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One important aspect of acquiring skill as a painter has to do with how much you paint. Many artists through time have painted every day. Many of the artists most respected today painted more than 500 works in their lifetime. Zorn, Sorolla, Sargent and Bouquereau made hundreds of life size portraits.
By working many hours every day artists become fluent in the language of painting. If one speaks French once a year it is impossible to sound at ease. On the other hand, when you paint every day the colors flow from your brush with such ease. This concept is something many painters forget today. N. Fechin; oil on canvas...another artist that painted every day. |
Painting every day
Hi Tim -
I feel that I am learning leaps and bounds by drawing or painting every day. The brushstrokes and knowing what to do come easier now. I work full-time, like many forum members out there. There are some days I can't do much, but I am improving. Can readers share what you do to allow yourself enough time to paint? (Hopefully this is a subject that fits under the title of painting every day.) One thing I have found is that I make appointments with myself and treat them as seriously as I would a doctor's appointment. |
My house is not as clean as it could be and I don't do any volunteer work at my kids' school. (Hey, I work full time at this career of mine.)
Two years ago I made a decision: if it doesn't have something to do with my family or painting, I don't do it. I paint six days a week, about five hours a day. I wish it could be more. |
Yes
Julie, it helps doesn't it? And yes Michele, 6 days a week is close enough to keep your eye keen. Even two hours a day will keep you connected and sensitive. That's why Sargent painted even while waiting for a train.
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Not painting for a while helps too...
I think it's important to paint consciously. Sometimes I painted better after not painting for a long time. Because I thought about several aspects of the painting process, and changed certain aspects of my approach... Then it's good to forget certain mannerisms in your earlier approach.
In a certain way I learned more from not painting than much painting. But I thought about painting every moment of the day. |
I usually paint Mon thru Friday 10am - 4pm, then on an occasional evening or Saturday when I can get away.
Last week I was home with allergies for 2 days then forced to take off 3 days because of school holidays and company. I only painted about 6 hours all last week and boy can I tell! What I did yesterday and today in the studio would be much better if I hadn't had that break. To give myself enough time to paint I have my hours posted as if it were any retail shop and I pressure myself imagining lines of customers waiting at the door. I am never late! Of course, there has never been a line waiting for me... It's hard to get there sometimes when the house is messy or I need to go grocery shopping, etc., but once I am there I paint every minute. My husband complains that I won't leave and go to lunch with him. |
When I can't paint, I think about painting. I look at books of Waterhouse, Bouguereau, Baroque painters.... just to keep the ideas flowing.
The past few weeks, my studio has been a cooler, about 50 degrees, and well, my models just wouldn't have it. Neither would I! Painting isn't just a brush to canvas, the way I look at it, it's the activity of viewing life as a set of compositions and painterly problems. There's always something productive to be had... |
Peter, that's an interesting observation. I also find that some fallow time can recharge and rejuvenate in surprising ways. I can, for example, be stuck in a pattern or repertoire of guitar playing for months, become bored with it and set it down for as much as many weeks, and almost without exception, compose some of my favorite instrumental pieces immediately upon returning to playing. And those original pieces are quite unlike anything I'd been doing before -- and unlike anything I could have done before. I don't know why that happens, but I'm happy to take it. (Just wish I could patent it, and at least generate some revenue from it.)
I also understand the value of daily, or at least ongoing, attention to the mastery of skills. Were I playing concerts, or trying to master some Chet Atkins tab, instead of just picking for my own enjoyment, it would be foolhardy to omit regular practice. There's an old adage about that, which I'll have to paraphrase, to the effect that, if you miss one day of practice, only you will notice. Two days, your friends will notice. Skip three sessions, and everyone will know. [Maybe Sargent and Segovia took a break once in a while, though. Who knows? (Self-styled "art historians", yes, but . . .)] Sidebar to Kim: go to lunch. Tell yourself (not your husband) that you've been working hard, and the break will provide the incubation period for wondrous things to come when you return to the studio. Just tell your husband, "That would be great!" Then everybody gets something they need. (Don't talk about art over tacos. Let your brain shift to a different discipline or subject. That's often the kick-start for new energy and ideas later.) There are Olympians on the field, yes, but it's okay for the rest of us to just do our own work and have a good game. Which requires practice and attention. |
Tim,
I know you have mentioned the topic of "just plain hard work" on several occassions, and I for one appreciate you reminding us of that. I have met a lot of artists who think that if they buy enough books, videos and attend enough workshops that they will get it and it just doesn't work that way. You just end up trying to become whoever your watching or reading about and that doesn't allow you to be creative or just be yourself. That's not to diminish the importance of these,I own plenty of books and videos and they are tools for improving your skills, but as you've said many times it's much about hard work. Julie, I have two very active teenagers so it takes some doing for me to find time. As a general rule, I paint every evening (due to the day job) and most of the day on Saturday. I also get in a few hours early Sunday morning before church and sometimes during the afternoon on Sunday. I always give my wife and children priority over my schedule. I have found that by doing this I get the same in return. I must say that this past year I have worked more than ever and have found that to have contributed to my progress more than anything else. |
breaks
Breaks and health are good for us all, but as painters remaining sensitive to what we see by working is a lovely thing. There is a componant to this in workshops. Students get better because they paint everyday-all day-they often credit the teacher when the "doing" should get much of the credit. I think of how Sargent did 17 portraits in 6 weeks as inspirational.
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17 portraits in 6 weeks
There's a thought for my summer break: try to see how many portraits I can do in my six-seven weeks off. Sure won't be anything like Sargent's in quality, but it's an interesting numerical goal to set for myself.
Were those plain head and shoulder portraits he did or full-length works in that length of time? That would be interesting to know! If they were simple head and shoulders, then it becomes a little less mind-boggling. |
Hard work isn't enough
Time alone is not the key, however, time well spent is. Working hard is certainly a major component of getting better but being well directed is equally important. Sargent spent years under the wing of Carlos Duran, learning how to paint. Doing something wrong over and over only makes you more proficient at doing something wrong.
Why bother going to a workshop anyway, except for the guidance? When people take workshops they are looking primarily for direction. Otherwise, they can just stay at home, hire a model, paint like the Dickens and save themselves some bucks. |
I can relate to Peter and Steven on this. When I've taken a break from art, which could be months, the work I do when first getting back to it has been some of the best work I've ever created! I really think this is something unique, and everyone needs to find what works best for them. I know I tend to burn out pretty quickly if I force myself to work on art especially when not feeling like it.
Perhaps being an extremely observant person, whether there's a canvas in front of you or not, is one of the most important tools for a great painter? |
I didn't paint or draw at all for seven years, when my kids were small. This caused me, more than anything, to lose valuable time in my growth as an artist. (Yes, I had different, and very important priorities during those years.) I don't think I got better or worse because of that break, I just let a lot of time go by, focusing on other things.
As for being observant, I think I have two ways of looking at things. During normal activities I am completely unobservant and can't even remember if friends of mine have mustaches or wear eyeglasses. However, when I'm looking at something in order to draw or paint it, my brain switches into a totally different way of seeing. Then I can tell you exactly the color of the light glinting off that person's eyeglasses, and which four different earth colors of paint I'd use to represent their mustache. |
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If ever there were a stellar model of time well spent off-vocation, and then returned with renewed excellence, you must be that model. Congratulations again, and cheers. |
How kind of you to say those things, Steven, but, really, any gains I have made have happened since I got into an intense schedule of study and painting about two and a half years ago.
To see where I was at that point, just take a look at the (awful!) very first painting that was submitted to the Oil Critiques section of this forum. I did everything wrong -- bad reference photo, very bad color, etc.... In those two and a half years I've painted at least twenty hours a week, and spent another five or so hours each week reading about painting, both online and off. Plus I attended two workshops, a national portrait conference and bought and studied two portrait painting videotape sets. I don't think any previous learning I had was silently percolating during my seven year sabbatical. I think I just didn't know very much back then, and I was very much out of practice. My dedication since I started painting again has been due to one simple fact: If I don't succeed at this career I might have to go back to a high tech sales job, which is what I did in years past. I work hard at painting so I don't ever have to do anything else for a living! |
It was all, always percolating, which is why and how you've arrived at such an accomplished arena and practice.
Please stay on board for a long time and teach the rest of us. Congratuations again, and cheers |
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My thought for the week (I give one every week to my students): Quote:
When I started painting portraits, I learned to use pastel. When I decided to learn how to paint in oil, I decided to make myself paint 100 portraits in oil befoe I offered them to clients. I probably only got to about 60. Having had the privilege of meeting and painting with Michele, I do know that I very clearly relate to the nature of engagement with the (her) work. There is much that is necessary, as it would be in writing, singing, music, etc, in putting in the countless hours of hard work - but I do agree that the work has to be properly focused. At least for me this means periodic, and carefully chosen workshop study, with my brain in the "open" position. |
I agree practice makes perfect, the more you do the more proficient you become. Although I don't consider painting work, I consider it a joy and a pleasure, because that's what I want to be doing, so for me it doesn't seem like work. When I'm painting the time just just zips by so quickly I can hardly believe it. So I spend a great deal of time in joy and pleasure. Shame on me.
I see work as something you do in order to survive, but you would rather be doing something else. With all of the jobs that I have had in the past my mind was always thinking about painting. I couldn't wait to get home and pick up that brush. If a person is able to love what they are doing and enjoy the process you're not working, you're living life to the fullest. |
Lunch date
Steven,
My husband would so much appreciate your comments. It's his only complaint concerning my obsessivness. The day just seems so short - it flys by when painting and if I'm in a good grove it's pure torture to leave! Now that I have whined - it's good common sense - when your spouse of 16 years still wants to go to lunch with you more than anyone else you should go ahead and go. Reality check. Thanks Steven! If your ever in Uvalde I'll have my husband take you to lunch (maybe I'll even go;) I suppose this is a bit off subject, uh, sorry! |
I've deleted the first part of this original post since it wouldnt make sense now. The lines I was responding to were changed.
I've left in the below part so it's clear why the following post was put in. It's all off topic now... I am also sure I would not take every single thing you taught and use it. I have my own style and want to develop that - which I can do taking tips and bits from many artists I admire. What bothers me is when someone says that their way is the only correct way. When I think about learning from someone I want a teacher who will help me improve MY paintings - not change my entire style. I don't want to paint exactly like you Marvin - one Marvin is good....a bunch of Marvin's would be boring. I don't want to paint like any other artist. I want to paint like me - a constantly improving me. |
Clarification
I apologize if I have offended you.
I would, however, like to clarify that my approach to teaching is not about replicating myself. I believe I have created a framework that allows artists to flourish and develop their individuality in the look of their paintings and expression of their beings. I don't say anything is right or wrong. Certain things may work more efficiently than others however and based on thirty years of teaching I like to give my students the best chance to succeed. Ultimately when one has knowledge they have the freedom to go beyond and explore. Doing this prematurely however can lead to problems. As a parent you teach you children certain values and then they're on their own. Same with students. Just call me "Dad." I think that a good palette provides artists with a wide range of possibilities and using fewer colors doesn't diminish the possibilities for greater expression. I understand that this post is off the topic but I wanted to reply to the misconception that you had that by following my lead somehow students would be restricted. I assure you that the opposite is quite true. Knowledge is never limiting. |
No way, Kim
I'm sure your husband's a swell bloke, but if I drive all the way to Uvalde (I was pretty close recently, on my escape from Texas for the holidays), I'll be expecting to have lunch with you.
My treat. And no shop talk. |
Practice daily is one thing; Mr. Kinstler emphasized this point. But to paint effectively is another.
One has his peak years, seasons, days, hours. Norman Rockwell's best works were produced in certain years. Sargent took vacation every summer, C. Beaux, in winter. When is your vacation season? |
Woo-hoo - free lunch! You're on, Steven.
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Working every day would be something to try, and seeing the results of many here (and in history) who practice that definitely proves it is a great way to improve, and to turn out consistently good work.
But how do you do it? I've forced myself to paint/ draw on many occassions when not feeling like it, and it has almost always made from some bad painting/ drawing sessions. the other day I did this because of a fast approaching deadline. I knew I didn't feel like working on it and after about an hour or so I started to make many mistakes. The only solution I saw was to stop. And in hindsight I probably would have been better off never forcing myself to start working on it in the first place. So how do you work every day, and get beyond the uncreative moods? Sometimes I just don't feel like creating art. I hope I'm not the only one. :bewildere |
Carolyn, we're all different and doubtless thrive on different working styles. If I force myself to go over to the studio, normally I quickly get into the groove and find that it's hard to stop. That's one reason why I miss having my studio in my home instead of across the driveway; often I'd wander in to look at whatever was in progress, pick up a brush to make some small change, and find suddenly that it was three a.m. - and me with work the next day! (This was before I retired from my other career.) Now I have to make a concerted commitment to going out there, and sometimes it's hard to pull myself away from the fire and a good book. I also find that I'm more productive under pressure. When I have a deadline looming I can work a lot more quickly and I have yet to see a difference in my satisfaction with the finished piece when completed under those conditions.
Once in a while I do get over to the studio, fire up the heater, pick up the brushes and find that my muse is otherwise occupied. That's a good time to tackle something less important like the background. I still try to make some progress but don't usually stay as long. I have a feeling that if we took a poll we'd find a wide range of hours worked weekly among us, as well as a wide range of approaches in general. Yet the results can still be stunning. |
During several years of all-day, everyday instruction at Pete Bougie's atelier in Minneapolis -- which was a minimum one-hour commute from my home during rush hour, and could go to well over two hours in winter weather -- I really struggled sometimes to drag myself over there.
But I almost always made it. And of the select works from that period that I consider "keepers," as many seem to have been produced on low-motivation days as on energized ones. Somehow, after getting kids to school, making that commute, setting up the easel on my taped marks, and acknowledging that the model had been sufficiently motivated to show up, I settled into the routine and the regimen and did the work. I am, according to my spouse, easily distracted, and there are hundreds of things I could do with my time -- many of them very enjoyable and productive -- other than draw or paint. The hazard for me has always been developing bad habits (and I have a few favorites). The habit of deciding that I just don't want to "do art" today is no more difficult to embrace than the habit of showing up. And for me, it's a bit insidious, because the less artwork I'm producing (or the less writing I do or the longer I let tasks smoulder on the back burner), the less connected I feel to the process, and the harder -- day to day -- it becomes to break that habit and begin the now-harder (sometimes discouraging) work of getting back up to speed. |
When there's that very rare day that I know that I just can't paint (if I'm sick or over-tired or otherwise very distracted by some difficulty or another) there's plenty in my studio and office that needs to be done. I stretch canvases, order supplies, update my mailing list, etc.
After all, this is my job, and as I wrote earlier, there are unpleasant consequences if I don't create appealing paintings for my clients, on time. But, as Leslie mentioned, as soon as I step into the studio, I almost always grab a brush and don't want to stop. There is nothing else I'd rather do than paint. |
I am of the opinion that vacation (holiday) is good. Whether for a surgeon, a brick layer or an artist. Even if during this vacation you are pining to get back to your work.
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Yes, I agree. And I can hardly wait to try out my new French easel and do some plein aire painting on our upcoming vacation to Mexico. (I know, I'm strange.)
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Carolyn,
At times I have felt as you described, not feeling like painting and uninspired. This often works for me to get back into the groove. I start thumbing through past issues of art magazines, illustrator annuals and reproductions of the great masters from the past. Reading the articles and looking at the work of others usually inspires me and gets me back on track. Watching another artist demonstrate their style on a video tape, is also a good way to get in the mood. When I look at the work of certain artists who have acheived a much greater handling of the craft than I. Such as illustrator Michael Deas, I look at his work and think Wow, what fantastic work he produces, I would like to be able to paint that well someday. This only makes me want to work harder and get moving forward. |
Holidays are a good thing, but remember, you have to pay the Buddha. Drop a few coins in the slot every day, and the Buddha will pay you back. The Buddha ain't picky, mind you, you can drop in slugs. But he's counting!
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I am painting a lot these days, and I totally agree that painting daily (or just about) has exponentially helped my confidence at the canvas. If I had to guess as to why, well there's a lot of little reasons, but I think the single most is finally having a familiarity with the paints - not forgeting their names, not knowing what a paint's name was once on my palette, not recognizing what paint color produces what "goal" color. Now I'm feeling a lot of progress in all of those categories.
As the "conductor", I feel more in command of the instruments I'm making play. I didn't expect this to happen - and I don't think I thought about it until Tim posted this thread. I know I have soooooo much to learn yet, but it's solace and a hint of exuberance when you see yourself learning. I've accidently learned that painting "daily" puts both your left and right brain in high gear. |
Well, thanks a lot to everyone for your words of wisdom. (Hope I didn't hijack this thread!)
It must feel so good to really have the desire to paint every day. I think it must have a little something to do with confidence. And I suppose working every day and really getting to understand what to do and how to do it is the best way to build up that confidence. It all makes sense now. ;) |
Kinstler said (in my recollection), if you want a long vacation every time after finishing a painting, you'd better quit painting completely.
Mao said, (I'm not pro-Mao, but some of his words are right - I like this slogan): Firstly, don't be afraid of hardship; secondly, defy death. R. Nixon quoted Mao's famous verses: Ten thousand years are too long, Siege the day, siege the hour. After this basic thing is to work efficiently. Buit for some people, need more to recreate before he can re-create. |
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