Keep The Economy Out Of Your Head and Off Your Paper

     The Economy.... As I approach each day in the studio, it’s the single most recurring thought that pervades my mind.  And I’ve had to learn how to keep a handle on it.  Whether it’s the stock market, Bernanke, the Dollar, or all the less-than-professional idiots running this country, they all contribute to distracting factors in my day.

Cortés scuttling his fleet

     But I have a responsibility to wade these dangerous waters.  Pam and I have worked hard for our little piece of life that we enjoy so much.  And much like Hernán Cortés, upon his expedition into Mexico, we have scuttled our fleet and there is no turning back.  We must press on and defeat the discouraging rumors about the relevancy of art in today’s economy.

     We firmly believe we are on God’s path for us and are determined to remain faithful, which means trusting and using the gifts He has given us.  I dare say it’s no different for you.  This world has been in turmoil since the beginning of time, and it will remain in turmoil.  So at some point you need to make up your mind to get on with life and achieve your goals.

     I’ve found that talking with other artists can be good, BUT be careful about putting too much stock in the “downers”.  You know whom I’m talking about.  Some of my friends might think that describes me.  However I consider myself a realist; I discern the situation as it is and prepare to deal with it accordingly, and get on with things---like painting.

     One technique that consistently works for me is to maintain the image of my finished work in my head.  Visualizing how I want my final work to look is the single most powerful tool I have for focusing my painting efforts.

Waiting to Start the Night Guard

     Generally if I can keep that image in the forefront of my thoughts, and deliberately slow down my painting process, I can raise my proficiency level, and thereby produce more and better work.

     Call it Zen or Yang or some other neo-harmonic crap, if that works for you, but put your brain into your painting game. 

     The so-called experts say we only use 10% of our brain, and the other 90% remains untapped, which I don’t necessarily subscribe to.  But if I can keep my meager 10 clear and uncluttered with the world’s intrusions, I find that every now and then something good happens.

     Good painting!

     

Leaning On My Favorite Drawing Aids

     Today’s post will be strictly informative and to the point.  I want to cover three of my favorite drawing aids.  They encompass and are tailored to specific, yet different situations.  They are the 1/10ths clear sewing ruler, the proportional divider and the 10” knitting needle.

     As you know, I am a fan of measuring my drawing as I go.  I suggest adopting an Atelier-style drawing program as a good starting point, and then tailoring it to your specific needs.

     Let’s start with my favorite tool:  the clear 1/10^th sewing ruler.  The portrait artist Chris Saper turned me on to this little gem about 5 years ago, while we were both exhibiting at a show.  The strength of the 1/10^th ruler is its’ use for drawing “from the flat”, as the atelier school would call it.  The 1/10^th ruler is also valuable when working from photos.  Size your photo to the size of your painting and start your drawing like my early post titled Cowboy Demo Day 1.   The drawing is dated Wednesday, July 21, 2010.  This post gives detailed information on using the ruler.

     My second favorite drawing aid is best used in a life-drawing atmosphere, utilizing either the cast or the live model.  I have used it on both and find it a necessary friend when measuring from life.  If you have ever used the sight size method, you probably have used your pencil or brush handle for this purpose.  I like having a tool designated for the job at hand.

     A Canadian artist named Juan Martinez gives a great demo in one of the back issues of International Artist.  (Issue #42-47, “The Academy Way).  You can call them to order previous issues.  Please consider adding the sight size method to your drawing arsenal.

     My final drawing aid is a great tool when working from life and you wish to enlarge or reduce the size of your subject in relation to your canvas.  The device is called a proportional divider.  By measuring off the small end and using the opposite larger end, you can enlarge your drawing proportionally.  This tool is somewhat difficult to describe in print, and requires some tinkering to get familiar with, but it is a great drawing resource.  You can get one from Mark Carder, who has demonstrated a great drawing and painting method that I feel is worth viewing.  Check out Mark’s great DVD series and you can purchase his divider at www.thecardermethod.com.

     I’ve just lightly touched on these drawing aids, but you will find them all a welcome friend around your studio.  No doubt, if you are reading this blog, you are a self-starter, so take the initiative and start teaching yourself to use these drawing aids.  They will increase the accuracy and quality of your drawings.  Good luck!

All content © Mark Kohler Studio.

"Animal Painting & Anatomy" - A Forgotten Gem

     A good friend of mine, and a fantastic sculptor, Jason Scull gifted me with a wonderful little book titled Animal Painting and Anatomy by W. Frank Calderon.  Mr. Calderon credits himself as being the Founder and Principal of the School of Animal Painting (1894-1918), as well being a sometime lecturer on Animal Painting at The British Royal Academy.

     No single anatomy book carefully covers foundational drawing, painting and animal anatomy as does Calderon’s book.

     Mr. Calderon, like any master teacher lines us all at the same starting point:  charcoal in hand, with measuring tools and seeing how they relate to drawing.  The quality of drawings in this book are simply amazing.  My personal favorite is a working sketch for a painting of the Irish Wolfhound “Gelert” killing a mature wolf.

     Mr. Calderon’s succinct and accurate drawing style offers all artists, from beginners to pro, an insight into the importance of the working sketch and how it relates to finished painted works.

"Gelert"

     So many young artists find themselves dazed and confused when confronted with composition and its subjective nature.  Mr. Calderon gives us large amounts of insight on this matter.

     Part 2 of the book is strictly anatomy of the ox, horse, dog and sheep.  However, Calderon throws in some interesting asides, including anatomy of the African Lion.

     You may be thinking that this book doesn’t pertain to your subject matter, but I beg to differ.  I have on many occasions found the anatomy references priceless.  If you’re a landscape painter, the occasional bovine is always present, but never idle.  This book has great drawing references. 

     If you enjoy painting dogs, I know of no other books except for William Secord’s books of historical paintings of the breeds that will serve you so well.  For you painters of the horse, Calderon picks up where Rien Poortvliets book of Horses touches, but doesn’t fully delve into.

     Amazon is a good place to start nailing down this book for your collection.  The bad news is a new copy will set you back $75.  The good news is they have several used copies and they’re in the $10 range.  Don’t tarry!  They will start disappearing quickly.

      This is a fantastic little book that will serve you well.  You will not be disappointed!

All content © Mark Kohler Studio.

     

Stepping Backwards To Go Forward

     Stepping Backward….. This is what I think is involved in learning to become a serious artist.  Let me explain.  In teaching my workshops, I’ve come across a wide variety of people, who for lots of different reasons, want to come learn how to paint in watercolor with me.  Some just want to go home with a completed painting as proof of their participation, and let me be clear----that is perfectly fine.

     But those who are serious about perfecting their painting skills, will soon recognize why I “harp” on drawing skills.  I am aware that the primary reason a painting falls short of expectations is a lack of drawing skills.  That’s why I tell all my prospective students, before they even arrive for the workshop, “Be sure you concentrate on bringing a good drawing”…..”Work on making the drawing the best you can do” ….. “Here’s the quality of the drawing I expect.” 

     Even with explicit instructions on how to execute a drawing (designed for those with limited experience), students will invariably arrive with drawings that will not render their desired results.

     So I’m rethinking my approach to conducting classes.  For those who want to experience a laid back weekend of painting in watercolor, it will be status quo.  But for those who want to improve their skills and approach a possible career in painting, I am going to start stressing drawing skills first.  And here’s why: 

     A well-executed drawing is the foundation of a good painting.  It is essential to begin an oil or watercolor painting with a good drawing, or the painting will fall short in the end.  And here’s the statement that will probably get me in a lot of trouble….. For the past 40 years, I don’t think we have necessarily taught our art students the fundamentals that will help them achieve successful outcomes.  That is why I am excited to see a huge resurgence in the European Academy system, or atelier-based schools.

     I think people are finally realizing that there’s no shortcut to good painting.  It requires fundamentals, such as drawing.  And atelier-based schools are nothing but fundamentals taught over and over again.

     Artists like Jacob Collins and Daniel Graves have driven home the importance of good drawing skills.  Certainly the educated art buyer recognizes the skill.  And even those buyers of art, who may not be able to pinpoint what makes one artist’s work stand out from another, will instinctively see the difference.

     So how am I stepping backwards to go forward?  As an artist, I have been complimented on the level of my drawing skills, but I’m always seeking to raise the bar for myself.  At this stage in my career, I can’t stop and put my obligations and schedule on hold in order to take 18 months or 2 years off to go study with an atelier master like Daniel Graves.

     So I am committed to re-training myself in my daily routine to learn these traditional methods to draw.  In essence, it’s a new way to see and a new way to draw.  The single best thing I have ever done is purchase Charles Bargue’s Drawing Course.  This book includes all the Bargue plates of actual casts of 3-dimensional sculptures.  I am starting at the beginning and re-training myself to draw in this manner.  (See my sketch, right, from Bargue plates).

     You will learn to draw from life with the sight-size measurement system, as well as learn to draw from the flat by measuring from an existing illustration or photograph, and then transferring this to your paper.  It is my opinion that this is the single most important skill you can learn as a painter.  And it will be the best $100 you’ll ever spend to advance your career.

     Study the best draftsmen in the art world today …. Jacob Collins, Jeremy Lipking, Harley Brown, Daniel Graves, Richard Schmid … everything they do in their painting goes back to good drawing skills and measuring.

     And you, too, can achieve success if you’re willing to put in the time to learn how to do it.
All content © J. Mark Kohler Studio.