the picture, walk away for a few minutes and view it from a distance as a whole.

Mistake #4: Not using a reference or model (if you're doing a representational painting rather than a non-representational abstract).


Mistake #5: Painting what you think you should see instead of what you actually see.

Mistakes #4 and #5 go hand in hand. Say you're painting a picture of an apple. Your brain will probably say, "I know what an apple looks like," so you either attempt to paint without an apple as a model, or you don't look at your model and you paint a roundish thing with a stem. Even if your goal is not realism, having the subject in front of you and truly looking at the qualities of the model will improve and vitalize your picture. Try to turn off that little voice in your head that applies symbols to objects (example: "Apples are round, doors are rectangles, etc."). If you're working from a photograph rather than from life, it might help to turn the picture (and your painting) upside down so that it is less recognizable to your brain. If something seems off with your picture and you can't figure out what it is, it helps to hold the painting (and reference photo, if using) up to a mirror. By reversing the image, you can often see what is and isn't working.

Stay tuned for part II of this post! Are you having any painting problems that you'd like me to address? I love hearing from you!

Golden Girls rock

I have this sort of high-minded belief that you shouldn't buy art to fit a particular space or because the color-theme matches your couch. It seems like if you only obtain things you love, they all seem to work together somehow. However, I've amended this creed somewhat and have come to realize that sometimes the perfect piece for a room can make the entire room a work of art. 

This is my bathroom: 

Note the pink tile. It's not 50's bubblegum pink. It's more of an 80's mauve. The walls were previously a pinkish beige, which was fine with the previous owner's decor, but didn't really suit us.  When it came time to paint, let me tell you, we struggled to find a paint color that we liked with the mauve that didn't make it look like it belonged on the set of Golden Girls (click on the link to see a blogger who was totally inspired by the idea of modernizing the Golden Girls' style). Come to think of it, their couch was about the same color as these tiles. 

Then, I found these:

and inspiration struck. I would do a painting of river rocks for the bathroom, bringing in the pinkish color of the tile and paint the walls a beautiful river rock greenish grey! Perfect. So and painted the walls greenish grey, and I painted this:

And it sold before I even got to try it out in my own home! Not that I'm complaining at all. It sold to Energen, Birmingham's Natural Gas corporation, for their collection of Alabama artists.  I've painted a couple of smaller ones, too, but none have made it to their pre-conceived spot. Again, not complaining! So, I started a new one. I gave you a sneak preview of it here. Here it is now:

Stay tuned for more progress. 

The moral of this story? Inspiration can come from anywhere. Even pink tiles.

How about all of you out there in computer land. Ever been inspired by anything totally weird and random (a la doorknobs and faucets)? Tell me about it! Send me pictures and let me know if you would like me to share them on this blog. 

Coming soon

Here's a sneak peak at my current work in progress:

Stay tuned for more. Same art time, same art channel. (Click on the link for fun, or for you super-youngsters that didn't get my reference). 

For more posts like this, check out:

Work in Progress Finished- Take 2

Work in Progress Day 1- Work Past the Ugly

Lessons learned

I mentioned in my last post that I had learned a few things from my most recent painting experiment. So, in no particular order, here they are!
Lesson #1: Prime, prime, prime!

It's important when using oils on wood that you prime the surface. Over time, oil degrades wood and paper, so you need that primer as protection for the wood. This I knew and I did apply a couple of coats of clear matte medium to protect the wood. What I didn't fully appreciate was the importance of preparing the surface for me, specifically. If you look closely at the image above, you can see the bumps and roughness in the surface of the wood. I didn't realize how much that would distract me. I swoon for super smooth painting surfaces, so the texture of the wood bothered me. 

So, in short if you're working on wood with acrylics and you like rougher surfaces and texture in your work, don't worry about priming. Jump right in! If you're using oils on wood and like texture, a couple of coats of gesso or matte medium should work fine for you. But if you're a lover of glassy finishes like me, sand, prime, repeat ad nauseam.

Lesson #2: Use a good reference photo (or model if working directly from life).

This was my reference photo, which wasn't absolutely terrible, but didn't provide me with what I needed for this picture. Had I been striving to recreate this picture, it would have been doable, but to recreate the patterns and shadows of the face in muscle and patterns, I should have used a clearer, not so blown-out picture. 

Lesson #3: Get out of your comfort zone.

This experiment was pretty far out from realistic portraits of everyday objects and their reflections and that was great for me. Try a new painting surface, subject, or technique! You'll never know your own style unless you explore. Who knows, it may turn out even better than you imagined! Or it may turn out that it's not your cup of tea at all. Either way, the experiment will be a success. 

So what about you? Learn anything new lately? Discover a love of a different subject or technique? What have you been experimenting with? Let me know about it!

Like this post? Check out:

New Goodies

Life is just a bowl of... doorknobs?

A few of my favorite things