Artist Daily - All Comments

re: Let’s Give Them Something to Talk About

pacanne — Thu, 09 Feb 2012 18:54:26 GMT

Thanks, Courtney, for posting my work for this article. The issues you bring up in your article are very interesting, and I discuss some of this tangentially on my Facebook page, as I posted several reviews of shows I saw in New York in January (Francisco Benitez-Artist). I did the rounds of galleries in Chelsea and Mid-town; there was some great stuff, and very jaded, hip stuff, that was enough to get any of us depressed. I admit it's a very fine line between being attentive to current art trends and wanting to have your work seen as "contemporary", and following your true impulses, whether they coincide or not with the latest trends. I keep seeing all the young, hot artists in Chelsea as being "career kids" who have gone to all the right schools, gotten all the right grants, done the right residencies. Gone are the days of artists as subversive, marginalized revolutionaries. The revolution has been conveniently academicized and institutionalized. The Whitney Biennal is prime evidence of this...

re: Fish, Lemons & Glass Bowls

cfairlie — Wed, 08 Feb 2012 16:30:42 GMT

I had read that the tulips with coins on the table metaphorically refered to the failing of the Dutch tulips futures (a bit of an investment scam) called the tulip bubble.I think it was in Schnieder's book "Still life".

re: Fish, Lemons & Glass Bowls

susanmurphy — Wed, 08 Feb 2012 14:26:41 GMT

Yes, these old Renaissance still lifes are beautiful in their own way, and kind of weird and stodgy. I am currently teaching a still life class in watercolor called "Still Life with a Difference", the idea being to show the more contemporary side of still life. You can see what I mean by checking out my blog at www.susanmurphy.blogspot.com. I think there are two types of still life: arranged still life and "found" still life. Personally I prefer the more spontaneous look of the "found" still life, where an interesting little scene is discovered in real life, perhaps rearranged a tiny bit, usually photographed, and then transposed into a painting.

re: Fish, Lemons & Glass Bowls

DebbieW — Wed, 08 Feb 2012 12:17:14 GMT

I am amazed at how the oil 'Breakfast Table with Blackberry Pie' by Willem Claeszoon Heda looks like a photograph. He absolutely captured the depth, reflection in his work.

re: Paint the Body Parts That Turn You On!

steve1954 — Tue, 07 Feb 2012 01:51:06 GMT

It seems like any part can be exciting and challenging to draw or paint.

re: Are Your Colors Going to Be "In" This Spring?

KatPaints — Fri, 03 Feb 2012 03:04:12 GMT

Courtney, You're sooo behind the times. This was released nearly a half year ago. They are already working on 2013.

re: Paint to Preserve the Scenery You Love

shine00 — Thu, 02 Feb 2012 10:58:39 GMT

Great post and information. Appreciable.

http://www.artmegamart.com/

re: Photograph Your Art Like a Pro

johnandann@theartistsroad — Mon, 30 Jan 2012 20:19:29 GMT

P.S.

If anyone wants to go a little further and learn how digital cameras work, go to www.theartistsroad.net and read our extensive articles: The Artist's Guide to Digital Cameras, Parts I and II, in the member's section. No technical jargon, just plain talk aimed at explaining the why and how of digital cameras. Join the site to access them and over 150 other informative articles, videos and tutorials about artists, painting and travel.

re: Photograph Your Art Like a Pro

johnandann@theartistsroad — Mon, 30 Jan 2012 19:26:13 GMT

RickG has provided some great info as well!

Our own experiences with the circular vs. linear filter has been that the linear works better for us on our Canon 5D - others may not get the same results with different equipment. While it is true that all digital cameras require a circular type filter in order for the light meter and the autofocus to work properly, in this controlled situation, I do not use the autofocus, and I bracket all exposures, so my meter is not that important. It is absolutely necessary to have the lights and filter film in combination with the lens filter in order to eliminate glare and hot spots. After a few tries, the novice will quickly discover the perfect combination of F-stop, speed and distance for the camera and the lights, and then the process will be nearly automatic. Concentrate on getting a good, not necessarily perfect exposure in RAW or TIFF format. The fact is, the really important adjustments, including out-of-square issues will be made in the digital darkroom software, and we encourage artists to invest in a professional-level copy of Photoshop CS and perhaps take a seminar in how to use it. It will be money and time very well-spent.

re: Do You Know All Your Lines?

Courtney Jordan — Mon, 30 Jan 2012 17:05:20 GMT

Thanks Nancy! So glad this resonated with you!

re: Do You Know All Your Lines?

Nancy Smeltzer — Sat, 28 Jan 2012 15:43:42 GMT

Dear Courtney, while our media are very different, (mine is art quilts) I had to link this very eloquent essay to my own blog posting..

www.fiberfantasies.com/wordpress

"It's all in the Lines" that I wrote a few months ago. I often find that I am more inspired by what artists in other media have to say, and this is certainly the case with this posting of yours. You ialso ncluded excellent examples of diverse use of lines by various artists...well done!

re: That Dog Won't Hunt

ANDREAS K. ELDRACHER — Wed, 25 Jan 2012 16:30:40 GMT

I love Wende Caporale's intuitive approach in her methodical way of capturing the subject. It was also a pleasure to be her friend and classmate at Paier College of Art, back in the day. So proud of her accomplishments, and such an inspiration to further pastel work!

re: That Dog Won't Hunt

Kimberly Kent — Wed, 25 Jan 2012 16:09:10 GMT

The paper you use matters. Kitty Wallis can get many layers on her paper. Wallis sanded paper is available at all the online art supply vendors.

re: That Dog Won't Hunt

Jill Paris Rody — Wed, 25 Jan 2012 15:56:15 GMT

I appreciate what you do for us on this website, Thank you!

I am fairly new to dry pastel, and have a bit more experience with Oil Pastel.

With both, I have an assortment of Hard and Soft sticks, arranged by brand.

If layering is important, I begin with the hard sticks, and gradually progress to the softer, then the softest. This allows several layers to be put down without disturbing what is underneath.

re: That Dog Won't Hunt

Courtney Jordan — Wed, 25 Jan 2012 14:33:17 GMT

I've heard that you can build up from hard to soft as well. I think it is probably a matter of experimentation to get the effects you want!