Julie T. Chapman - ArtBlog

I haven’t been in the cheeriest of moods lately due to a number of factors (financial stress, the ugly nature of the health-care debate, rather chilly weather in August - not ready for summer to be over! - and life, the universe, etc.). My husband, a former rocket scientist who now works with complex economics, sent me “10 trading rules” that seem rather apropos for life in general:

Rule 1: Believe you can win. If other traders can do well in the market, so can you. However, if you don’t have enough courage and confidence in yourself, you will never achieve success. The events over the past year have tested many people in this regard and some now think the game is rigged against them. Nothing could be farther from the truth as opportunities remain. Those who will win in the markets first start by believing they can do it. Then they back up that strong belief with serious hard-work and determination to find their trading edge. However, it starts with you first having faith in yourself. [Ed: believe in yourself as an artist!]

Rule 2: Don’t be seduced by results. You must stay in the present and focused on executing each trade to the best of your ability. Don’t let yourself think about how much you’re going to win (or lose) in the market or how great of a trader you are or not, but instead focus on what matters most - each and every trade you make. Do that and the results will take care of themselves. [Ed: each painting is its own new challenge; the Chinese have a saying: “Every painting, first painting”.]

Rule 3: Sulking won’t get you anything. The worst thing you can do for your prospects of winning is to get down when things don’t go well. If you start feeling sorry for yourself or thinking the trading gods are conspiring against you, you’re not focused on the next trade. Good traders readily accept their mistakes and move on to the next trade. They don’t let one bad trade carry onto the next one. [Ed: throw the bad ones away and go on to the next piece.]

Rule 4: Beat them with patience. Every time you have the urge to make an aggressive trade, go with the more conservative one. You’ll always be OK. The moment you get impatient, bad things happen. In tough markets, stay patient and let others beat themselves. [Ed: sooner or later your work will be recognized, if you focus on your own vision.]

Rule 5: Ignore unsolicited advice. You’ll have lots of well-meaning friends and experts who want to give you advice. Don’t accept it. In fact, stop them before they can say a word. Their comments will creep into your mind when you are trading and conflict with your own strategy. If you’ve worked on your game, commit to the plan and stay confident with it. [Ed: stay true to your passion as an artist.]

Rule 6: Embrace your personality. The key is to find what works best for you. There are many approaches out there, but there is only one trading approach that will utilize your best skills and talent to create and sustain an edge. The worst mistake you can make is to simply embrace a strategy of someone else that doesn’t match your own personality and strengths. [Ed: see #5]

Rule 7: Have a routine to lean on. Every trader should follow a mental routine on every trade. It keeps you focused on what you have to do, and when the pressure is on, it helps you manage your nerves. You may not have control over the market, but you have control on how you trade the market. Having a routine will inject consistency that will keep you calm under pressure. [Ed: make art a part of your regular schedule - daily, weekly, whatever - and keep at it.]

Rule 8: Find peace in the market. The market has to be your sanctuary, the thing you love, and you can’t be afraid of making mistakes. Yes, you’ll experience both good and bad times, but you must enjoy and revel in the challenge. [Ed: the process is more important than the product. Never lose the joy of creating!]

Rule 9: Test yourself. Don’t look for easy trades and setups at all times. Test yourself by working hard trades and difficult markets in order to test and improve your skills. For example, if you’re uncomfortable with trading options, spend a month just trading options. If you’re uncomfortable with shorting stocks, spend a month shorting stocks. We only get better if we constantly test what we think is most difficult. [Ed: try new methods, materials, subjects…keep yourself growing.]

Rule 10: Find someone who believes in you. Having confidence in yourself is important, but it helps to have someone who believes in you, too, whether it’s a spouse, a friend, a teacher, or a mentor. No man’s success can be entirely attributed to his own actions. You must surround yourself with people who believe in you at all times. [Ed: boy, this is so true.]

I recently received an email from one of the regulars on this blog, who wrote:

“I have recently started painting in oils again after a long stint with acrylics.

Would you consider a blog topic about how artists approach the need to varnish the finished work (especially when using oils). Do they actually wait the recommended six months to sell a finished work so it can be varnished? Do they use retouch varnish first then the final varnish - or do they even varnish at all?”

What I do: wait as long as I possibly can before varnishing. Sometimes a painting needs to go out to a show or gallery within a few weeks of its completion, but I’ll make sure the surface feels hard-dry everywhere before varnishing. I recently read that it’s better to protect the surface with varnish, even if you’re not waiting months, than not to do so at all.

I don’t use retouch varnish; my understanding is that it’s intended for use on a painting in progress, so that the artist has a similar level of sheen everywhere (no ’sunken’, dry areas).

I do two thin coats of final picture varnish, and I like the spray stuff - no fussy brushes, bubbles, etc.

OK - how about everyone else?

One of the regulars on this blog asked me to talk about Quickdraws. She’s a sculptor, and says she’s avoided doing these in the past but has been talked into taking the leap; she’s worried because normally she’s a self-professed “slow” sculptor, and that she might get stage fright.

I do one Quickdraw a year (the Jackson Hole Fall Arts Festival) though I suppose the demos I do in my workshops sorta count … however, in my workshops I’m talking and waving my brushes around a lot and making relatively little progress in the meantime. My main observations are:

• Choose a fairly simple subject, one you know well and feel very comfortable depicting. This is probably not the time to paint an entire pack of wolves taking down a bison while the rest of the herd mills about.
• Have a plan: know your composition and painting size, have your frame ready (for flatwork artists). I’ve noticed that sculptors tend to at least have their armature ’sketched’ into place before packing on the clay (probably a good idea).
• If you’ve not done a Quickdraw before, practice - see what feels comfortable to accomplish in the hour slot.
• Have everything set up and ready - including colors mixed - before the start of the hour.
• Realize that adrenaline will take over at the actual event. For me, this means I actually whack the paint around more with bigger brushes - I tend to forget I have anything smaller than a #10 or #12 flat with me. Adrenaline makes me looser.
• Size matters: I see the highest prices at the JH Quickdraw each year on the biggest pieces. People are impressed by size.
• If you’re able to chat with spectators, great. If not, don’t worry about it. I tend to tell spectators before I start that I get very focused and sometimes don’t hear their comments or questions, and so my apologies in advance.
• If you can work near a buddy, so much the better. I have a couple artists I like to be near, and we trade insults, jabs, and repartee the whole time - entertaining the crowd is always A Good Thing.
• If you can, have a support crew to help entertain the crowd and to help you get your one-hour masterpiece framed up. I have a number of Jackson friends who show up to cheer me on and tell others about my work.
• Have some business literature nearby - business cards, flyers, whatever - unless this is under your gallery’s aegis. Since I’m painting about 50 feet from Legacy’s doorstep, I just refer people to Legacy Gallery to see more of my work, and I tell them I’ll be there after the auction to chat.
• Take advantage of any opportunity to say a couple words about yourself and your painting during the auction, if you’re permitted.

There you have it - Quickdraws in a nutshell!

It’s time once again for a highly irregular look into another aspect of the art world, brought to you from the skewed perspective of yours truly. Today’s topic:

How to Paint Wildlife Cheap’n’Easy

1. Go to any craft store and buy some cheapie canvas panels, preferably mounted on non-archival cardboard.
2. Buy some student quality paints and brushes (no sense paying more! no one can tell the difference anyway!)
3. Now we come to the subject matter part! you have several options here:
   1. You could actually go out and find some wildlife and take photos of it, but WOW this involves a lot of time and trouble. Geez, you have to know a whole passel of stuff, like where to find wildlife, and how to operate a camera, and you have to be in shape to hike around for the animals, plus you’d have to have a decent telephoto lens, unless you just want to go to Yellowstone and walk up to a reclining bison (they’re no different than cows, right? no danger here!) with your little point’n’shoot and get some photos…obviously, this is the most troublesome and expensive option so you should probably skip it.
   2. You can buy some cull slides from a wildlife photographer … but this does cost money, and we want to do this for cheap, eh!
   3. You can get some images off the internet - maybe some vacation photos someone posted on Flickr or Photobucket (heck, it’s on the web, no worries about copyright!)
   4. Or…you could just copy an existing artist’s painting. This cuts straight to the chase, now doesn’t it!
4. Ooohh, now for the hard part - how do we get that image you’ve found onto your canvas?? You sure don’t want to spend the next, oh, 5 - 10 years learning how to draw, now do you? Hey, no worries - we did say “easy”! You’ll just need to make one tiny little additional investment in a projector - for example, the aptly named “KopyKake”, which advertises “no more frustration of freehand drawing.” Wow! ANYONE can draw now! Never mind those elitist snob artists who insist that other artists “really should learn how to draw before they paint”. Fortunately, these projectors don’t cost much at all compared to the TIME you’ll save! Oh, you might have a few niggling worries, such as the distortions introduced by camera lenses, or whether you can actually see all the legs in that horse photo properly…but if you can’t tell the difference, no one else can either! so get going and project that image onto your canvas! man, this is easy. Those big-name artists must be living the life of Riley doing this!
5. Finally, the fun part: slopping paint around on the canvas. Oh boy! colors galore! you might have heard something somewhere about lightfastness, but nowadays everything is so advanced that can’t really be a worry, can it? They wouldn’t sell paints that weren’t lightfast, I’m sure!
   Now, applying the paint in the right way and in the right colors and values might take a LITTLE practice….but thank goodness you have that projected image to guide you! just mix up colors that look exactly like the image and put them exactly where your projection shows you! Photos are totally accurate representations of the real world, right? so your painting will be too!

WOW! now isn’t this fun?? After just a couple of these you ought to be able to charge several grand for each one! time to call up some galleries!!

“…if it doesn’t, it’s inventory”.

This nugget came from one of my gallery dealers yesterday. He’s a gem - totally politically incorrect and prone to sharing his opinions with any and all - and I always find myself laughing out loud in a conversation with him. He was, of course, talking about the current economy’s effect on art sales. But he was also talking about what motivates people to buy art, and threw out another quote while he was at it:

“Subject matter trumps quality”.

He noted that there were very few ‘pure’ collectors - people who buy art based on quality, rather than whether the painting depicts their favorite species.

So - these statements are probably enough to incite a few comments. Whatcha think?

It’s high summer, and time for all of us to be outside recharging our artistic batteries. Last Sunday was the Drummond, Montana rodeo - a favorite of mine, and about an hour’s drive from home. Kesler furnishes the roughstock and pickup riders, and they’re superb - the pickup men dress in bright red shirts and white scarves, and there are some very rank broncs in their string. It all makes for wonderful theater.

This rider made his 8 seconds and is being rescued off the still-bucking bronc. Look at all the action and color! For me, this is pure candy and joy. What’s yours?

Art is the highest form of play (according to me). I’ve actually said this in some of my workshops, when I can remember to between the booze and cracking the whip on the hapless participants.

Here’s someone who has figured that out - this is the “Where the hell is Matt” viral video from YouTube. This obviously is more in the category of performance art - but it is still wonderful, creative play.

So. Are you playing enough?

I love drawing, and I think at times that can actually get in the way of my paintings - I get caught up in clean, precise edges and other type-A (stands for “anal retentive”) fussiness. Yet I thoroughly admire the passion in Nicolai Fechin’s paintings - as his modern doppelganger, Jeffrey Watts, says of Fechin’s work: “the perfect blend of chaos and control”. And I am intrigued by the paint and surface textures in Oleg Stavrowsky’s work.

So I took a chance on my latest piece and textured the hell out of the panel, thinking that might free me from having to “color inside the lines”. The entire work can be seen on my website homepage, but below is a small area - about 8″ x 8″ on the actual painting - showing the results. I’m pretty damn pleased.

I was recently contacted by someone who contributes articles to blogs, and after I told her who tends to hang out here she sent me the following guest-written piece. Comments?

Tips for Creating Art Outdoors

Whether you’re painting a grand landscape or capturing the majesty of wildlife in a sketch, working outdoors can be a great way to really get a feel for your subject. Of course, while working outdoors offers many benefits, it also poses a range of challenges. Here are some ways that you can make getting creative en plein air a little easier and more productive.

Scout locations in advance. If you already know where you’re headed you won’t have to spend precious painting time finding a place to set up. When looking for scenic spots, choose somewhere that won’t leave you ravaged by sun or wind as that will make it hard to concentrate on working.
Check the weather. It may sound like a no-brainer but there are certain days where the sun is shining beautifully in the morning and by afternoon a raging storm has rolled in. Make sure you check the forecast to avoid getting caught in some unpleasant weather.
Learn to cope with lighting changes. Unlike in the studio, you won’t be able to control lighting when working outside. Whether you pick up the pace, adapt to changing light or only paint for a few hours each day, figure out a way that works best for you to ensure you won’t have an oddly lit work.
Work quickly. During your time outside its best to work more quickly than you would indoors because of changing weather and lighting conditions.
Get portable. No one wants to lug tons of equipment up a mountainside, so make sure the materials and hardware that you’re bringing along are designed to be moved. You may also want to limit the things you bring along to just those that you’re sure you’ll need.
Respect the environment. Many artistic materials can be highly toxic and you should do your best to ensure that none of yours get left behind or discarded in the wild.
Be safe. If you’re working in an area where large, wild animals reside use common sense and be cautious. Even the most apparently docile herbivores can get pretty angry if you’re infringing on their territory, so always put the needs of the wildlife over the requirements of your work.

Perhaps the biggest tip of all, however, is to just have fun and enjoy the beautiful natural world that surrounds you.

This post was contributed by Kathleen Baker, who writes about online degrees. She welcomes your feedback at KathleenBaker3212 at gmail.com.

I have the good fortune to count Kate Davis, founder and director of Raptors of the Rockies, among my friends. Kate is a hoot (literally - she can imitate owls well enough to fool other owls), a fellow artist, and passionate about the raptors in her care. I’ve had the privilege of visiting her “Raptor Ranch” several times and photographing and sketching some of the magnificent birds there. Kate now has a blog going as well. If you enjoy raptors - watching them, painting them - I encourage you to visit Kate’s website and blog. She has photos and bios of all the birds, plus plenty of entertaining tidbits on her blog.

The painting shown here - “Ruffled” - was based on one of Kate’s golden eagles; the piece is now in the collection of the Lookout Mountain Nature Center in Golden, CO.