Improve Your Painting With A Self-Styled Study Course

Make A Plan, Time Block and Then Do It!
Every artist I know has a deep desire to get better at their craft. In fact, that desire for improvement often serves as the inspiration for that next piece. I'm going to just kill it this time, is a refrain that often goes through my head as I lay in that first pass. But sometimes what happens is that the new piece - and the one after that - doesn't show much growth. And while the pieces we're churning out may be solid and of high quality, we want to take our work to the next level.

Whether I like it or not, a good old "back to the basics" regimen of study and practice sessions bring new levels of skill. I've talked before about cleaning your studio, etc. to bring about better painting. But sometimes organizing or listening to different music while you work just isn't enough to bring about better paintings. Oil painting - any art - requires life long study and practice.

The best way to approach the goal of self-study is be organized and specific.You have to take the time to make a plan of attack. If I were to breakdown my process, it would look something like this:

1. Make A List
First, I get out a piece of paper and pencil (stepping away from the computer and actually using a writing utensil seems to bring about a higher level of thought for me for some reason). I make the heading: 2016 Self-Styled Study Course. I feel quite official doing that. I jot down maybe five "commitment" activities. After some personal history with doing this, I try not to be overly optimistic. I want my study program to be solid, but realistic in terms of scale and time requirements. For example:

1. Study Andrew Loomis's Figure Drawing For All It's Worth. With two workshops coming up involving the figure, I want to be as prepared as possible.
2. Study Andrew Loomis's Creative Illustration (I really want to understand the intricacies of composition and this book came highly recommended).
3. Research and sign up for one to two workshops during the next year.
4. Visit the Detroit Institute of Arts twice in the next month.
5. Make one random sketch per day while I'm watching tv, in the car - as a passenger - or in a restaurant.

2. Time Block
Ladies and gentlemen, your list of all the things you're going to do will not happen without designating a specific period of time you're going to do them. You'll end up saying, Yeah, I'm going to get to that book as soon as I've finished this painting, the laundry, and the dogs have been walked...oops! Where did my day go again?!  Don't wait for a convenient time. Pick a start and finish time, and treat it like a paid time commitment.

For my current Self-Styled Study Course, I've designated 8 am to 9am to read the Loomis texts. I chose that time because usually I'm just messing around on the computer anyway during the early morning hours. I've also written in two dates on my calendars to visit the DIA - coordinating it with my out-of-home studio time which happens to be just a few minutes from the museum. If I end up being in the neighborhood before that date - fine. I'll be ahead of the game.

3. Tell A Few People
There's nothing like accountability to help you live up to your plans. Ask your friends to try and remember to ask you about your progress.

4. A Few Words About Workshops
I cannot say enough about what a great investment it is to take a quality workshop from the multitude that are available out there. Of course, it's much more convenient and less costly if the workshop is near your hometown, but if there's a dream artist you'd love to work with - go for it! I once traveled 14 hours to attend a David Gray workshop and it was worth every penny and minute spent driving (listening to books on tape the whole time).

It's a very bonding experience to be with like-minded people who share the same goals and dreams. Best of all, it's incredibly thrilling to learn from an artist whose work you have admired for years. This year, I've settled on Casey Childs's workshop in April (traveling about 8 hours to Virgina) and Alyssa Monks' s held very near my home in Michigan in September. I sent my deposits and registration forms in for both workshops and I can't wait!

Loomis's Texts I'm Studying - I'm actually reading them and doing the exercises!

I am still painting!   

work in progress, sneak peek:

Pinned, work in progress - approximately 24x36 Just thought I'd share.
 I'll post the final version  soon.

 To be clear, I'm not suggesting you stop your regular painting altogether. You may have a show to prepare for, a class to teach or commissions to finish. But a yearly Self-Styled Study Course really can bring your work to that next level. Let me know if you do and what types of activities you come up with. I'd really like to hear! Email me at amyfell@umich.edu or post a comment.

Getting Back Into The Swing Of Things: Think Small

Fishing for Inspiration

After completing over 20 paintings for my solo show in September, I was one tired painter.  I needed to get into the painting groove again, so I tried an old trick: paint something small and fun! I can't even remember how it came to me, but fishing lures seemed to be a fast and easy project. Ok, so they ended up being not so easy or fast - but isn't that the way it always is? The lures were definitely a challenge, but a good one. I quickly became obsessed.

Fishing lures come in an endless variety, and yes, they were so much fun to paint. Full of color (and you know how I love color) and easy to frame as painted them on oil-primed boards. They're on display at the Ann Arbor Art Center now until January 10. www.annarborartcenter.org/exhibitions/artoffthewall-2015/

New Discoveries February 2015

I love new discoveries! Anything that makes the painting process easier, less painful, or best of all: results in a more beautifully constructed finished piece, is just cause for a celebration.  And who wants to celebrate alone? I'm here to share. Without further delay, here they are.

HOW TO AVOID DRY SPOTS ON PAINTINGS WHEN VARNISHING 
I'm sure many of you have experienced this annoying phenomena: you lovingly and carefully varnish your painting. You spend a day or so feeling pride and accomplishment - wow a coat of varnish brings your work to a whole new level of beauty. But a day or so later, you notice several annoying dry spots in areas that make your beautiful varnishing job not so nice. Much to your chagrin, you discover these spots persist even after adding a second, or even third, coat. 

After years of research, I finally think I've cracked the code to this mystery, and I'd like to thank Sadie Valeri, and Gamblin Studio Notes for helping me out (all information gleaned from their fabulous blogs referenced below). The answer: you need to prepare the surface BEFORE the varnish goes on. The method, "oiling out,"is relatively easy and results in a beautifully even surface.  

Oiling Out Method
Tools: 
- Galkyd Painting Medium
- Gamsol Odorless Mineral Spirits
- Small, shallow bowl or cup to mix and later dip into
- Brush, sponge brush or makeup wedge to apply mixture
- Lint free rag
- Gamvar Varnish 

Directions:

1. Mix up a 50/50 Galkyd Painting Medium and Gamsol Odorless Mineral Spirits in small cup/bowl.
2. Apply mixture, using sponge or other applicator you find effective, to a dry painting. I cover the entire painting with this mixture.
3. Let dry a few minutes.
4. Take a lint-free cloth and wipe it off - although not entirely.
5. Proceed with varnishing (my favorite: Gamvar). 

Oiling Out is also extremely effective when you go to work on an unfinished painting that has dried out in areas, which makes it difficult to "read" and doesn't seem to take additional paint layers very well. Apply this mixture only in areas you plan on working on. Don't just apply it and let it dry on top. Please note, that I've described the method I use, but do visit Valeri and Gamblin Studio's blog for more detailed options. 

BEST PAPER TOWEL EVER -  SCOTT "SHOP" TOWELS

I'm so sorry, Viva, but Scott has bested you in the competition for the oil painter's most trusty paper towel. This is the nearest to cloth I've found, and as an added bonus, is cheaper than Viva! Although Target and your grocery store doesn't seem to carry Scott Shop, it is available at hardware stores, and even better, COSTCO. I highly recommend. 

HOW TO STOP YOURSELF FROM OVERWORKING A PAINTING

Lord, I thought I'd never stop this horrible obsession-driven tendency. I have dozens of overworked, got the life blood sucked right out of them, pieces (some quite large!) that make me feel awful. They're all stored in a sad closet, much like the land of misfit toys that will never see the light of day. I keep thinking I might be able to use them for, what, I'm not sure.

Just when I thought I'd never ever stop this cycle, I finally kicked the habit. I am happy to report I haven't added any to the sad collection in quite some time. Understanding what drove me to work and noodle past the point of effectiveness led me to an easy solution. The reason I kept working on paintings I darn well knew I needed a break from:

I DIDN'T WANT TO STOP PAINTING.

Well, no shocker there. If I stopped painting I'd have to clean the house, or face some other mundane boring task. So I came up with a pretty obvious solution: working on several paintings at once. Having a couple of works going at the same time allows me to step away from one when I need to, but still be able work on another piece that is fresh to my eye and mind. Therefore: I can keep PAINTING!!! Interestingly, I've discovered that if I'm not working on at least five paintings concurrently I find myself getting into trouble.

BEST BLOGS FOR PAINTING
Trust me, if you're not visiting these blogs, you're missing out on so much. I am extremely grateful for the information these artists share. If you read, watch their tutorials, I guarantee you will receive an expensive workshop's worth of information.

David Gray http://dgpaints.org/   David Gray also has a post discussing "oiling out" as it relates to working on paintings in progress, using a mixture of 50/50 Gamsol & Walnut Oil that is very helpful.

Sadie Valeri (where I culled a lot of info regarding varnishing) http://www.sadievaleri.com/

Gamblin Studio Notes http://www.gamblincolors.com/newsletters/

Thank you Ira Glass!

A nearly constant narrative in my head nags and pokes at me, telling me my work is not where it should be. I finish a painting and think: Wow. Really? That is not what I visualized at all. Sometimes I can field the negativity with a hearty Yeah, I know, but it's a PROCESS. Other times, I find myself pretty darn demoralized. I look at my paintings and worry and fret. I started my study of painting late - like really late - in life, so it's a little daunting to think I will have to maintain my patience and persistence for an indeterminable amount of time before I get to where I want to be. Will I even have my teeth by the time I feel my work is something I can and should be proud of?

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Some months back I was in a particularly bad funk. I tend to overwork paintings to get them "right" and in the process squeeze a lot of the lifeblood out of them, resulting in highly disappointing paintings. Which translates into a waste of time, along with costly paint and canvas. Right around June I had gotten into a really bad cycle. Painting after painting was just: ugh. I kept thinking, I could spend my time more productively doing basically anything, ANYTHING else. Even staring out the window would be better since I wouldn't be wasting money on costly art supplies.

One day my demoralization hit a fevered pitch. I was on facebook torturing myself by looking at posts from fellow artists whose level of skill was truly worth the time and effort.  Now there's quality, I mumbled as I scrolled through image after brilliant image.  Right then a message in my inbox from my sister popped up. In my catatonic state I was almost too weary to clink the link she had sent me. But thank God I did, because the web posting she sent was so pitch perfect to my current state of mind, it could be defined only in terms of divine intervention.

The link led to some generous and solid advice for the struggling artist of all genres given by Ira Glass, host of NPR's This American Life. (As an aside, This American Life is one of my very top favorite shows to listen to while working.)  The piece discussed the moment in time when you're feeling just not good enough, and how crucial it is to keep going anyway.  Glass asserts that it's precisely at that moment you feel you're doomed that you need to increase your output.  As I listened, I was buoyed and heartened - well for me, anyway. I went from feeling like a fool and a failure to: maybe I shouldn't quit after all! The take away for me was you have to produce as much as you can just when you feel as if it's all for naught.

I highly encourage you to take a moment and listen to what Glass has to say. Even if you're on a good roll.

If You’re Not Good Enough, Just Do This One Thing Over and Over and Over… and Over Again. 

Thank you, Ira! You truly made a difference in my life!