ARTWORK: QUEEN OF KINGS.

I want to do a series of this girl. I don't know exactly where the idea came from, but I started creating her portrait and thought, "This girl needs a crown!" As she unfolded, I felt like she was a bit of a bad-ass queen, blue hair and all.

ARTWORK: BRUSH CLEANER, BRUSH, AND SPONGE.

I've been using Pink Soap for a few years, but I'm not crazy about it's cleaning power in regards to oil paint. I remember in college we used The Master's Brush Cleaner, so I decided to pick it up once again, because my brushes always felt fresh after using it.

And it still works great.

I also bought a new brush, which will be great for glazing large surfaces. And I believe an experimentation post will have to posted in regards to the new sponge I couldn't resist buying!

ARTWORK: A GROWN UP IDOL

"A Grown Up Idol" 2012

Artist Thoughts/Inspiration

Preface: I'm a pretty firm believer that people should be able to look at a piece of artwork and glean whatever emotions, thoughts, or feelings that come to his or her mind. In that way, I don't want to "spoil" your particular views about any piece of art, especially mine. Some people really like to know where the artist is coming from or what inspired a painting, others do not. If you wish to read about what inspired this piece, please continue reading. If you want to enjoy the artwork for what it is to you, you have my blessing and respect as well.

Thoughts on "A Grown Up Idol."

This is probably one of my favorite paintings that I've done. It's quite sentimental, because it's actually a painting of "The Little Mermaid" statue in Copenhagen, Denmark by Carl Jacobsen. I've been enamored with this particular statue since I first discovered its' existence. There is a sadness and a longing to it, which strangely takes me back to the utter joy that was being a little girl. To be free to love earnestly and without shame. Something that I've been eager to perpetuate within my own life. I spent a large portion of my childhood fascinated with mermaids, specifically the Disney version; therefore, Ariel/Serena will always have a place in my heart.

ARTWORK: ANTIQUED STREETLIGHTS

Streetlights (Commission for my patroness, Heidi) 2012

I don't sign the front of my paintings. This choice started in college based on my own professor's view that artwork should be about the work and having a signature scrawled across the front can be distracting. I remember that a few of my finished pieces in high school had a signature at the bottom. I remember finishing a drawing and having this apprehension of messing up months of work by placing my name at the bottom. What if I messed up? What if I spelled my name wrong? What if if if?

Later on, I did a show in which one of the kind ladies working there asked me why I didn't sign my paintings. I just simply said that I didn't. I think she thought I was shy or being humble about my work, because she said she didn't buy a painting unless it was signed by the artist and that I should sign all my paintings. 

Well, just to set the record straight, I'm not shy about my paintings. Sure, humility is a virtue I admire and wish for myself in all things, but choosing not to sign my paintings isn't a decision I make out of humility, but because of my views about art.

So, I don't sign the front of my paintings, I sign the back. A lot of artists have conflicting views about it. Some sign, some don't. I choose not to, because I do agree with my professor. The painting should be about the painting and not about me. A painting is by and large an extension of me - it's a creation by me. In that way, it's all about me! But at the same time, you (the viewer) should be able to look and enjoy a painting without me getting in the way.

However, jerks on the internet like to take what's not their's, so the internet gets a signature. Now, everyone's happy.

ARTWORK: COMPARISON OF WHITES (PART TWO)

Late post on the blog tonight. After a long day at work then visiting my family, this is the first time I've gotten to sit down at home. I'm feeling a little less in the dumps, so let us proceed with the comparison of whites, shall we?

As I moved on with my painting, my professor told me that I should try Flake White. My paintings were becoming more focused on thin layers and developing a background prior to working with a subject. I bought some of Windsor & Newton's Flake White and began working with it the same way I did with Titianium, except I noticed a subtle change. Flake White can be more transparent and is subtly less brighter than Titanium, which can make all difference depending on what you are trying to achieve. Here are some examples where I think the difference is noticeable.

In both of these paintings, I wanted the white portions to be a layer or a glaze over what was already on the canvas. I usually thin the paint down on my palette with either Liquin, Linseed Oil, or Artist Medium, otherwise it will go on thick and opague like Titianium or any other shade. Mediums definitely help create more transparency when painting, but it's also important to remember that it's the paint's transparency that is most important. 

So, those are my thoughts about the two shades of whites that I use. For any painters out there, I hope it's helpful, and I would love to hear your thoughts. If your interested in more posts like this having to do with techniques, please let me know!

As promised, here is a great forum where I often go to get more technical information about painting from other artists. And here are some links to the posts directly having to do with different shades of white and black.

Different Shades of White and Black (Comparisons)

Titanium vs. Flake White

Titanium White vs. Zinc White

See you Monday!

ARTWORK: COMPARISON OF WHITES (PART ONE)

When you dive into painting, one of the first things you learn is that buying a simple tube of paint is not that easy. Actually, it can become quite the boggling experience. Don't believe me? Observe:

The Digital Iris

Yes, it becomes complicated, even with colors (or values) that should be simple. Like white. When I bought my first tubes of oil colors, Titanium White was on the list. And that's all I thought I needed. White was white. The idea of a warm white or a cool white was nonexistent, and opacity and transparency's importance was probably along the lines of my interest in Laguna Beach.

Equally nonexistent.

Elephant (2010)

Meet my beloved Elephant. This little still-life from Contemporary Painting is still one of my favorite pieces. He's tiny. He's cute. And that's really all you need to know to love him. The point of  Mr. Elephant is that he was painted with Titanium White. This particular shade (even though it's technically not a shade) is very bright, very luminous, very opague, and very slow drying. When you mix it with other colors to create lighter shades, it makes those colors more opague and creamy looking. A general rule of thumb is that the lighter a color is, the longer it is going to take to dry, especially depending on how thickly you are applying the paint/what medium you are using. To me, this picture doesn't even really show how bright and happy this little guy is! And I believe that's partiality because of the Titanium that I was using at the time.

(Try to shield your eyes from the horrible flash in this photo. It was dark outside.)

At this point in my painting, I no longer use much, if any, Titanium. It's a classic color, but I mainly reserve it for painting over old paintings because of the opacity. It's thick and covers over colors really well.

On Monday, I will talk about Flake White and also share some links that have more technical information when it comes to choosing colors!

ARTWORK: A COLLECTION OF BIRDS

For my Dad's 50th birthday, I did a three part painting of birds for him. Here you will see 2/3 of the piece, because the third picture has gone AWOL. I have done quite a few paintings and drawings of birds and while I have found them to be interesting and beautiful subjects, they also are wonderful subjects to actually paint. Sometimes with painting, you have to work really hard and sit staring at a canvas for hours to make something pop or connect right. What I've found with birds is that the loose, quick strokes (similar to movements made when sketching rather than painting) make these little guys come to life in a way that I find rather charming.

ARTWORK: KING'S BLUE

I’ve always had this little obsession with art supplies.

Going to Toys R’ Us and picking out an artist kit complete with markers, watercolors, and pastels with my allowance…

Walking into Barnes and Noble, looking at beautiful leather-bound journals and sketchbooks…

Picking out new supplies at Alabama Art Supply and Forstall for upcoming drawing and painting classes…

Yes, these are a few of my favorite things. And kitties. Kitties are, too. Since graduating, the amount of supplies I purchase has decreased exponentially. New canvases, paper, colored pencils, and other experimental odds and ends have fallen off the radar. Instead, I’ve mainly tried to work with what I already have, finding that to be sufficient considering the amount of work I produce has also dropped. Also, I know I like oil paints, colored pencils, and sketching more than other mediums. And I still have stocked drawers of these things! However, since I work with the same colors predominately in my paintings, I have to restock occasionally. I then get to feel that rush, even if it’s just for a fresh tube of Flake White. So, I was browsing on Blick’s site, looking through different brands when a shade of blue caught my eye. Or should I say my heart.

Because I. Was. Smitten.

Seriously. I just had to have it. And with a name like “King’s Blue,” I didn’t have anything in mind other than pure need of this color. It reminds me of all things British, and that’s all I needed to go on. Now that I have revealed my impulsive spending habits, which frankly also cross over to the world of Forever 21, H&M, and Modcloth…wait, let’s not go there…I’m going to go stare at my new paint.

Yes, staring at new supplies and being slightly afraid to tarnish their newness is also a fault of mine. Start keeping a list.

ARTWORK: STATUE

Statue (2012)

Remember the fail canvas from my first post? This is the completed painting. The painting was inspired by a picture in a France coffee table book that I own. It's from the Vimy Memorial. I chose the image for many reasons, but mainly because I love painting hands. I did not, however, plan for the painting to take such a life-like direction...in comparison to, you know, a statue. Feedback is always welcome, though I do consider this a finished piece. There will definitely be times when I will as for a critique on pieces that I don't feel are working; however, this one (regardless of suggestions) is a completed work.

ARTWORK: GOALS.

Here is a loaded question: What is the goal of an artist? More specifically, what is my goal? That’s a little less loaded. I’ve thought about this a lot over the past few months, especially since taking on some commission work, working on creating a professional website for my paintings, and also choosing to dive back into the world of blogging. Why am I choosing to do this? It takes time, it takes energy, and I don’t know if it will lead anywhere. I think all artists come face to face with this dilemma. The Great Artists serve as both an inspiration and also seem to stare patronizingly at my easel, at my brush strokes, and pencil markings. I was even looking up videos on YouTube about building my own canvases and decided to click on a link that appeared to be an oil painting tutorial. It was instead an advertisement for painting lessons aiming to ensnare curious and insecure artists, showing them classical oil paintings while discrediting the viewers previous art teachers and giving the impression that the primary goal of pursuing painting is to become famous. It also reminded the viewer how many artists actually become famous. As if we needed reminding.

Do I want to be known or famous for my artwork?

Sure.

Is that why I paint?

No.

Not. At. All.

If I constantly thought that way, it would be completely debilitating. It would completely stifle any chance of creating anything. Every brush stroke would not only be critiqued, but scrutinized within an inch of it’s life. And that’s if I was even able to paint! The blank canvas is terrifying enough at times. There would be no natural progression, because the standard would be set too high. Do I want to become a better artist? More than I can say. Is it important to listen to criticism? Absolutely. Should be becoming better be a goal in and of itself? Yes.

Is the primary goal of painting to end up in the history books?

No.

Art is a job. This is my third job. First is my family. Second is my full-time job. Third is painting - my job that is also one of my passions. It is a wonderful job that I’m trying to cultivate. Honestly, what drags me into the studio some days is simply the need to paint, with no thought of who will view it. The need to create. For me, right now, it’s not something that wells up inside me in some transcendent way, this desire that I can’t control. Sometimes it’s simply because I have this fear, this notion, that I could look back on my work in college and whisper to myself (possibly full of bitterness)“What if..?”

So, the goal of this artist is simple: Create. Believe in your work. Believe in doing better. Believe in taking chances on your work. Because when the enemy whispers so soothingly, “What is this for? Who do you think you are, Van Gogh?” - and he will whisper and shout - I can make an active choice.

To try.

Because how do you expect anyone to believe in you work if you don’t first?