The Artist's Life : Still Life

Turn Up the Temperature

johnandann@theartistsroad — Thu, 11 Apr 2013 03:57:00 GMT

What makes an object look three-dimensional? We use a variety of cues to give us this information: light and shadow, contrast, pattern, color, texture, scale, temperature and value, usually in combinations. Our ability to measure these different parameters and make a decision about the dimensionality and location of something in our field of vision is automatic and immediate - a product of millions of years of evolving visual sophistication.




Black and white and full-color versions of Monet's Regatta at Argenteuil, oil painting.

In drawing, we learn to create the illusion of form with value changes (light to dark), or chiaroscuro, using all the subtle changes in tone from black to the white of the paper. Having gained proficiency at chiaroscuro work, we quite naturally adapt our knowledge of values to our color work. But the world of colors is not just value-driven. It has an equal partner in color temperature. Temperature (warm to cool) can and does affect our perception of form. As the shape of any object turns away from the light source, it undergoes a temperature change. It may also display a value change, but in some situations, such as an overcast day, dusk, pre-dawn, or a dimly lit interior, light conditions are not intense enough to create significant value changes in an object. However, we are still able to perceive three-dimensional form partially because we can perceive temperature changes.

The Impressionists loved to exploit this effect. Temperature changes were an essential ingredient in their ability to create scintillating, light-filled canvasses. They thoroughly understood the power of temperature changes within a limited value range in reproducing the effects of sunlight. Cezanne and Monet especially, triumphed at these kinds of techniques, so much so that most people aren't aware of the missing values. See how these black and white conversions of their paintings reveal their mastery of temperature within a restricted value range.


Cezanne's Still Life with Bottles and Apples in black and white and full-color.

The best way to understand and learn how to use temperature instead of value to create three-dimensionality is to set up a simple still life. It must be noted that we can't ever get completely free of some small value changes. Because the nature of paint, unlike light, is subtractive, every time we mix two colors together (other than white), the paint mix darkens some. When we try to compensate for that value shift by adding white, we cool the temperature of the mix by the amount of white added. If we are trying to maintain a warm temperature with the mix, we are now fighting the process, and the paint will always win. The answer is to plan our temperatures so that the lightest, warmest color does not require white, and the rest of the object is painted cooler and very slightly darker as it turns.

This is one of the great secrets of the masters! Try this yourself and you'll be amazed at how easy it is to create a convincing three dimensional world from a limited value range. To see more on this subject, including two painting demonstrations of this principle, join us on The Artist's Road.

--John & Ann

Seeking the Subject

Robert Reynolds — Tue, 26 Feb 2013 18:53:00 GMT

Nature provides a constant source of creative inspiration to all of us. But to capture its spiritual essence, one must first discover one's own emotional connection to the subject. It's that special "something" that grows out of each artist's personal involvement with his/her subject matter. Your philosophy will undoubtedly differ from mine and other artists, as well as the way of seeing and expressing your relationship to your subjects.


Vineyard Radiance II by Robert Reynolds.

Each of us is different and as artists we perceive our subjects in our own way; and that is a good thing. Subjects that hold no meaning to the individual can all too easily become little more than exercises in picture making; something that conveys little feeling or sincerity and shows no commitment.

Any subject, be it human, rocks, trees, still life or what have you, can be symbolic of something larger than it's self. When painting subjects with a definite meaning or relationship to my own life, I see a richness and emotional dimension in my painting that otherwise might not be there. The old saying is still relevant: "Paint what you know."

Ideally, as artists, we should strive to infuse the literal reality of what we see with perhaps a far richer reality of what we feel. The quest for originality when figuring out how to paint begins with personal, insightful components that aids us when embracing and interpreting our chosen subject. Does that resonate with you? Leave a comment and let me know what chosen subject calls to you.

--Robert

Are You a Real Artist?

Carolyn Henderson — Tue, 26 Jun 2012 03:38:00 GMT

I chatted with a watercolor painting workshop student the other day who sighed, "I'm not a real artist. I probably never will be." "Why?" I asked.

"First, because I'm still taking painting workshops and learning. Second, because I don't make a living off of my art."


No artist ever arrives at his destination, but it's the journey that brings about the best art. County Road, available as an original watercolor painting and limited edition print, by Steve Henderson.

Let's talk about the first statement first. No artist ever "arrives." There is never a point, in a true artist's life, when he or she sits back and says, "Well, I've learned all there is about art. I'll just keep painting the way I am now, because there's no place to go from here." Even typing it sounds supercilious, conceited, and egotistical.

All artists are constantly, consistently learning, and if a workshop from another artist propels them to the next stage of their development, then that workshop is a good thing, something to point at with pride and not embarrassment.

Artists are always looking at other artists' work, and while generally, a more advanced artist can figure out a still life painting technique or watercolor method with which to experiment by analyzing a colleague's work, he or she is able to do this because of hours and hours of experience in the studio.

And that is a key component of being a real artist: working in that studio, playing with paint, analyzing color, wrestling with composition, getting frustrated and wanting to roast hot dogs over a bonfire of canvases, but always, always, learning and spending a decent amount of time doing so.

--Carolyn

Next week: Lots of money and being a "real artist" do not necessarily go together.

It's Stilleven, Nature Morte, Dead Nature, or Still Life

johnandann@theartistsroad — Tue, 05 Jun 2012 03:59:00 GMT

The art of still life painting is a time-honored one that has been around since at least the time of the ancient Egyptians. Still life paintings were often used to adorn the interiors of Egyptian tombs with the belief that these depictions of food and other objects would actually become real and available for use by the deceased in the afterlife. The ancient Romans adorned their homes with paintings and mosaics of food and flowers, which functioned as signs of hospitality and as celebrations of the seasons and of life. Down through the long course of history, still life painting has frequently been used to convey allegorical or metaphorical messages, often as part of a religious iconography. Among the first still life artists to divest their paintings of religious meaning were Leonardo da Vinci and Albrecht Durer, who made delightful studies of flora and fauna as part of their interest in exploring the natural world.


Lilacs in a Window by Mary Cassatt, 1880-1883, oil on canvas.

The English term, "still life," is derived from the Dutch equivalent "stilleven." Romance languages used the term, "dead nature" as in the French "nature morte." As the popularity of still life painting spread throughout Europe, stylistic differences developed between northern European art and that created in the south. The Flemish and Dutch tended to paint in a hyper-realistic style, while southern artists favored the softer naturalism of Caravaggio. Over time, many genres and sub-genres of still life art evolved, gained popularity and faded away to be replaced with the new preoccupations within the genre. The French artists of the 1700s, most notably Jean Baptiste Simeon Chardin, were adept at borrowing from both the northern and southern traditions to make an entirely new type of still life artwork, which would eventually influence future generations of painters. Manet, Matisse, Cezanne, Braque, Soutine, Morandi and recently, Lucian Freud, all acknowledged their indebtedness to Chardin in their work.

With the dawning of Impressionist still life, allegorical and mythological content was completely dropped, as was meticulously detailed brush work. Impressionists instead focused on experimentation in broad, dabbing brush strokes, tonal values, and color placement. The Impressionists and Post-Impressionists were inspired by nature's color schemes but reinterpreted nature with their own color harmonies, which sometimes proved startlingly unnaturalistic. As Gauguin stated, "Colors have their own meanings."

Today, there is renewed interest in beautifully executed representational still lifes, the best of which, we think, borrow from the masters of the past while adding a contemporary sensibility to the work.

Our Members' article, The Ultimate Still Life Table shows how to construct an inexpensive, professional still life table. The table is the first step in creating a unique microcosm from objects that have interest and meaning for you. It also illustrates how to use both natural and artificial light sources to create dramatic and exciting compositions with low-cost fixtures, templates and color filters. Whether your goal is to create small daily paintings or larger studio masterpieces, building a permanent set-up like this opens the door to a world of creative expression in anyone's studio space, large or small.

For more interesting in-depth articles, demonstrations and valuable information, please join us on The Artist's Road.

--John & Ann

Words of Wisdom From Antonio López García

Allison Malafronte — Thu, 03 May 2012 03:08:00 GMT

I'm sure many of you are aware of the Spanish living legend Antonio López García, but I'm ashamed to say I was not familiar with his artwork until recently. And as with any new discovery, once you become aware of a new person, place, or thing, doesn't it suddenly seem to show up everywhere?

While in Florence this past fall, I saw an Antonio López García book on an artist's bookshelf, and then heard his name come up several times in conversation. I was very interested to learn who this artist was who seemed to have influenced so many European painters. When I got back to the States, I started to see García's name pop up more and more in commentary from today's painters, and I could now recognize the influence of his aesthetic in the paintings of a handful of artists whose work I admire.


Greek Head and Blue Dress by Antonio López García, 1958 (altered in 2011), oil painting on board, 27 x 37½.

Right around that time, my editorial director was putting together June 2012 American Artist and decided to theme it "The Spanish Influence," so I asked if I could write about García. I wanted to do plenty of research, and I began by reading Antonio López García: Paintings and Sculpture in its entirety. What a wonderful experience it was to discover figure, landscape, and still life paintings that spoke so strongly to me, and then to read the story of what transpired during García's training and personal life to make him the artist he is today.

As inspiring as that book was to read, the most insightful glimpse into García's mind and process came through watching the interview that Michael Klein and Amaya Gurpide conducted with him for the winter 2011 issue of Klein's American Painting Video Magazine (APVM). García—who does not like the spotlight shining on him—seemed comfortable and at ease throughout the conversation, and he was candid and forthcoming with his thoughts. I learned a great deal from the questions asked and the responses he gave.


View of Madrid From Martínez Campos by Antonio López García, 1960, oil painting on board, 48 x 96.

I want to share some of García's statements from that interview here, as I think his wisdom and perspective are extremely inspiring and timely. Here are some words worth pondering:

"Learning from the past is very complicated. The past, for me, has been interpreted by the artists of the 20^th century. And to me it seems that they give me the key to be able to paint my time. I want to paint my time. I don't want to paint the 19^th century or the 18^th century or the 17^th century. I want to paint everything that is my life, all of my experiences."

"Living in a city like Madrid, the most interesting thing is the pulse of life. It's not a city with a special level of culture, but you still see the people, the men, the women, the children, the sickness, the good, the bad. I want to get close to all that, and those are the motives of my paintings."

"I believe that something else, the substance of your spirit, stays incorporated in the work. The work is made to transmit emotion. The starting point of the artist, if they are figurative, is the world. ... The material with which you work is the objective world, but you incorporate some of your soul, and that is art."


The Early Riser by Antonio López García, 1958, oil painting, 38 x 54¼.

Talking about his academic training and oil painting studies in Madrid at the Real Academia de Bellas Artes de San Fernando: "We were fascinated all the time by modernity, but at the same time we didn't stop painting and drawing. For four years, painting and drawing, painting and drawing. This is something very important: the familiarity you develop within the language of painting."

Speaking about seeing the work of Velázquez, Goya, El Greco, and others at the Prado while in art school but starting to feel more connected to a modern sensibility, Garcia says: "This was good for me. I think it had to be this way. One had to pass through the knowledge and through the experience of that painting to conquer the technique of the ancient painters."

"I don't give importance to technique. I condition everything so that the painting has spirit, in every way. If not, technique does not do me any good. I have done that: put in all the forms, ordered them in the best possible way, taken measurements. Everything was done correctly, but the painting ended without substance, vacant of emotion. And that, when I had that sensation, it seemed to me a complete failure, it seemed that technique wasn't worth anything. Not that technique doesn't have importance, but it's like the word is the link to the ideas and nothing more. So you acquire technique, but then what do you do with it?"


Grand Via by Antonio López García, 1974-1981, oil painting, 35½ x 36¾.

"When my uncle taught me, painting came to me with great ease, with great ease. But this can be deceiving, because you can be very talented and have nothing to say."

If you would like to watch the interview in its entirety, visit the APVM website. To learn more about the June issue of American Artist themed the "Spanish Influence," click here.

~Allison

Allison Malafronte is the senior editor of American Artist.

Man's Best Friend Is Art's Best Friend Too?

johnandann@theartistsroad — Tue, 13 Mar 2012 04:44:00 GMT

We have always felt that as plein air painters we are observers of the landscape—recording moments and places that can rapidly transform with fleeting changes of light. In a pure landscape, figures and animals are rendered small and insignificant against the vast and awe inspiring backdrop of nature.


At the Inn of Mother Anthony by Renoir, 1866, oil on canvas.		The Artist (Portrait of Gilbert Marcellin Desboutin) by Edouard Manet, 1875, oil painting.		Young Woman Holding a Dog in Her Arms by Berthe Morisot, 1892, pastel painting.

In our portrait art and still life painting work, however, we are observers of the intimate—the interior worlds of home and studio. Here, the figure, the object, the people, and the animals that inhabit these spaces become the dominant focus, and we attempt to lift these interior portraits up to the grand level of a landscape. Finding and expressing a connection with those people, objects and animals is essential to the expressive power and ultimately, success, of these works.


	In the Summer Garden by John Hulsey, pastel painting.

The rule is simple: paint what you know and love. And so we paint our beloved animal companions—our studio dogs. Not only are they patient and generally serene models, but they also possess a dignity and acceptance of life that we would do well to try to emulate. As time winds down for our second Great Pyrenees, we have found it important to take our paints in hand and work to catch at least a glimpse of his internal grace and loving spirit in our works. In this way we hope to honor his life and perhaps pay homage to all the dogs who have spent their lives helping their human charges making it through theirs.

There is beautiful evidence from Renoir, Morisot, Cassatt and others, that we are not alone in our canine devotions. In the era of Impressionism, dogs began to be included more often in portraits with families and not just depicted as working animals. In some of these paintings, the dog is the only figure directly looking at the viewer, acknowledging the outside world, as it were, while his human companions are rendered as oblivious to the painter and viewer. The dog observes the observer.

Science tells us that a few minutes of petting a dog results in the release of oxytocin into the bloodstream of both the petter and the pettee, lowering blood pressure and stress. It is our firm belief that taking the time to study and paint a dog does the same ten-fold! Of course, getting them to hold still is the trick!

Please visit us at The Artist's Road for more great articles on painting your life!

--John & Ann

May I Introduce Edward Minoff?

Courtney Jordan — Sun, 01 May 2011 05:57:00 GMT


Breton Wash Basin by Edward Minoff, oil painting.

Edward Minoff: Weekend With the Masters Instructor

Edward Minoff graduated with honors from New York University's Tisch School of the Arts. Throughout his high-school and college years he studied painting and sculpture at the Art Students League of New York, the National Academy of Design, and at Vassar College.

He has copied some of the greatest works of Western Art at The Metropolitan Museum of Art, The Hispanic Society, The Prado, and The Louvre, among others.

After co-founding the animation house AMPnyc, he began to study with Jacob Collins at the Water Street Atelier and eventually left commercial work to devote himself entirely to painting.

Later in his career he journeyed to Italy to study at The Florence Academy of Art. He is a core instructor at the Grand Central Academy of Art and a co-founder of the Hudson River Fellowship. In terms of his own artistic development, the study of the painters Frederic Edwin Church, Asher B. Durand, and William Trost Richards, among others, helped to hone his process. Many clues were found not only in their paintings and studies but also in correspondence, including the tremendously insightful "Letters on Landscape Painting" column written by Asher B. Durand and published in The Crayon.

His brushwork displays a daring bravura, particularly in his seascapes where moody waves crest and break with intensity. Other outdoor painting scenes are composed from high, dramatic points of view, as seen in his work from the Catskill Mountains of New York. In his still life work, his palette becomes bright and inviting with warm reds, oranges, and yellows. A truly versatile artist, Minoff displays a remarkable talent for portraying the human figure as well.

In 2004, he staged his second one-man show with the John Pence Gallery and received rave reviews. His most recent solo exhibition in San Francisco was presented in October-November, 2010. He has also shown with galleries in Connecticut, Houston, TX and Sag Harbor, N.Y. For more information, visit his website.

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May I Introduce Jacqueline Kamin?

Courtney Jordan — Sun, 01 May 2011 04:30:00 GMT


Red Carnations with Ming Rice Bowl by Jacqueline Kamin, oil painting, 20 x 16.

Jacqueline Kamin: Weekend With the Masters Instructor

Born in 1950 in Washington, DC, Jacqueline Kamin received her formal art education from the Corcoran Museum School in her native town, and later attended the Art Students League of New York and the Sculpture Studio, both in Manhattan.

Some of her many awards include an honorable mention from the California Art Club's 89th Annual Gold Medal Exhibition, first place for still life at the 3rd Annual California Autumn Salon of 2002, and the juror's choice award in the 2006 Art Competition and Exhibition sponsored by the Susan Kathleen Black Foundation. The artist has participated in national and regional exhibitions, including The Annual California Autumn Salon, in Beverly Hills; The 23rd Annual Juried Non-Members Exhibition at The Salmagundi Club, in New York City (which led to membership); and the 92nd Annual California Art Club Gold Medal exhibition at the Pasadena Museum of History. Kamin, a nationally sought after instructor, is a member of the Oil Painters of America, the California Art Club-where she serves on the Board of Advisors-and the Salmagundi Club.

Kamin paints with a sculptural sensibility that isn't at all foreign to her practice. Earlier in her career she spent time as a bronze bust sculptor. "Working with sculpture is a lot of fun," Kamin says. "It is very tactile and organic, but it takes a toll physically, and you aren't responsible for the whole process unless you have your own foundry."

Control over the process is what invigorates Kamin and continually draws her to oil painting, especially still life painting depicting objects that she's collected for more than 40 years during her travels all over the world, including to Macao, China, and Korea. "Still life painting allows the artist to really control the viewers' vision, leading them where you want them to look and making them feel like they are in another place, an intimate world," she says.

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May I Introduce Quang Ho?

Courtney Jordan — Sun, 01 May 2011 04:16:00 GMT


Quang Ho at his easel.

Quang Ho: Weekend With the Masters Instructor

Quang Ho was born on April 30, 1963, in Hue, Vietnam. He immigrated to the United States in 1975 and is now a U.S. citizen. His artistic interest began at the early age of 3 and continued through grade school, high school, and art school and led him to a very exciting and successful painting profession. In 1980, at the age of 16, Quang held his first one-man-show at Tomorrows Masters Gallery, in Denver. The exhibition was a smashing success for the high-school sophomore. In 1982, Quang's mother was killed in a tragic car accident, leaving him responsible for raising four younger brothers and a six-year-old sister. That same year, Quang attended the Colorado Institute of Art (CIA) on a National Scholastics Art Awards Scholarship. At the CIA Quang studied painting under Rene Bruhin, whom Quang credits with developing the foundation for his artistic understanding. Quang graduated from CIA in 1985 with the Best Portfolio Award for the graduating class. An art dealer, Mikkel Saks, discovered his talent and promoted him in his gallery, which led to much success. He now teaches at the Denver Art Students League. He plays golf and reads philosophy and religion extensively. He is a great admirer of Andrew Wyeth.

Quang's clients include Adolph Coors Company, Upjohn, Safeway, Colorado Symphony, Chicago Symphony, and others. Quang's illustration work has been featured in the Society of Illustrators "Illustrators Annual" and exhibited at the Museum of American Illustration, in New York City, as well as with Communication Arts' annual illustration competition during those years. Working mostly in oil and occasionally watercolor and pastel, Quang's subject matter ranges from still life, landscapes, and interiors to dancers and the figure. "Subject matter is not really important to me," the artist says. "I can find visual excitement all around me--from a knot on a tree or a graceful limp of a flower wilting, to a juxtaposition of a few simple shapes and colors--inspirational subjects are inexhaustible."

Regarding his painting style the artist says, "Realism and abstraction--it's all the same to me. The real essence of painting is the dialogue between shapes, tones, colors, textures, edges, and line. Everything else follows-including light, form, concepts, personal beliefs, and inspirations. For me, painting is a marriage between the mastery of those basic visual elements, the discoveries and understanding of visual statements (the search for what is true on a personal level artistically), and the trust in one's own intuition and inspiration. Understanding gives rise to higher understanding. Working this way allows me to open the door to new ideas and inspirations. One day I may be interested in a color statement, the next perhaps a relationship of simple shapes, and the next an extremely complex arrangement of texture and edges--with every painting there is a singular visual thought to be completed." Quang is represented by Claggett/Rey Gallery, in Vail, Colorado; Gallery 1261, in Denver; and Jack Meier Gallery, in Houston.

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May I Introduce C.W. Mundy?

Courtney Jordan — Sun, 01 May 2011 03:49:00 GMT


Morro Bay Rock, Near Cambria by C.W. Mundy, oil painting on linen, 16 x 20.

C.W. Mundy: Weekend With the Masters Instructor

C.W. Mundy, an American impressionist, was born in 1945 and raised in Indianapolis, Indiana. He graduated with a B.F.A. from Ball State University, in Indiana, in 1969 and then shortly thereafter traveled to California, where he painted, played music, and worked on his M.F.A. at Long Beach State. In 1978, he returned home to Indiana, worked as a sports illustrator for a decade, then in the early 1990s took on the challenge of painting in a more impressionistic style, going out of doors and painting en plein air, from life.

This painting style led Mundy to a series of European plein air painting trips, beginning with a trip to France in 1995 and continuing through the present. In 2007, Mundy achieved master status in The American Impressionist Society and in 2003 he was invited to master signature membership in the Oil Painters of America. He is also a signature member of the American Society of Marine Artists.

His work is in select public collections including the Art Museum of Grater Lafayette in Lafayette, Indiana; the National Art Museum of Sport in Indianapolis, Indiana, and the Indiana Basketball Hall of Fame in New Castle Indiana. In 2003, International Artist Publishing (Sydney, Australia) published and distributed internationally the book Memoirs: Charles Warren Mundy, American Impressionist. In 2010, Mundy was a finalist in the Still Life category and a finalist in the Figurative category at the International Art Renewal Center Salon Competition. He was also an exhibition judge and guest lecturer at the American Impressionist Society’s national juried exhibition in Nashville, TN. Mundy’s work has also been featured in Workshop magazine from American Artist.

Mundy is represented by Anne Irwin Fine Art in Atlanta, Georgia; Gallery 1261 in Denver, Colorado; the Insight Gallery in Fredericksburg, Texas; and the Morris-Whiteside Galleries in Hilton Head, South Carolina. For more information on Mundy, visit his website.

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May I Introduce Kevin Macpherson?

Courtney Jordan — Sun, 01 May 2011 03:42:00 GMT


Santa Catalina Island by Kevin Macpherson, oil painting, 30 x 50.

Kevin Macpherson: Weekend With the Masters Instructor

Kevin Macpherson is one of the country's leading plein air painters and is highly respected among collectors and fellow artists alike. Past president of the Plein-Air Painters of America, Macpherson is a popular instructor,guest lecturer, and art juror throughout the country and abroad. His painting workshops are highly attended, often selling out years in advance. Macpherson is sought after as an art judge, curator, and speaker around the country, and his clear, concise teaching method has inspired and directed thousands of plein air painters.

Macpherson's work is nationally recognized and collected and has attracted the attention of major art collectors, including Roy Rose, the grand-nephew of acclaimed California plein air painter Guy Rose. The artist has won numerous national awards, including so many in national Oil Painters of America competitions that he is the first artist in the organization to be elevated from Signature Member status to that of Master Signature Member. Macpherson excels in his ability to paint all subject matter: landscape, still life, and figurative works. Using spontaneous brushwork and candid color, the artist's work reveals his interpretive and creative virtuosity. He easily manipulates the elements of an artist's "visual toolbox" to capture the mood of his subject, whether it be the dramatic light of Southern France, the rugged beauty of the California coast, or the brilliance of dappled light through a floral still life.

Macpherson's work has been featured in many national magazines, including Art of the West, Art Talk, U. S. Art, Wildlife Art and has graced the covers of Southwest Art, American Artist, International Artist, and The Artist's Magazine. He is also a contributing editor to Southwest Art and author of "The Artist's Voice, 2000." In addition to numerous gallery exhibitions, Macpherson has shown with several museums throughout the country. He is the author of Landscape Painting Inside & Out (North Light Books, Cincinnati, Ohio) andReflections on a Pond: A Visual Journal (Studio Escondido Books, Taos, New Mexico), and his popular instructional book, Fill Your Oil Paintings with Light and Color, now in its ninth printing, has been translated into the Chinese language and has quickly become a bestseller for publisher North Light Books.

Macpherson makes his home in the mountains of Taos, New Mexico, merging his influences from years in Arizona with his childhood memories of New Jersey. Bitten with wanderlust, the artist and his wife Wanda can be seen anywhere in the world painting en plein air. He is represented by Redfern Gallery, in Laguna Beach, California, and Studio Escondido, in Taos, New Mexico. For more information on Macpherson, visit his website.

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Finding Your Personal Style

Lori Woodward — Fri, 19 Feb 2010 12:00:00 GMT

It’s often said that artists don’t find their personal style—it finds them. Although I agree with this statement, I found in my experience that individual style develops only after a number of other tasks are accomplished.

All professional artists began as novices, and for many the first step to becoming proficient was receiving instruction in basic artistic principles, and learning how to handle their chosen medium. After I learned the basics of watercolor, I began to experiment with a variety of subject matter. At first, my painting efforts were quite clumsy, but I was determined to hang in there for at least five years before giving up on "getting good". After several years of working with watercolor transparently, my confidence with watermedia grew, eventually leading to my experimenting with opaque media (acrylic and gouache) on paper.

A signature style can’t be forced; it develops naturally over time. This development, however, usually begins with knowledge, followed by practice, and finally, experimentation. Some artists seem to find their style after just a few years. It took me more than 10 years, but I'm a slow learner. My own style started to emerge once I focused on one subject matter. At that time, it was still life. Now I’ve added landscape and figurative subjects to my repertoire, and work in acrylic and oil, in addition transparent watercolor. Regardless of the subject, there is a thread of similarity throughout my body of work. This only appeared after I learned the principles of light, shadow, color and edges; then spent several years of employing these principles in my work; and finally after adapting and using techniques I’d learned in new and exciting ways.

Even after reaching a professional level, some artists continue to seek advice from more experienced peers throughout their careers. I have always been a willing art student and plan to continue learning the principles of art from those who are more experienced than I am. The wonderful thing about developing my skills while I paint full-time is that I've not only gained a recognizable style but also continue to learn new painting techniques. Whenever I’m faced with a challenge, I always keep in mind that every artist, no matter how advanced, started out as a beginner.

Lori Woodward earned a bachelor’s degree in art education from University of Arizona. She has studied watercolor and composition extensively with Sondra Freckelton and Jack Beal. Woodword’s work has appeared in several issues of Watercolor, and she is a co-author of the Walter Foster book Watercolor Step by Step. She is a member of The Putney Painters, an invitational group in Vermont. She resides in New Hampshire with her husband, Brian Simons, a software engineer. Visit her website at www.loriwords.com and follow her on Twitter here.