Resistance

Art, specifically the process of creating art, is a battle. There is a war inside the artist with a force trying to keep one from creating. That force is resistance. 

Working at home it is easy to find "other" things to do besides the work that needs done in the studio. I'm not talking about art in the sense that it is a hobby or something to do when one is bored or relaxing. I am speaking of the art that must be created by the professional artists who know that without producing new work regularly their "tribe" (as Seth Godin describes it) of collectors move on to the next big thing. 

Procrastination, laundry, that movie on TV, dinner, and household chores keep the artist out of the studio and add to the resistance that must be overcome to create new work. As I sit here at the computer writing this post I have experienced years of resistance. I mean years! I have not created new work that excites me for a long time. And yes, there has been a ton of health issues, and other "things" keeping me from the studio. But, with that said, it is still resistance keeping me and my fellow artists from creating new work.

Are you experiencing resistance? Overcome it today, and just work...don't worry about the sales price, or where to sell it, just work! Get in front of the canvas, paper, or whatever media it is, and simply create. Do it regularly, and you may win the war within.

- Michael

Focus on Color

The Used Palette - Copyright 2010 Warth Arts

As artists we spend a lot of time mixing colors to get just the right look to evoke mood, realism, style, etc. However, a lot of artists get hung up on the right tube of color without understanding the concept of mixing the color one needs. Is it better to have hundreds of tubes of colors so that one can have the color they need? The simple and quick answer is no. Throughout history artists have been on a quest to develop a simple yet complete palette of colors to suit their needs. Why? Because it is always to better to be a master of a few colors than a blind user of "too many".

So how much is "too many"? It really depends on you and what you are comfortable with. I like 13 colors (includes black and white) for studio use and about 7 when I am working en plein air. With that said, I focus on versions of the primaries (red, yellow, and blue). I don't purchase greens because I have always liked my mixed greens better than anything I have ever tried from a tube.

If you are struggling with your colors, and you are overwhelmed with mixing, find a handful of your favorite primary colors and start mixing for practice. Use white to lighten the mix but be careful using black to darken. When darkening a value of a mixed color try mixing a dark color version first using a darker primary and see what happens when you add white. You may end up with a few more darker values of the color you mixed and have good light value versions to use too. For example, if lemon yellow and cadmium blue make a nice green but it is not dark enough to start with, try using cadmium yellow. Play with your colors and make notes.

- Michael

It is What it Is

Many of you know I am on a quest in life to live the journey without regards to a destination. In other words I am trying to live in the moment and stop worrying about the future, or at least stop letting the future rule my life.

Each day we are bombarded with choices. We judge and express ourselves without clearly asking "why" when we don't understand something or feel like an outsider. Why do we judge? Why do we set expectations in stone? I for one feel expectations may be the one thing that creates turmoil and anxiety in our lives.

What does any of this have to do with being an artist, photographer, and/or graphic designer? It's simple really. Stop creating expectations for yourself as a creative and simply create. One's ability to learn may be dictated by their interest in the subject. Therefore if you love to create then learning more about it is a breeze, right? Stop expecting to fit into the worlds mold of what a creative is supposed to be. Learn because you want to; not because you think you need a degree because your expectations tell you success comes after a degree!

Another topic for this "it is what it is" post is the judgemental word with expectations written all over it. The word itself kills creativity faster than a documentary on business ethics. There are even those individuals that regard the word I am talking about as the official label given to those who are given the sole privilege of doing their craft while others must remain hobbyists banished from ever eating at the big kid's table. The word; professional. What does it mean? Why do we need this adjective to label a career anyway. I love to hear folks call themselves a professional artist. Have you ever heard a surgeon say, "I am a professional surgeon." Would you want an amateur surgeon? Think about it for a moment...can you see why expectations drive the proverbial boat? In art, either you are, or you are not. Drop the professional label because it really makes one sound like they are compensating for weak creativity and poor business practices.

It is what it is...there is no reason to judge or to expect. What are you? Are you creating because you want to be something else, or are you creating because it is who you are? When I was a kid I watched a lot of Popeye the sailor cartoons. Popeye would say, "I am what I am" - it stuck with me. Be yourself, be the artist/person you want to be. Keep life simple and slow, enjoy the journey because the destination will get here faster than you think. The eternal dirt bed does not appeal to me these days, I am a simple man, a dad, a husband, a factory worker, a struggling artist, a dreamer, a son, and so much more. Don't limit yourself by calling yourself a "professional" or an "amateur" anything. Don't limit yourself shooting for expectations that others have created. It is what it is...I am what I am...be who you are. Stop judging, stop expecting, live life the way you want to and experience happiness filled by content, and harmony.

- Michael

News

Hi all,

My artwork was featured over at the Traveling Suitcase (LINK) last Saturday April 17th.

Check out the post, and thank-you Sandy for featuring my work and a little history of my hometown!

Michael

Getting Ready For A Show

Greetings everyone,

Over the next several weeks I hope to share my experiences getting ready for a local art exhibit where I hope to display at least 16 original works. In today's post I'll bring things up to speed.

Being Prepared:

Like many of my artist friends I was not prepared for a cold call from a gallery asking me if I wanted to have an exhibit in a few months. For one, it was short notification (many galleries give 6 months to a year as notice). I have read many posts from other artists who say have a good inventory of work so you can fill a show at a moments notice. Well, I wish I was more prepared! Even though my inventory is good, I want more impact, and I don't have as many "ready to hang" as I would like to have. Which means I have to spend more money on frames, matboard, etc. than I really wanted.

First Steps:

I told the representative of the gallery I would do the show and I was looking forward to the experience. We exchanged information and had a few things to take care of right away.

1. Gain a clear understanding of the gallery consignment/commission terms.
2. Determine the required number of pieces.
3. When was the exhibit? When is the opening reception?
4. Clear up additional questions/concerns and start planning.

On a side note - I can't stress the communication skills enough here. Do a lot of follow up, keep the gallery/rep up to speed on your progress, and answer ALL questions so there are no surprises.

Within a day the gallery rep sent me an email (we are using email as our "best method" of communication) requesting a piece for advertising purposes. He asked if I could email a picture of one of my paintings. I sent a print ready (300 ppi, JPG) file to him with additional questions and comments.

Keeping Organized:

I like to keep files organized on my MacBook Pro to help me with events like this one. I created a folder (Named: November Gallery at Ninety-Seven Exhibit) to keep everything for this show in my "2009 Exhibit Schedule" folder. I put a digital press kit together, filed email correspondence, and created a planner for the show. I have also added dates and deadlines to my Google Calendar (I recommend Google Calendar because you can access your appointments from any computer and you can even sync information with your MAC).

I did a preliminary inventory of work for the show and I do have plenty of work but some of it needs framed, and a few even need documented for my own record keeping.

Next Steps:

This coming week I hope to visit the gallery and talk to the rep face to face about hanging the show and what we are planning for advertising and the press (I have already been to several gallery events there - I would not recommend doing a show at a gallery you have never visited). Essentially, I hope to finalize the expectations portion of the exhibit so I can focus on framing, documenting, and being prepared to deliver the work to the gallery.

- Michael

Mixing Colors - Learn by Practice

My studio palette - showing some color mixing practice

Practice makes perfect right? So why do many of us choose not to practice mixing colors? Is it because paint is expensive? Maybe we think there is no need to practice. I for one, look at the overall expense associated with the oil paints I use and shutter at the thought of putting out colors to "practice" mixing. But why? I'll tell you why, because I think every time I put paint out on the palette, I have to make a painting! And I am here to tell you, that is rubbish! Why learn how to mix when you are making a painting? I decided it was better to practice and "see what happens" on the palette, and dispose of the colors than to be frustrated because I can't figure it out when I am working on a painting.

And that my friends is why all this became a post today. I have been playing around with a small plein air painting setup and I am used to a big palette. Therefore, the small palette created several challenges. I went out to paint, and I got frustrated and trashed the painting. I threw it away! I learned nothing. I had wasted so much time, I neglected to take notes, and I really had no idea why I had so much trouble. I decided it was time to practice! I mixed the basics (blue and yellow to make green, red and yellow to make orange, etc.). I determined a lot of things; here are a few important points I learned in regards to my colors, and the plein air setup I plan to use regularly...

• I like using French Ultramarine rather than Prussian Blue to mix with Cadmium Yellow Pale to make my "landscape greens" color. (I lighten the mix with yellow, but may add white on occasion).
• I like to keep the colors to a minimum on the small palette (7 colors versus my standard 13)
• For landscape painting en plein air, I must rely on my ability to mix sky color, and landscape green colors to make the paintings a good representation of what I see.

So there you have it...I plan to practice more often. I also hope to become a better artist by painting en plein air. The small paintings may help my control, and detail; I hope working small keeps me interested in creating paintings en plein air. If anything, I must get faster, the sun has a schedule that refuses to wait for me to get it right!

I hope this post sparks some ideas for you, get out and paint, but don't forget to learn the colors you use.

Happy painting,

Michael

Pen and Ink Drawing

Framed Pen & Ink drawing - Copyright 2008 Michael Warth

Hi all,

Many of you know I started my professional artist career focusing on pen and ink drawings. In particular, commissioned home portraits in pen and ink. I wanted to share one of my favorites completed during 2008 - a pen and ink home portrait commission for Ms Maria D. I have not lost interest in pen and ink - on the contrary, I love drawing in pen and ink. The problem is time. As you might imagine, they take a long time to complete and oils tend to fair better with the majority of art buyers.

I want to thank Maria D. and her sister for commissioning a pen and ink drawing of her Dad's house for Christmas. I really enjoyed doing the drawing.

Unframed Pen & Ink drawing - Copyright 2008 Michael Warth

I have mentioned this in earlier posts, but 2009 is going to be an exciting time for Michael Warth Studios. I plan to do more commissions and share them here on the blog. One area I'm really excited about is the dog portraits in oil that I am beginning an agressive marketing campaign on - more on that later.

Cheers,

Michael

Art Marketing or Artist's Marketing?

Hi All,

I finally have some time to do the things that I've been putting off or have wanted to do for some time. One subject that always amazes me is marketing. To further complicate the subject I like to focus on art marketing. One area many would be famous artist seeks to 'market' themselves is the web. To be effective, a website must understand Search Engine Optimization. Search Engine Optimization (SEO) is a buzz phrase for getting websites to the top of those search engine lists. There are many facets to making a site list at the top.

• Content
• Clever Keywords, Descriptions, and page title (AKA META TAGS)
• Browser Friendly
• Inbound / Outbound Links
• And so much more

Online, offline, does it really make a big difference how an artist markets their work? I think artists should be effective marketers online but equally (or more) offline. If you are an artist, are you marketing your work, or are you simply an artist marketing? Before I get hatemail on this subject I just want to point out that as artists we have a responsibility to create. I am refering to those of us who produce to sell - if you paint because you want to, and you are simply painting for fun; there is no reason to market your art anyway. I'm not trying to be mean but this post is directed to sellers. Back to the responsibility to create thing...if we don't create we have nothing to sell. The following is a series of points I want you to think about;

• Create to sell
• Market the art (don't be an artist marketing)
• Sell everything (art is only worth what someone will pay for it)
• Repeat

Simply put, create art to sell because it pays the bills and keeps you learning as an artist. Market the art you create. Online and offline; just market your art and create a brand (you). Be sure not to be an artist marketing. To better understand what I am trying to say; just remember this, marketing your art should be about you and your art. If you are an artist marketing you may be missing the point, you may only be marketing the process of being an artist. Your would be clients are not want-to-be artists, they are patrons of the arts who want to buy your art (so market your art). Sell everything and at a price patrons are willing to pay for it. Sure, selling 50 - $20,000 paintings a year would be great but are your current patrons willing to pay that much? Finally, repeat. All I'm saying here is to get another blank canvas out and paint another one. Paint it, market it, sell it, and repeat - it is that simple folks.

One last thought here. When you are marketing your art, remember to market your name. Was Van Gough really that good? No, but his name makes the art worth something. The same goes for Rembrandt, Vermeer, Pollack, and Picasso. Online and offline, your marketing efforts should help you find patrons for your art - never forget that point. Find them, treat them well, keep them, and find more. Get to the front of the pack through SEO online, or becoming a recognized name in your offline market.

Michael

Rembrandt - my favorite three by the master painter

Hi All,

I wanted to share three Rembrandt paintings with you for today's post. Most of you are aware that Rembrandt is my favorite artist. The paintings that follow have specific meaning to me and I'll share why each painting intrigues me.

Rembrandt - The Mill - Oil on Canvas (1650)

Many years ago I discovered my father (also an artist) loved The Mill. We were discussing Rembrandt and were amazed that we have never discussed the fact that we both admired The Mill more than any other Rembrandt painting. I find this fact very interesting since we never really discussed our favorite paintings before.

Rembrandt - A Girl With A Broom - Oil on Canvas (1651)

A Girl With A Broom is one of those paintings that just has that warm Rembrandt glow. I remember a reproduction of this painting in Mom & Dad's house growing up. I never knew it was a Rembrandt (of course like many youngsters I didn't really care who painted it - I just liked it). I have to admit it freaked me out a bit because the girl has one of those stares that follow you around like an old Scooby-Doo cartoon. However, this is one of those paintings I was exposed to as a child and later "discovered" who painted it. 

Rembrandt - Portrait of Artist's Father - Oil on Panel (1631)

The last painting is of the artist's father. I haven't had the guts to try to paint my Dad's portrait yet but someday I may try. As an artist I can appreciate the importance of this painting to the artist himself. I can imagine what Rembrandt might have felt as he was painting a portrait of his father. I consider my father to be my greatest teacher and Rembrandt to be my greatest inspiration, therefore this particular painting is one of my favorites.

- Michael

Making the Most Out of What You Have

Hi All,

A lot of painters struggle with space to create their paintings. A simple search on the Internet reveals most of us resort to a garage, basement, spare bedroom, or even a corner of the room. I too long for the 14 foot ceilings, north light windows, and a 20 foot by 20 foot space just to paint. However, the question is; do you really need it?

Take a look at the en plein air artists. They do not need a massive studio since they work outside. If you don't paint en plein air, you can still adopt their methods. I use my basement to create, frame, and inventory all my work. A small desk in the family room is used for the "office" and I do run all over the house for space from time to time. All my equipment is portable, or easy to store away when not in use.

Here are some tips for all my cramped space friends:

1. Try using a French easel and storage bag as your "mobile art studio" and paint anywhere you have room. When you are finished, pack it up and put it away.
   
2. Use folding tables as work benches and tables when you need the space. When you're finished, fold up and store as needed.
   
3. Use a laptop and the kitchen/dining room table. Desktop computers take up way too much space. Plus, the laptop can go with you anywhere! Instant mobile office.
   
4. Use a cell phone for the studio. A land line is a waste of money. After all, you shouldn't be tied down to a studio right?
   
5. Only purchase the supplies you need to finish a job or project. Avoid the "pack rat" mentality.
   

I hope these five tips help you find peace when you get frustrated for not having the ideal space. When you do get more space, I would advise keeping the same discipline of "mobility" that way you can keep your space clean, useful, and organized. I do a lot from my 12 foot by 20 foot basement studio and there is no way I could do it all without the mobility of my equipment.

Michael