New Year Art Resolution - and this Blog is Moving!

 

 I wrote a really nice long inspirational New Years post today about painting more, and you can read it here! (or on my Patreon page.)

What I really want to say here is that my blog is moving! I'm retiring this location and continuing with the occasional Art Journal posts on my new website blog... 

(Update: Nah, don't go there either I decided not to use a website blog. Just go straight to my Patreon, EVERYTHING gets posted there!! 😃 And tons of free public posts to entertain you if you don't want to subscribe yet.)

Or even better, you can always find them on my Patreon page.

I won't delete this blog, I just won't post here any more. Thanks for being great fans! See ya around on the web in other places.

Happy New Year!

 

The Joy of Digital (or "Why Take Lots of Photos") and an Important Announcement!

 

I've been meaning to make a little post on this -- specifically about the benefits of taking LOTS of photos.

I've created eight large paintings and several small ones from this same "photo shoot" of this herd of sheep I came across somewhere in North Texas years ago. And I still haven't exhausted the possibilities.

I must say, when the conditions are just right - the light, the subject, the time - you'd best run with it, and keep snapping!  Good fortune smiled upon me when I found these sheep.

On this public Patreon post you can read some tips on scoping for photo refs, more about how I found these sheep, and a little gallery of all the paintings (15!) I've done so far from them. ...Be sure to read all the way to the end, for my favorite features in a camera and a terrific digital camera reviewing site!

Now for an IMPORTANT ANNOUNCEMENT:

The Feedburner team announced that their email subscription service will be discontinued in July 2021. As a result, Blogger’s email subscription widget, also known as FollowByEmail, will be turned off. Specifically, the email subscription system will no longer work and subscribers to Google blogs will no longer receive email updates.

SO! If you're receiving this post via email, I thank you for your subscription, but you will no longer be getting these delivered to you from my Google Blog after next month. 

But don't despair! There's a way you can still get my Art Journal musings in your inbox! Simply follow my public Patreon Posts. Sure, Patreon is a subscription-based creative support platform, but you don't have to pay anything for my public posts, and just about all of my new work gets posted on my Patreon page, along with occasional art tips and extra info like this post.  CLICK HERE to go to my Patreon Page and right below the membership levels, next to a button that says "share" is a button that says "follow". It's that easy! (Browse around my other free posts while you're in there..)

Thanks so much for following my blog. Here's to many more years of following my Patreon, and to many more years of creative thinking!

On Judging Shows...

 

I recently had the privilege of being a judge and/or juror for three pastel exhibits and I wanted to share my experience with you! 

I love judging art! I feel like I have fairly good judgement when it comes to recognizing what is a strong work of art based on certain basic criteria which I will talk about in the link below. Plus, it's fun to have the power to decide the fate of an entry and to imagine how someone will feel when winning an award!

Read my comments on the six winners of the MidAtlantic Pastel Society on this public Patreon post, along with what I look for when judging artwork, my experiences judging the animal category of the Pastel100 and jurying for the Pastel Society of New Mexico.

Getting Ready for the WWAF - with free interior photos

 I'm Photoshopping my art into copyright free interior pics for the Woodlands Waterway (virtual) Arts Festival!

A friend told me about a couple of useful websites for copyright free photos. Unsplash.com and Pexels.com. If you do a search in these sites for "interior decorating" all kinds of interesting pics will come up, that you can sift through and find some with walls that will suit your artwork! And these sites really are copyright free and free to download the images! No attribution required.

Then, with the magic of Photoshop (or any photo editing app with the ability to adjust colors and create a drop shadow) you can "hang" your art in these beautiful rooms to stimulate the imagination of potential buyers!

Here are the above photos as I found them, before hanging my art...

 

I Photoshopped these at last Saturday's Virtual Open Studio day. I've been busy trying to do this with much of my current painting inventory to prepare them for the Woodlands Waterway [Virtual] Arts Festival coming up. (...Seems like "virtual" has become the world's favorite adjective these days!) 

(I've also been taking evening walks with the hubby while the weather has been so nice, so my time for these [virtual] tasks has been kinda short lately! But winter will be here soon enough. Gotta enjoy these temperate days, especially in south Texas!)

The recording of this Photoshopping will be available soon on my Patreon page (at the Bunny Buddies level.) Oh yeah, I haven't yet mentioned my new Patreon page on this blog yet! I'd love for you to check it out! I hope to make it my general blog/vlog with art tips and news, plenty of public posts, and all things Pastel! Right now it is anchored to my Virtual Open Studio Days (born out of the Covid stay-at-home) and my two main levels on Patreon have access to all the video recordings from the Studio Days. Lots of pastel demos!

I'm thinking I may slowly blend this blog into the Patreon page (as public posts) so I'd love for you to follow my Patreon page ("following" gets you the public posts, kinda like a blog.)

Who's the Boss?

"Parked Tree" (pastel, 12x9 inches)

Well, a week ago I said I'd take the Daily Painting thing one day at a time, and I made it a week. I had an epiphany yesterday while working on my newest batch of underpaintings, and I realized that when the pressure of the Daily Painting Machine was creating Stress in my life, then it was time to stop taking it so seriously! I mean, who's the Boss here, huh? Ok, I know I have workaholic tendencies, and I'm very serious about living up to the goals I set for myself - and most especially the Goals I post online for all to see! (...which is sometimes the only way I ever get anything done, lol.) And I've done 30-in-30's before with no problems (or at least no problems that prevented me from getting it done) so on the one hand I couldn't understand why this first month of my new open-ended Daily Painting Goal should be so difficult.

Really! But several things coalesced yesterday in my mind and foremost of those thoughts was the simple and pure Enjoyment I was getting out of working on the new batch of underpaintings. So much that when my stressed out workaholic pointed out to me that if I didn't pause this batch process and get at least one of these pastelled to the finish for yesterday's post, I wouldn't have a post for the day.

yesterday's batch of underpaintings... first layer finished

UGH!! That thought was SO annoying that I only gave it about 5 seconds of consideration before replying, "Shut. Up! I'm HERE. In my STUDIO. WORKING, and ENJOYING it. And how DARE you interrupt me and tell me what to do!!"

So, I continued to finish the first underpainting layer on all 19 new little paintings-in-progress, then I went back to the house and made dinner.

After dinner, my competitive left-brained workaholic needed to justify my flippant decision to skip a post, so I looked up a few of my favorite Daily Painters and collected some data...

I was happy to find out that Julian Merrow-Smith had posted 267 paintings in his first year, and an average of 203 paintings per year across the 15 years that he's been posting his famous Postcards From Provence. Carol Marine, my personal introduction to Daily Painting, posted 319 in her first year as a Daily painter, and 225 per year average across 13 years. And so just out of curiosity I checked on Duane Keiser, the "original" Daily Painter, and found that he had a whopping 388(!) posts in his first year, but an average of only 111 posts per year for the following 14 years.

It seems my impression that "Daily Painters" actually post daily on a continuous basis has been a myth all along. (Although starting off strong seems to be key!)

I'm so relieved!!

To top if off, this morning on the way to the grocery store, someone talking on NPR who had written some book was saying that these days it's important not to stress yourself about work. Just do what you can and make sure you allow yourself time to just "be." I only heard a snippet of the interview but that part really hit home.

So, my new revised Daily Painting Life Goal will be to paint and post as often as I can enjoy doing it, and just try to beat my 13 posts/month average as much as I can.

And, oh yeah, NO STRESS!!

Have you had any recent arguments with your self over how to use your time or what you think you need to do vs. what your soul cries out for? (Sometimes what you really need to do IS what your soul cries out for!) I'd love to hear from you!

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Careful What You Wish For

"Mooove Back!" (pastel, 16x8 inches)

Our times have changed so dramatically in such a short time. Just two months ago I was sketching portraits for my 25th year at the San Antonio Rodeo, surrounded by hoards of people (well, on Saturdays at least!) Then I woke up one day in March and it seemed as if my entire calendar for the foreseeable future was wiped clean.

For the first couple days of cancellations, I was frankly shocked and a little depressed, wondering where my income would come from. But at heart I've always been one to take life as it comes and follow the opportunities that life presents to me. An idea from another artist prompted me to have a Studio Sale, which has been quite successful thanks to my wonderfully supportive clients! (You know who you are, and Thank You!)

In week 2 and 3 of these strange isolated days, the new reality has begun to settle in, and I've been seeing this as a golden opportunity to handle those critical actions that have constantly been pushed to the bottom of the to-do list since 2016... namely CLEAN UP THE COMPUTER, and the surrounding office! 😂 (and next.... the Master Closet!?)

But humming just beneath the surface of all this domestic activity is the strong, pervasive desire that has been plucking at my mind for months, digging it's way through the frustrations of juggling several businesses and scheduling conflicts. That little voice is telling me "I just want to be a Daily Painter!" In the tradition of Julian Merrow-Smith, Dwayne Kaiser and Carol Marine.......... Drop the events, the craft shows, the festivals... I just want to paint, and post, and see where that leads.

(I've been half-heartedly attempting to paint daily since 2011, but my average has dropped off. Sure, the unwritten "rules" of Daily Painting are not as firmly followed as in the early years of the movement. Even the big names don't paint/post EVERY day any more. But most of them did - for years!)

So the little voice is saying "..What are you waiting for? We've cleared your schedule... "

I'm filled with sadness and regret that it has taken a global pandemic to finally bring this little voice to the forefront. But that just firms my resolve to make this opportunity worth the effort. I'll be taking this adventure one day at a time, and we'll see how far it goes.

I sincerely hope you have not had any friends or loved ones severely affected by this virus. How have the forced stay-at-home rules and the changed situations affected your daily life and your future goals?

Today is Day 1 of April. I invite you to follow along with my journey and I'd love to hear from you!

Follow my Daily Paintings

Lorenzo Chavez Demo of the Southwest Landscape

 Lorenzo Chavez demo at IAPS convention workshop, Sunday, June 9, 2019.

Explaining his thumbnails and color notes

Atmospheric color spectrum

Lorenzo's palette

The sketch

Blending the base values

 Somehow the painting looks "finished" at every stage...

 Amazing!

See more of Lorenzo's work and workshop opportunities at www.lorenzochavez.com.

See my own attempt at a southwest landscape in Lorenzo's workshop here. :)

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The Jen Evenhus pastel workshop with the Austin Pastel Society

"Gerber Gala" pastel by Jen Evenhus

Jen Evenhus' workshop is called The Beauty of Imperfection. What a great workshop this was! We got to watch Jen create this most awesome floral painting, that she must have really loved herself because she put it right up on her website home page!

As far as workshops go, I must say that this was one of the more challenging workshops I've taken. That's a good thing! In my experience, the more difficult they are, the more I learn. Frustration in effort is productive in the long run. I mean, no-one but Jen Evenhus can paint like Jen Evenhus! Trying to brings on frustration, but in the trying are also included valuable things like discovery and exploration. Artwork cannot improve without occasionally moving into the unknown.

Jen is an excellent teacher. She has a well-organized and very fast-paced workshop, with lots of timed exercises on color theory and technique, and she has really good handouts! I learned a lot and have one half-way decent landscape to show for it (See "Orchard" on my Daily Paintings Blog!) which was started in the last hour of the workshop and finished at home.

Me, I'm more of a visual learner, so I took lots of pics. Here's her opening demo on Saturday morning:

photo and thumbnail sketch

 She chooses her pastels in advance.

Her drawing with charcoal.

I found it absolutely amazing how she can get such a dynamic, intriguing, colorful composition from such a, well, really sort of mostly ....boring photo! I've got thousands of photos in my files that are equally as interesting. This was really inspiring!


And, her Sunday daisy demo "Gerber Gala", I gave the pics to my son and he obligingly put together this short slideshow vid:

Thanks for watching! Enjoy more of Jen's work and find out about her workshops at jenevenhus.com.

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Background Binds (What to Do?)

"Mondo" with photo reference

I recently had an inquiry from a friend about what do do with backgrounds.

Hi Rita, 
I just discovered your art recently and I love the colors and the expressions of your animals, just beautiful. I am struggling to learn to paint in pastels myself, and deciding when to use which color is especially difficult for me. I was wondering how you determine which colors to use in your backgrounds for your animal portraits, do you have any tips?


Color is a complicated question, and one that I've learned is answered best by "value and temperature." I recently wrote an article on my Art Journal Blog about this, see here: http://ritakirkmanjournal.blogspot.com/2014/11/value-and-temperature-or-how-do-i.html

Backgrounds can sometimes present the greatest challenge in a painting. Especially when the painting is of a recognizable subject that holds its own as a center of interest and is easy enough to paint using a reference. But what about when your subject is surrounded by other objects that you don't want to include?

Sometimes, in my reference photo, I find that the background is perfectly lovely and I want to paint it exactly how I see it (..This doesn't happen very often!!) Usually, I have to use artistic license:

"Azul" with photo reference

I usually ask myself when I'm building up my under painting, "Do I want this subject to stand out boldly from the background, or do I want it to harmonize subtly with the background and the painting as a whole?"

If I want to be bold I use contrasting values. (dark behind the light parts and light behind the dark parts.)

"Bianca" and "Inky"

If I want to be subtle and harmonious (a more recent goal of mine,) I try for analogous colors and very close values from subject to background:

"Paella" and "Mr. Frost"

And usually, my subjects are outdoors, so in what I call my simple "default" background, I habitually use the standard laws of atmospheric perspective, and use cooler (and sometimes lighter and/or more neutral) colors in the far background, and warmer landscape colors in the closer background:


I've also gotten into the habit of keeping the backgrounds "fuzzy", meaning no crisp edges anywhere in the background. This helps with the feeling of  a soft focus that sets off the subject by contrast, and remains "farther away."

As a last point,always try to use some of the same colors in your background as in your subject. This will help assure color harmony, no matter which other value contrasts you're aiming for.

After a while, you'll learn how to completely ignore what's in your image background, and create a background that will best support your star subject!

(Personally, larger compositions have tended to give me the most background troubles. If you'd like to read more about my struggles with backgrounds, here's a perfect example from a while back. I wrote about "Leader of the Pack", in two posts:
http://ritakirkman.blogspot.com/2010/08/newest-cow-painting-progression-photos.html
and
http://ritakirkman.blogspot.com/2010/10/leader-of-pack-finally-really-finished.html)

"Leader of the Pack" (2010, pastel, 32x32 inches) first finish and final finish

Thanks for reading! I'd love to hear from you if you found this helpful!

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Judging the PGE Member Show

A few weeks ago, I was asked by Dorothea Schulz of the Pastel Guild of Europe to be the judge for their "Get Dusty" Online Member's Show for the month of April.  I was honored to accept! Past judges from the shows include Jacob Aguiar, Adrian Frankel Giuliani, Jude Tolar, and Christine DiMauro, among many others.

April's theme for the competition was Baby Animals. Awww... who could resist? And based on my own work, I guess I was eminently suitable for judging. Dorothea sent me the link to the entries last weekend, and I enjoyed viewing them for a couple days before making my choices.

See the entire show here!

There were only 16 entries. They are a small group - but very talented!! It was quite as difficult to decide on the placements as it would have been with 10 times the entries, mainly because almost all of the works were of equal quality, with a variety of strengths in different artistic ways. 

I wanted to share with you here my picks for First, Second and Third Places, and the three Honorable Mentions that were allowed. All of the entries demonstrated strength in values and draftsmanship, so I'll be commenting on the additional qualities that made these six stand out in my viewings.

First Place - "Harley" by Claudia Chimenti

The composition was the first thing that struck me about this precious puppy portrait. The variety of flowing diagonals, enhanced by the strong warm light and the relaxed and trustful pose of the puppy make this a powerful painting. Chimenti is also wise in her choice of a limited palette, using shades and tones of whites to set off Harley's brown patch. The reflected light blues in the shadows are very well done. The simple, un-fussy handling of the background and sleeve fabric are the perfect frame for the more detailed rendering of this adorable face, while the bits of warm salmon-brown color pervading the entire painting allow his brown patch of fur, as the one main area of vibrant color, to still harmonize with the whole.

Second Place - "Explorer" by Dolores Saul

Light, color, texture, and a moment captured in time are what I see first in this little wild Explorer. The subtle handling of the warms and cools within the various tones of fur are masterfully done! The wonderful textural contrasts of the finely detailed fur, to the ripples of the water, the middle-ground grasses, and finally the very loose, gestural rocks in the background, create a convincing sense of depth. I like the unconventional pose withing this otherwise traditional portrait composition (the subject centered within the area of the painting.) The cat is looking off to the left, as if something there has caught his attention, and in a moment he will leave the frame. But this doesn't encourage our eyes into leaving; the sunlight streaming on the cat's face holds our eyes, and the bits of dark along his shadowed side and in the background bounce our eyes around and down the right side, and back up the sunny side to his face...

Third Place - "Triplet" by Elisabeth Blass

This one got the "Awww!" response right off the bat for me, but I might be a sucker for ducklings in the light. Then the more I looked beyond that initial cuteness, the more I liked. The arrangement of shapes and patterns within this square come across as refreshingly spontaneous without being awkward, which makes me suspect they may have been very carefully composed. Even though the two ducklings closer to us are offset in high contrast by the shadowed rock, our eye still jumps back to the duckling above, who, in spite of being mostly the same value as the water, appears to be more strongly bathed in the bright warm light because of the temperature contrast of the blue around him.
Fresh and spontaneous describes the pastel application as well!

Honorable mention - "Ducklings" by Karin Kießling

Balance, contrast and harmony. Incredible color harmony for one; the entire painting looks like it may have been done with shades and tints of just three colors. The balance in this composition is sweetly calming, just as the visual of these ducklings are for our eyes. Almost symmetrical, but not quite. Held in place by the reflection which touches the bottom edge. The amazing detail of the wet feathers is contrasted by the smooth, calm surrounding water.

Honorable Mention - "Guarded Childhood" by Eva Schläfli

Yes, baby animals -- what's not to love? This painting perfectly exemplifies a mother's love and a baby's safe haven. Once again, wonderful color harmony. Excellent detail without looking overworked. The close cropped view with the chimp's face centered is another almost-symmetrical composition, but the subtle variety of angles created by the hand, arm, and head create a sweet cocoon of comfort for this baby chimp, and pull us back to the expression in the face, and most especially, the eyes.

Honorable Mention - "Puppies" by Ute Farr

Speaking of expression... These are the happiest puppies I've seen in a long time! This one's all about the JOY and the FUR! In fact, in spite of there appearing to be no discernible light source (the reference may have been a flash-front photo?) Ms. Farr was able to create a wonderful depth of fluffiness within the subtle varied tones of warm and cool whites, blues and violets that make these coats so believably thick. The simplicity of the background and the sofa edge support the strength of this traditional portrait pose.

Thanks for reading! Hope you enjoyed the show, and check out the rest of the Pastel Guild of Europe's site!

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How to Start Pricing Your Artwork

So you want to sell your art, but don't know how much to ask? 

I recently had a question from another artist who wanted my opinion on what price she should put on a particular painting. It took me a few days to get back to her because I didn't have any ready answer to her question. The short answer is, "It depends."

What is it worth to you?

The long answer is complicated, and might not tell you what you want to hear. There are a lot of variables that can go into the pricing factor. If you're new to selling work, and you have no other examples of size/quality/price from any sales you've already made, than the simplest way to go is to ask yourself what is it worth to you? Make sure you are getting a return on your supplies and your time, and then add a bit more for how good you feel this one is compared to other work you've done.

What's the size?

Once you have a few sales under your belt, you can begin to price on size. For example: You sell an 8x10 acrylic on canvas for $200. Then any other similar paintings (genre, level of detail, etc) in 8x10 will be $200. You can then set your other price sizes based on this price per square inch ($2.50.) When demand begins to exceed your production, you can raise your prices a bit. 

What's the Venue?

It can also depend on the selling venue, and what other artist's paintings are selling for in that same venue. For example: If you are in an art festival or gallery where the average painting in your genre/size is selling for $800 to $1200, then your $200 8x10 is at the risk of being viewed as inferior by the collectors shopping there, because most collectors at a certain level believe that artwork is worth what they pay for it, and they'll think you must not value your work if you price it too low, and that there must be something wrong with it. (This mentality took me YEARS to finally "get"!) 

On the other end, if you're in some small town crafts fair where the range of merchandise price points is between $10 to $75, then $200 for an 8x10 panting might be out of the customers' price range. However, that wouldn't necessarily mean you couldn't still have the $200 price tag on an 8x10 original there, but you'd do better selling simple, small paintings, and prints in the lower price ranges.

If you're not selling in any venue that includes other artists, it becomes more subjective. For instance, if you're just selling to a friend, you need to weigh your need for an income with how close is this friend, and how much can they afford? In my experience, friends and family usually want a really good deal* (*i.e.: free.) In essence, you'd need to weigh the value of the friendship against the value of the painting. Some fortunate artists have wealthy friends who appreciate the value of the artwork. ;)

What about Online?

If you're selling online, the venue (some kind of art-selling site? Or just off your own blog? Facebook?) can sometimes have an impact on price, but not so much I don't think, because of the sheer volume of public out there that can have access to your art if they know where to find it. Online art buying does tend to be lower priced than other more traditional outlets (gallery, art festival, brick-and-mortar art show). Usually because of the high level of competition that artists face on the internet, and the low overhead (almost all of the sale price goes to the artist, except for payment fees, like paypal, site fees if listed on a subscription-based site like DailyPaintworks, etc, and any other brokerage type fees, if in a web-show that takes a cut, for example.)

How to price your art on the web, if you haven't sold your work before? 

I would recommend one of two methods:

1) Fast method: What did the materials cost you? How much time did it take? Consider materials plus $20 - $50 / hour depending on how fast you work. Then round to the nearest "easy amount". Example: the 8x10 canvas was $6. You bought the paints for $60, but expect to get a lot more use out of them, so maybe just factor in $3 of paint. You put a $50 frame on it. The painting took you 4 hours. So that's $80 - $200, plus supplies is $139 - $259, which you can round to $150 - $250.

2) Time-consuming method: Research! Look around online at other artists work that is similar to yours in genre, medium, style... When you find artwork that has prices listed, read up on the artist's website to determine their level of experience. Collectors might also be looking at this data to determine whether this artist's work is a good value. Artists with more experience, awards, shows, commendations, gallery representation, etc, will have a higher perceived value. When you have come up a list of artists who's work is similar to yours, and have noted their prices for certain sizes of work, you can make an estimation of value for your own work, comparing to your experience level to theirs.

Perhaps this method will leave you more confused and unsure than ever. I've not done any research like this online, but can imagine, especially having seen sites like DailyPaintworks.com, which has pretty huge pricing variations between artists, and an endless variety of artists from beginner through professional. (That site might be a good place to start a research actually. Many of the member artists have their own websites as well.) Just know that for a beginner, you have to start somewhere, and it's easiest to start low, and increase your prices as your experience, quality, and clientele increase.

A place to start..

I've just touched upon these pricing concepts from my own viewpoint, but hopefully have given you a place to start. There are more aspects to be considered, such as when to increase your prices, how to be flexible and still be consistent, and pricing commission work. You can read more thoughts about these topics and more concise info on pricing at these great sites below:

http://www.agora-gallery.com/advice/blog/2016/03/29/how-to-price-your-artwork/
http://www.artbusiness.com/pricerealistic.html
http://theabundantartist.com/5-art-pricing-lessons/
Read more about pricing artwork per square inch on this good blog post I found on artistrunwebsite.com.
And this post on artworkarchive.com explains about three good formulas for pricing your art.