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Janesville Art Leaugue 2020 WRAP

Janesville Art Leaugue 2020 WRAP

the Janesville art League in the
television studio to the 20/20 jiggetts Ville rep workshop so our exhibit today
represents 110 works of art by 59 talented artists from Janesville and 15
nearby surrounding communities in southern Wisconsin I know many of you
are here today and that’s great we appreciate you joining us I am pleased
to announce to that the Janesville Art League has received an award from the US
Johnson and regional artists associations board this is the Service
Award and it’s giving forgiven for promoting rap exhibits and permission in
WIA our first speaker today is Claudia dear Fitzgerald owner of letelier’s art
studio Claudia is a longtime sponsor in the Janesville Rancho a buddy thank you I just want to announce that
Larry Schultz from Mill where they keep to me a plein air class the first Monday
of September and it would be a order II very nice and I haven’t come up with a
total price alone and each person we will need to pay seven dollars to get
into the next newsletter we’ll have more information we’ll have radiant
watercolors from my territory the two of my paintings are here thank you I’m not producing archivist
nervous for the love art my wallet or my coverage in theory because there are two people
who would have been involved with that and they are four and five women and
barda’s alcohol she checked you in today and if it hadn’t been for the two of
them we would be sitting here today and enjoyment to do so and we’d like to give
a special just get that for you there’s other than yours if you can do it because true visibility is one of the
reasons I was involved in the community involved in that is because it fits our
mission statement and our mission statement because its own typifies
Authority and that is that we are performed to support and encourage the
creation and appreciation of all kinds of the visual arts by involving its
members and she also thought spending time this
year going around to different nations social change today relations who’s
popular and thought how do you feel about in that’s pretty much what my disclaimer is
become good morning everyone thank you for
having myself and my husband Justin who’s also in our distance here is what
this morning I just have a really few short announcements and then we’ll get
to town giving his talk because that’s way more exciting let me give you a few
notes I want to say thank you again to all of the coordinators who made this
happen so if we could give them one more time our judge I want to also mention
that coming from continuing studies in Madison I brought some literature with
me that is to the left of the door before you go outside I brought you
probably already seen this but the state day pen offense brochure and also our
catalog for default non-credit continuing courses and cut off the press
and online if you’re interested they’re there if you’re not just mine and I am
explain I would like to encourage you to we’re not currently a Wisconsin regional
art ready to possibly consider becoming one
you may or may not be aware WIA and rap are two distinctly different entities we
worked very closely together and a parallel for 60 years but we are two
different entities WRA a group is a nonprofit and acts as a Friends group
for rap the program that is been going on for almost 80 years so again if
you’re not a member look into that and a couple notes on a state named Michael
another head is going to be our guest judge he works at the University of
Wisconsin the best way to describe his work is almost paper cooling and an
insane level of science officers and masks he’s going to talk about his work
he’s going to show his work and then we’re going to do a hands-on group
activities for love 200 people and make them mini exhibit met safe day it’s a
large black youth it’s gonna be nuts and it’s going to be fun thank you to
all of the artists thank you for creating your creativity and for being
here today with that Thank You Angela and just to clarify one
thing if you win a state award in this exhibit today and you get invited to put
your work up for the state competition you need to be a member of breath for
this WRA aid for this year so especially if you win a state award and you want to
protect with that opportunity to exhibit your words on the state level we need to
join WRA being and we’ll talk about the time to do that in just a few minutes okay all right so a couple of you a few
things before we start with Tom’s program first of all as you may have
guessed our featured artist visitor is Georgia O’Keeffe she’s known for her use
of bold color strong shapes flowers and desert landscapes her work illustrates
her perception of her world our theme this year is perception each of the
artworks which graced our walls today display the unique perception of the
artists in this room so you’ll notice we have some points about Georgia use they
are for sale and also the decorating theme follows Georgia O’Keeffe with
sunflowers hints of the Southwest with the stalls and the cacti and that is why
we chose that came to decorate them to go with her I also love one corner first
that we don’t have posted I saw it somewhere and she said I hate flowers
but they don’t run away like enemies do that’s been amazing – I’m the
photographer soup colors would you like to come up and talk about the group
activity today real quick our artist mr. Tom Jewell has pre painted on the canvas
back there poppies in the Georgia O’Keeffe style of course that’s his own
interpretation of that so I wanted all of you participating in that group
project today with the paints and brushes back there and you have markers
whatever even if your photographer don’t be afraid to go back there and put your
brush stroke on there and just do whatever you want in color use them to
believe whatever you want to do – it would be great and then at the end of it
of the name today we’re gonna auction it off
so someone thank you sir devil would you like to
talk enough people’s trust the word please everybody
I have tickets back five reps in the back where you haven’t voted yet you did
100 your favorite piece of art I don’t even go for myself that’s why I picked
one already last night we had a hundred thirteen
votes come in for the people who were here so I was just so we have to go we
have two new to vote so movie break for lunch if you want a quick run up here we
get a tag and vote that’d be great if I have to count them and then after though
Awards me in an upper state and I’ll go mention the first second or third place
People’s Choice Awards will be handed out in their little cactuses I don’t
think so please go to be haven’t and hope you all win a few announcements
much of the artwork is for sale today and the areas would appreciate their
recognition of their talent by your future in it we did sell several works
last evening privilege for building films they also invite you to contribute
to the James Foley scholarship program some of you may have seen the artist
treasure chests the rubbish sale that we’ve got on the front and that will be
open during lunch and at the end of the show we are also selling the Georgia
O’Keeffe quotations displayed around the room at the small ones are five dollars
the large one in the back is ten dollars that also go through scholarships some
of those have sold and are marked with a sticker if they are sold we are of
course also accepting cash donations for scholarships in the table in the back
were devastating we have a guest book you can sign you can purchase our turf
rotations you can vote for us Choice Awards and make donations to the
scholarship fund and in the back by the sunflowers we have JKL membership forms
should you choose to join the local so I’d like to now give you a brief tour
of what we call the booklet the booklet has three sections it has a
front pocket which is Wisconsin Regional Earth information you have any other
informational sheet on draft and wor 88 we have a membership form for the
Wisconsin regional artists Association and we have a press release for if you
wouldn’t award you’d like to advertise to your near town fill in the
information and send it to your local newspaper in the middle is technically
the booklet the booklet includes our agenda for today information on our
speaker mr. Tom Jewell on Georgia O’Keeffe on the artist participating in
the show some of the artists have written in on what they think perception
is and we have some thank yous in the back so people development as possible in the very back pocket we have
information about the Janesville Art League we have our meetings listed for
the 2019 2020 programs and we have information about Claudia gars
fitzgerald’s l’Italia eighth studio and what’s happening there this year and well it’s not your tactic this is the
booklet and you’re looking on the pamphlet you’re looking for if you wish
to join the jeans Velarde okay now it is my pleasure to introduce
mr. Kahn Jewell who’s going to be our judge in workshop presenter Tom enjoys a
successful career as a graphic designer Art Director and print operations
manager since his retirement in 2000 and 2003 Tom has pursued drawing and
painting on a full-time basis working with acrylic oil and watercolor his
compositions are landscapes wildlife sorry my spellchecker million funny
plank portraits and occasional human portraits
his work has been displayed in numerous galleries exhibits fairs and museums he
has had several unmanned exhibits and received awards and shuri competitions
this presentation today will be developing your own artistic style
please welcome mr. Kaji in
I’m dyin quick enough so I got to tell you
they perceive that I have from the perspective of
we keep thinking some new choices lost styles and techniques he while it was a joy the news also tell
Jimmy I could awards for the it’s also please keep in mind there
anything whichever judges and in this case
another judge here today some of the same rewards that can place with perhaps
some others so as we go forward here what I will try
to bring to you today is it will reveal some insight of how you do begin to
pursue your own personal style it’s important to know it’s in all of you to
do so it’s like anything else you choose as an endeavor to learn in this life but
what it boils down to is a personal commitment an effort but the years
there’s a lot of times people who will have the commitment the effort but they
don’t figure out the right things to do so they don’t get there as quickly or
they may not get there so I hope today I can do some insight as to what are some
of the things that you can do to take you forward these are things I’ve
learned myself these are things that we some of my colleagues and I found that
if you commit to some of these things and move yourself in a path of
consistency it will help can we dim the lights probably further
how’s that now given the close proximity here to the street but I think I made
you so I’m not in the way of my presentation honestly off to the side I
may even sit down purify everything okay developing your own
personal existence I’d begin with with some simple requirements becoming they
said a moment ago consistent in all this recruitment may be decisions about your
Pacific there’s a subject interest so that’s simply calling include the things
that interest you and that she liked and that she wanted tragic to suit
improve your observation skills and this becomes a key point I found not only for
myself but for other fellow artists is to really sewn in on these things
basically working with light and the color of light the color of things and
attention to light and highlight and shadow areas and effective as on color
see the shape and form of things that’s important step beginning to see things
more and form and shape than beginning to think in your mind initially about
detail detail has no place than the early process see how things look
close-up mid-range far away meaning as you observe stuff out there in the world
like in my case as a landscape painter I’ve looked at my favorite trees up
close I put there but that far away have a preference
bonus of them that I can refer to and I have favored over you outside of Fort
Atkinson in the country that’s in a lot of my landscapes now see how things look
that way but also see the texture those things
Dexter is something that helps you as a very definitive fool as you go forward
alright we’re going to talk a bit about composition the composition structure is
really key to this process of developing your own style you really don’t want to
be a copycat of something that somebody else has done now you can’t use those
that you can’t use those for inspiration you can’t use those in part if you see a
particular sky you like than some porno magazine and you could have that as a
reference choice that build it into your composition and use it but choose the
subjects that align with your creative interests design compositions that’s
really key don’t expect them to just happen don’t rush this part take your
time to work it out stay consistent and stay with these creativity technique style of clothes
related to one another so beginnings keep the others of mindset is important
and it’s a mental process that we start with all of us we see something were
inspired by we have an idea we have a thought and what we’re going to try to
do is bring that thought forward onto a two-dimensional surface in some pleasing
manner that we’re going to be satisfied with and hopefully others will enjoy as
well so bring your idea to form into a physical form this is really the very
key beginning started this process ok erase the key elements of your
composition and a pleasing manner and at this point you have all the time in the
world to think about that and the duel with it and work with it
and you’re trying to bring balance between your background your middle
ground and your foreground see the size of things see the perspective avoid dead
centering positioning that’s one of the things that is really key to developing
an interest in composition you’re going to have something in the center of your
painting but you don’t want that to be the focal point you don’t want that to
be your main subject you really don’t even want it to be your secondary
subject so take time to work with this in place things and then you’re going to
create an interesting focal point of something within the piece spider
creates 3-dimensional feeling on a two-dimensional surface that’s really
what the challenges so that’s as artists what we’re after particularly if you’re
working in the two dimensional realm those who sculpt and pick
three-dimensional often start out two-dimensional with sketching and
with ideas and then they bring that forward into their three-dimensional
world okay composition creation step one begin with a rough idea that you have in
mind and at this point in whatever way you want to do it get it down on some
paper play with it duel with it step two close your
composition to about continue to sketch with it work with it play with it and
then thirdly make a disco rough sketch variations I usually do two three four
before I’m satisfied and soon we’ll get into some examples of some of that but
the key thing to all of this is give yourself permission to do that very
important this process is important as I stink because it builds a relationship
of your idea between your mind your eye and your hand you can do that at the
beginning stages what you’ve done for yourself is build a great foundation now
to go forward on you’ll now we’ll have a vestment ownership in your initial
creative idea and here’s the end let’s keep adding some ownership and feeling
for that before you try to paint a good path now to moving towards this
direction of individual style alright here are three sketches that I started
and I started with one here as I looked at the sole barn and I like the Pinetree
of the sky stuff in front of it I moved them from a different position and I
moved over to look at it from a different angle I could see I printed
more interest as they looked at the front of the building now and it just
took on a more pleasing look as I studied that I decided to move in a
little closer and look at it from a little closer range which I wanted up
here so there’s where I settled in but I started here I stood in that position
and made a rough sketch I moved here I made another sketch I moved here and I
made a third sketch here’s a second opportunity I was
standing on a little bridge I made this first sketch then and as I looked at it
from the standpoint I had too much dead center it was to simply be balanced and
as a result to take down a little bit of a boring aspect to me so I didn’t want
the water in the center of the point of the mountain develops the trees on both
sides so I moved to a different position and in this case say I moved over to the
left I backed up some and I liked much better what I saw as an arrangement
still looking at it to say I’m here I have an opportunity to look at it from
another angle so I moved over more to the right and I settled in on this is a
more pleasing arrangement for what I would want to try to take forward and
paint here’s another important step here that they have in mind
abstract thinking is beneficial these key elements will assist you in creating
those with in they are lying their form the pattern
that subject relationships and in this one example there’s a nice flowing
pattern here of shapes what was good in the early stages the shapes were worked
out in kind of linear form and then the paint was applied once that structure
was there the other piece there are some linear relationships that created shapes
within them and again the interest once that was
worked out as as a rough was now free to apply color and brushwork create a more
interesting abstract composition back to my sketch they have their earlier so
here’s the one I chose this is what it really boils down to us in this area of
individual style what I’m after in this is what you see over here that’s what
I’m going to transfer onto my canvas but I am happy with it from the standpoint
of what work I did it out in advance and I have a feel for it so I’m looking at
one two three four five six shapes so compositions don’t have to be overly
involved to be effectively turning your final value study that have sketched a
rough sketch into a value study so this was a portrait of a gentleman that’s a
rancher that I’ve done so yes and my rough sketch I tried to get a feel for
him and then I moved it into my belly study so I made a few rough sketches
between these two but once I got here what I’m trying to do there is to
capture my shadow areas my mid-tone areas and
Aaron said by spending time with it and working those out I have a there we go so at this point what I did
then was take that failing study and now I made one final adjustment on the
standpoint of looking how I hit him framed within it and I decided in the
finish meaning to back away from him a bit and position him slightly off to the
right feeling this was all to dead center where here I have a little more
space to work with and then I just created out of the same color palette I
used on him kind of a tonal abstract background to finish off these alright
focus more on the form shape and color and light a composition the end does not
have to be complex to be effective and as this piece illustrates try to avoid
excessive detail it isn’t really necessary – what a ton of detail in your
opinion now I could vary based on what your subject is and so forth but we’ll
look at a few pieces beyond this that have a little more of that in them brush
types this is where we’ll now start to talk about what are the tools you can
use that are really going to be beneficial and helpful to you and these
are an example these are our mind brushes and and so all of these are
brushes that at once in a while I rely on but I settled in on the filbert’s I
like those the best particularly in oil and a protein and then I liked the
little stables that I like I love this model and I like this guy when I’m in
watercolor work so I have learned which brushes out of all those are my
favorites and here’s what you really want to do at this point is it’s going
to become a key tool if your hand and that is settle in on your favorite
brushes and doodle with them work with them find out why you like them become
friends with them so understand them for you what kind of strokes he’ll make
and out of that kind of practice and googling you’ll learn when to use what
brush for what and that’s going to eat in this is to use the right brush for
the right thing because one of the things that are looked at an individual
artistic styles is brushwork and when you get into competitions where where
they’re looking at these elements is later I’m a horse guy a lifelong horse
person and it’s some horse competition stuff earlier in my life and there
there’s rules that you have to follow and so brushwork is something that’s
that’s part of that so become friends learn how to use them learn what you
like the bottom and there’s the brush you don’t particularly like even in its
cover so become consistent in using what you have learned with your brushes control of artists tools equal
consistent results so artistic style style so this was just a little graphic
illustration of three artists they all have their style they all have their
flair but they’ve all accomplished their assistive style alright let’s talk about
artists tools mediums brushes palette knives color palette color mixing
meaning surface selection meaning format and size matting and framing selection
and then special effects tools which we’ll spend a little time about but all
of these things are not foreign to you at this point but they have their place
in working on is so the point is that you want to become consistent with your
thought on these and your use of ends on similarity with those things that need
control special effects fools begin no surprises here but
brushstrokes are earthy smell at knife worked if you like that pink spattering
sponge painting wax resist effects so on all those tools don’t mean you have to
use them all but once again you want to find the ones you like and then learn to
be consistent of how you were applying them you can see that starts to hurt
your personal style here’s my colored Miller my base pellet white primer neo
primary orange primary red hooded screen opening seeker Brown being the oldest
you see no black blacks at that color and it really is not going to bring life
to opinion especially if it appears there on a soul now you can mix the tank
bit of black but I like means great because it’s a little softer and warmer
orbit to the other side by alternate colors and usually what this gains based
on the subject I have and then perhaps the time of year that I’m painting or
what the scene is be it fall or spring summer so on
I will rotate some of these colors in that I may rotate that yellow instead of
this one I made it rotate those in instead of this one so like maybe rotate
times I might take that one and I may take this one and I might be that one
and I might and them but I make that choice based on
what my subject is what am I trying to achieve with color color tell it mixing
slices and this is another key thing like with the brushes rings to use your
brushes and becoming friends with it because you get a remember in today’s
world with the paint manufacturers here’s what they’re doing they’re
loading the pigment load in those tubes of paint and making it very intense and
very cure rate or you could even say in some cases wrong
why are they doing that because they expect us as artists we’re going to take
little bits of that I’m going to mix it we’re not going to use it right out of
the tubes start to paint with it and and if you do what you’re doing is you’re
keeping yourself in that roar beam and and that state return from personal
style so it doesn’t have to get more complicated than my little chart up here that up here is warm who’s down here
who’s the cool comes back to one so this is how I paint this is how most of them
my colleagues who I admire and work with and look at their work this is what they
do as well is they simply start mixing colors as they think but they choose
their color before they ever start the band of course and they will even tape
it off to the side I often start off the site and I’ll just play with color a
little bit give a feel for it and I’ll mix some things to see kind of where I
want to go again for efficiency and consistency equal style and special
effect methods kind of life you have washes wet in the
wet back runs blends gradient squeezes lifting out washing out dry brush wet
Jesus so on textures again show up that’s one that many artists of boys
successfully in helping to find their style so it’s thinking the things that
you can learn to control and bring under control
and using them the same way every time you think all right here’s a couple
examples this is the oil I did was based on sketch they made along the river and
Fort Atkinson where a little bit sunset and once again it’s simple compositions
can be effective we have a background which the sky down to the sunset we have
a middle ground which includes the further Shore and the river we have a
foreground which includes the grasses and the trees and hearin city maps so
there aren’t a lot of elements to this piece but it was the time I spent
sketching that arrangement at the signing and I wanted to place those
elements it one point that I had the little errand he was he was over here I
tried to here I try Tamara even hand him on the other side of that and I settled
here this tree initially I did not have as large it was smaller so it was
closely related to that so I adjusted that so those were the kind of
adjustments they made all right here these are the elements that are in that
piece those are the colors that I used now I took those colors off to the side
and I played with them a bit mess with alizarin crimson and IMS
crimson and the orange and plate with those colors I worked up the gear
there’s even a little blend of it in there I created my dark bones out of
mixing these guys together get that so I messed with it on the side a little bit
first just a little square piece of illustration board that I cut out of a
senator some man that was making I do that a lot with it keeping it simple in
background mid-ground foreground main subject focal
point six colors involved in this piece so here you have background that’s the
sky out there behind things you have the middle ground
which is this area in here and you have the foreground which is here and the
tree the tree is also my main subject and it’s also the focal point in a very
simple composition but when I was after there was capturing the light of the day
as it came in from the upper left and I was trying to capture the brightness of
that spring day so I chose my color fella accordingly and with my focus into
what I would do here to catch the feel of the light on the bark of the tree a
little less worried about how it did these things and then the leaves there’s
another piece that again is a simple composition not a lot to it five
elements background milligram foreground main subject and focal point focal point
being that guy main subject courses the flowers five colors weight primary
yellow orange on the ring and burnt sienna all created that so
again this is so key to artists to develop their styles they are really
zeroing in on their melody and what color mixing they’re going to do to
create their work and they work that out in their mind and on the side generally
before you begin the game this here is a benchmark point for me in the world of
watercolor and this is going to happen to all of us some of you have had that
happen already some of you is still out there for you but this was in my own
mind at that point in my meaning career this was the nicest I felt I had painted
so what I did was I spent time with this I won Balor on mentally obscene now I’m
really pleased and happy with it Amy why am I so I came to spend time with it and
understand what I liked about it and so I make myself some notes I made
myself a mental picture of it I deeply regretted its passing when someone
bought it but I have this image of it and I do refer to it a lot because that
became my benchmark meaning all watercolors I think after this I want to
aspire for that so you want to get a point you develop your own benchmark and
that’s a piece that you yourself feel really really good about and in fact you
a lot of that piece here’s my all-time favorite that I did in terms of oil work
this was a commissioned piece for a gentleman that got some horse work for
in the past and the original oil was somewhere around 3 feet by 4 feet anyway
with this piece I was so pleased but I got done about what I was able to do
with brush stroking with eel of a horse with background the rail of the racetrack the
background the dirt all of that the client said to me can you do this some
way so when I look at it my horse and the jockey are just flying by that was
my assignment so I was able to achieve these things this I don’t know how many
times and I worked out a value study I even made a smaller rendering of it and
emailed it to him to let him see where I was headed with my commercial type stuff
I got his approval that I could go ahead with the mini and the smaller sketch I
how not to lace still hangs in my studio why because it’s my favorite personal
result of my oil work and the horse realm and again I spent a lot of time
with it why did I like this painting soil why was I so happy it was my brush
stroking it was fresh and clean every brush stroke Bank mint in there to be
something as I did it and that’s what happened I didn’t have to go back over
it anywhere and worked out a second time I loved how I got the detail and feel in
here secondarily he said to be what’s the color on this I like bright color so
that horse is a little bit more wrong than he normally is some of the colors
that kept them quite bright keeping in mind what he said to me about bright
color and and then the result he was thrilled with it but it was hard for me
to let that go I didn’t have this and I didn’t have what hangs in my studio
because I still go and look at that painting before I paint in oil and say
to myself now I’m going to follow this I want to pay attention to what I did with
it but I wrote down and I can have in my mind the time I spent on the sketch the
time I spent on the car position the time I spent on the cover
pellet the practice I did with the color matching and then what’s really key for
me is the breast Rolly it was fresh and clean so that’s my
benchmark of what I try to aspire to each time I think this is by seint
benchmark piece in the world of Aprilia and this was a piece that I got on the
trip out into Wyoming in the winter and it was the part of Wyoming where you’re
leaving the croplands land is getting rough and the mountains were coming up
and so I just love the feel of what happened on that day with the sky that
snowed the night before and the snow plows were breaking away and the
clearing was coming but there was a wind pushing them but then the other
assignment I had was how did the snow hit the mountains and how the fence them
across this field so those were the things I was after and and I wanted to
keep the softness of it all so again brush stroking was really important in
terms of what I did there so again it aid me that field that I had successful
with all those elements is one more watercolor this was done over in the
Monroe Wisconsin area back in the hills back in there and early spring I had a
longtime friend Carl Center who uses a biology teacher
at the High School in Port and a farmer and the naturalist and agriculturalists
and the forestry person all that stuff so he take me for drives and then I’d
say stop Carl stop I want to sketch this so I’d stop and sketch it and that’s
what he did for me on this piece here I tried just to get the feel of that that
summer morning with the cattle on this hillside and there’s just the colors
that I saw and that early he’s really a late spring day where everything at that
fresh green look there’s another piece that I felt pretty good about and I
managed against the brilliance of that Sun studded sky and that was that was on
a trip up north but it’s just exactly where it was but I had a chance to see
that and you know those skies happen and they’re there for five minutes and
they’re gone so I had to make a quick sketch I had to
make some mental choices about that and retain that I couldn’t wait to get to my
little sketchbook and sketch this rough thing out and make some color notes and
then the next day I got to my studio and I painted it all right we’re coming to a
point now we’re going to talk about bringing us all together
so composition your color pellet your color mix series your contrast range
light direction the color of your light your brush or nice strokes detail
control special effect applications as you see
those technical proficiency doing everything you can to come back to what
you said is your standard so again I tried to employ all those things that
I’ve started to pull together in terms of doing it the same as my benchmark
meanings were done so that I stay within my constants style so achieving
technical expertise in each of these areas going
a visual atmosphere that will be both recognizable and appealing to viewers
and that’s the goal that’s what you’re after because we all have this innate
ability to create and whether you’re ready to admit it or not you have a
second ability right there to show it off you want other people to see it all
of the reason we’re all here today so it’s part of the process that that
should work toward and what you want is artists all of us want to bring stuff to
venues like this that we’re proud that we’re excited about that we love in some
cases you liked it so well you don’t want to sell it but that’s part of the
art world the morning cell the morning show the morning you have space in your
studio to paint new work and the process continues and goes forward practice
experimentation technical proficiency experience so I equals art style so
that’s really the little overview that I can provide for you on that at this
point we could bring the lights back up all right I have a couple other things I
want to talk with you about up here on the little table I have four books that
I use myself and I found these to be the most meaningful the best book I ever
found in my 40 years of trying to deal with this is this little book right here
it’s marvelous for the artist on color it goes through everything I had a class
freshman in college and the class was entitled color mixing this will be I
spent the semester painting matchbook site squares across and down to the
point I thought I was going to go insane but but what they taught me was the
infancy of color mixing and what you really could get out of it by working
your primaries and your secondaries with like lightening and darkening this
little boy does that so these will be up here afterwards if you choose to come
take a look at them this is what I found to be the best book in the world of
sketching and drawing and helping you develop those initial drawing skills in
a way that they could be useful to you and again with your little rough
sketches and unless you choose otherwise no one ever has to see them but you so
they can be however you want them to be you don’t have to share those of any
book guy like me I need stuck having to do that occasionally this is the best
book they found and the subject of acrylic and the range of what it
provides you the magic of that paint of what can be done with it with the
various mediums and glazes there it’s the most versatile paint that we’ve
got yet this is my favorite watercolor book this book is wonderful in terms of
how it lays things out and gives you peace and point example and explains how
the pinyons were created so you can read about it and see it and it shows it in
the various stages out up to the finish game now it’s special effects this is my
little they help well I will try to speak loud
this guy right here is nice that’s no effect to love all special
effects tools and founder that area what I do but I know what I do is it pink
you’d be surprised what so I now have about eight of these things for various
colors but it’s crazy little thing I’ll start it out I got just a plain stick to
get in there with great but what grass affects this way
what support this way and so I do that great for other texture feelings on
privacy tree trunks and so forth every
toothbrush iPhone has a second and I just keep accelerating this little
sponge guy is great for the smear routine that he pushes it around they’re
making these words with given gjx and all kinds of things so I get my paint on
my surface with my brushes and then white still wet in their plate that’s
what I’ve learned helps me keep within my realm of my
style by playing with you special effect to watercolor this little thing looks
like a little water brush roll brush the glue that you can fill this with just
water or you can liquefy your water we’ll wash reason which we do that
picture with the towels summer pastor I was in there on the edges it’s a great
way to create a soft-edge really helps here’s another little great one Phil
that was a lot of fun with a bullet to the oil
athlete and the oil and acrylic works watch this they look like they could get
all thanks appeals detectives later campus dr. Fenton I will dissipate I fill that water or I can fill it with
pink like an even which apply it down with watercolors searching and have
acrylic and I’ve even taken oil and they’ve got I’ve been able to take this and where I
said it at and they get my finger on it or some you don’t find sir okay so I do people felt like somewhere
or just a standard was that mainly the brush guy and special spectators so once
I became friends with these things now how they do that I played I encourage
you to develop play time way before you think every artist but I know there’s not a lot of choice I was taught to sketch first and we
worked it out into college and I went from there and by that I spoke earlier
of carbs have to take me out I have this big
let’s get along well they don’t really make little ones we’re going back some
years now so the next session the cars – so what do sketching black this is this
is my sketchbook so I do all my sketchy these are supports things
there’s a number of landscapes in here on a 15 Marion I took the color rattle
and so I got some building study sketches in here on the spot
that make color goals and so forth so being that I’m saying that I have the
service hand so my my message for you here today is
find the things you like good subjects and go with that
learn about if it’s landscapes and trees study trees think I have little binders
little 4 by 9 or 4 by 6 picture binders none of it they’re about this thick one
says trees one says water one says guys once those bushes so on there are
reference photos to that cake and I never need that photo per se but I
thereof elements and they help me and I get them out when I’m starting a
painting to develop that process of sketching I lay them out and I pull out
two three four photos and I lay them around I got to spice their light I got
the trees I like I get the grasses I like I got the water rocks whatever it
might be so they’re part of my process and then I go into working out those
little rough sketches and I play I give myself permission to play with those
until I’m satisfied so that I feel good about what I’ve done and I have this
trail of three or four sketches so then I tape it on to where I think when
you’re painting there’s that critical step that is when I stop when you get
that you know we’re not real good like horses
gonna horse tail on my life and horses are a creature that absolutely deal with
their gut reaction they don’t question it if something says move away from here
and go over there they’re gone so I begin to realize that that we humans
were like oh well it’s silly I won’t do that but I learned with this business of
art when I get to that point – stop stop go away from it from a while you know
those down somewhere and have a glass of wine
leave it till the next day whatever whatever works and so learning
to do that it’s that simple when you you’ll get that feeling am i there a my
gun stop give it some time
like I’ve learned sleep on it overnight and I get up the next morning and I have
a fresh look at it and if I’m done I tell myself I’m done if not I know what
a little bit I want to do but see I stopped I thought about it I rested on
it and I made a better decision by virtue of that the other part with this
that’s so important is the reason that today I paint oil I paint that acrylic
and I paint watercolor and I’ve drawn sketched and graphite because I painted
in just watercolor for 10 years and I began to statement become semi bored
with it I did want to stop what I was becoming a little frustrated and I
thought well back in college they had me paint in oil I’m gonna go back to that
so today in my studio I have couple oil paintings going and I can work them to a
point in oil where you got coconut stop now are you gonna record then I move
over on the start of an acrylic or I start a watercolor and so that lets my
creative juices continue to flow and I’m smart enough now believe that oil alone
rather than start turning parts of it into the color of an army jeep so that’s
another beneficial step that I’ve learned the law of petroleum my style
now when I mentioned the oil painting that I did with the horse
I was so energized after that when I got the time I wanted to paint again and I
brought with you because I keep this this is mine I’m never selling and I
don’t give a I only haven’t in my studio Li this was
what I did once I freed up myself with that horse that’s a little oil that I’ve
done that was just some of the treaties and fall out in the woods behind where I
keep my horse with my friends so I was so happy with with the freedom and the
flow of what I had done in that painting that I do another subject to see if I
could keep it there and at this point that was a breakthrough point for me
that kept me more focused than ever so I have these reference pieces and I work
real hard to go back to them every time that I go forward I think it’s important
that you begin that process to do yourself the favor
to be patient and be beneficial to yourself and how you think and how you
work and remember it’s a mental process that we all start with and you got to
work out that muscle process for you I kind of shared with you today what my
mental process is the things I do to get myself ready to sketch then what’s not
ready to sketch I move into that second step but I bring the mental process with
me so what I’m doing now is I’m taking that relationship about my idea that’s
in my mind now it’s in my hand and it’s in my eye and I start to transfer it to
a surface now I’m there alone in my studio I can make as many rough sketches
as I want but what I’ve learned to do is so critical to stay with that until
you’re satisfied when I started that and helped to do it I begin to get some
measures that told me I was on the right path a people were being more responsive
to my work my sales were going up in some competitions and
and you get a couple of awards for my work and so I could see that once I
dedicated myself mentally first and that secondarily to becoming friends with my
brushes playing with extra special effects tools beginning to simplify my
compositions and don’t make them overly complex and then lastly I ate at one
point would mean an unbelievable amount of detail in something well invariably
if you’re stuck on that when you’re putting too much detail in the
mid-ground you’re putting too much detail in the background and you’re
losing the chance to have a three-dimensional effect on a
two-dimensional surface it doesn’t matter whether you’re painting flowers
whether you’re painting landscapes with any wildlife animals whatever it might
be you’re going to always have that foreground mid-ground background if you
want to reserve detail for a little on your main subject and a little bit in
the foreground because as you do that if you keep the absence of detail out of
new grounds and backgrounds so they add a little in the foreground by virtue of
doing that you’re bringing your foreground and forward visually you know
what else is doing its send in your mid ground and your background backward
visually so like keeping more of a detail effected or foreground you’re
creating a more depth of field and slightly in photography you’re good
photographer one of the things that separates the really good guys from the
rest is their ability with depth of field along with light and focus and so
forth the depth of field becomes a real issue in good photography and and saw
the work in this room that travels into art that’s part of what they
accomplished they were masters at that and they have control of it and they’re
doing the same thing that’s they’ve developed their personal style and every
– that same kind of focus so the cameras are tool that create leaders so that’s a
little bit of an oversight in terms of how this has worked for me and it’s
worked for several other artists that I know and work with and are friends with
around the country how are we doing timewise but my hope was to arrive at
that point and I’ll be able to say to you we can go to some questions and
answers if you like so anyone ask a question they can sup and kind of go
from there yes I don’t want to say I got that it was either Hobby Lobby or
Michaels here in Janesville one of the – oh I’m sorry she asked where I got that
water brush yeah yeah and there’s a brush on the end
and then then the two has some flexibility to it so many none on how
hard and fast the one thing you don’t want to do with it has put it down in
surfacing and go still so you got to figure that and so there again is the
mental side of this when I’m using that I look in advance where I want to go
with that brush before I put it there so that I have my start yes they’re in
there that I put publish for the title the ISBN number so you can find it and
by the way none of those are ultra expensive works $20 range and there’s
some way yes she asked that I mentioned about
horses and cows I went I was fortunate at the time that I graduated from high
school that way through college her art was still in bullion Waukee and it was
one of the best art schools around here and as it turned out if you wanted to go
there for a bachelor’s degree they had a working relationship with
Marquette University so the lady students would come to the market campus
further academic stuff or sometimes the market professors would travel to the
Layton campus and then the vice-versa happened for any of our ket students
that needed art like the architecture students medical art students students
looking for degrees to be a that artist in a courtroom so there’s a lot of
transfer back and forth in that I found I had the chance to have a dual degree
in graphic design and print management I thought that’s not a bad idea because
because a lot of work is reproduced and then all my electives were in the
finance so I have dual degree from that situation in graphic design and print
management yes how would I just those for clean air
questions some of the technique that makes an element’s that I use to be
honest with you my interest in plain error is lesson or the time and not that
they don’t do it occasionally but but you know wind and Sun and bugs and all
that stuff finally got me to amplify up by sketching capability at my studios so
today I’m more of a studio cleaner but in that time again I did not would tour
myself and the special effects tools at that time in my career to the point I am
now and I suppose you could use somebody and I could take where that blue thing
is I could take that off there and use it any question but is it the worst time what you use the clean of way and the problem that and the question
was how do I keep my oil brushes clean well there’s a couple things again with
what this stuff is in the realm of painting oil paint is hardest on the
brushes okay so oil paint brushes are going to have
their shortest length so what I’ve learned to do there I don’t go and buy
the ultra in expensive brushes because they know they’re not going to last that
long I’ve settled in on what I call the mid-range because reality is they’re not
going to last as long as the acrylic brushes or certainly watercolor brushes
now in terms of cleaning the thing that I found is don’t rush it don’t do it in
a hurry take time with it really spend time cleaning it out then it’s really
important to get it clean to a point when you take it to a surface that you
get nothing if you could still make the mark with it
then you’re not done cleaning so the cleaning is a critical step there and so
what I’ve learned I have to if it takes me 20 minutes to clean a brush that it
takes 20 minutes I do what I have to to get it clean the other thing I do in oil
is this I have two sets of brushes one for my light bright colors there’s
they’re the same size the same brush I have another set for my dark colors I
found that was helpful because if you get like Ultima ring blue and a brush
and then tomorrow I’m going to try to paint yellow because you never get them
that clean so by my cps and my blues and my bluesman Crimson’s
and those kinds of things I have a set of brushes for that work and I have a
set of brushes for the right work so then arranged in my pellet I have a
little pellet over here my great colors and regressions a little pellet over
here of my dark colors and our brushes and sometimes they get their way on
quick so I’ve learned to kind of manage the brushes based on the meeting on them
in but you have to accept that the oil brushes aren’t long well I found that a little work with
initially the turpentine to get the bulk of it out of there then I’ll put a
little little linseed oil or walnut oil with it board is some little surface and
I take it for a test run back to after I’ve done it with turpentine and now put
a little oil in it and clean that off on a paper towel I tape it over there to
find out because the oil then helps me because if there’s anything in there
it’s going to show up then I go back to turpentine that clean it again
so sometimes you’ve got an s4 so with your staining colors like primary yellow
is really easy to get out of a brush compared to ultimately blue so those
dark color brushes I have to spend more time with and the other thing of
interest I’m glad you asked that is the dark color brushes wear out quicker all the way marry me what’s my favorite
evening nine years I did that on purpose cuz she’s in the
room I really like water coloring but like in the horse world the work that
I’ve done there and I’m fortunate with that’s an oil you go west it’s an oil
world and the West Bend particularly in the rodeo vernacular I’ve done some
pieces of rock writing and bull riding and calf roping bulldogging and those
things and they get the attention that I’m after when I do them in oil my
bloomin watercolor them and they they get looked at but the oil itself well I’d like karate begin I’ll begin
with this guy because it’s crossed all mediums and your house then I do and I
didn’t think the bring that I do have a good book on oil and I find myself a
really good book now that’s a good book to me is one that when you open it up it
takes subject as the earnest tells you about it you see the sketches then you
see the steps that 1 step 2 step 3 step 4
and then you see the finish meaning that’s a good learning border where they
describe what they’re doing as they go along and remember in the adage you hear
something and that’s one level of learning but if you can hear it read it
and see that’s best so a good book that would do that if it’s not one that takes
the subject and takes you from the original sketch through the finished
piece and steps put it back on the shelf and find one that does that what are they well I worked with those
as well in fact I glad you aspect is that kind
of segue in that direction of better here’s the thing what they finally
figured out is the pigment load is exactly the same it’s no different than
the pigment load in the in the turpentine organzied based oil so it’s
the same altering blue it’s all marine blue and both of them and so on now
what’s nice about that is the carcinogens are out of it and you’re
using vegetable oils like walnut oil and sunflower seed oil so on and so forth
but to clean up is a zillion times easier because it’s warm water and solar
now brushes under that conditioner will last longer so in terms of how the
medium handles what I had to learn instead of linseed oil
how much walnut seed oil do I’d mix with my thing and I found this I played with
it practiced with it I like the results of it I love the dry time instead of a
week 24 hours and I go back and work on that and so I have begin Segway in that
direction and I’ve tried to use some of it you know oil the benzene based oils
have slipped that way somewhat you know they’re not as turpentine based as they
once were so I think more and more artists are starting to experiment with
the water base and using them because we could paint in here with it you could
paint in your bedroom I mean big feet your bathroom
you know reporters were with the oil base you almost got to have a room with
exhaust fans on it or windows open or something it’s a I think away with the
future well I like the paint’s that are native earth I like the paint’s that are
made in England so some of those brands I think are best ones I don’t stick to
just one brand of paint I like to try various ones and doing that I found you
know they all produce to the same standards because they’re in competition
with each other so the only difference there is is like do anything if you can
buy a baseline for you can buy a Cadillac and and you can do that in pink
so I try to buy mid-range paints and I try to buy a mid-range brushes now where
I go to the top and its surface I’m going to paint out I want good linen
canvasses I in watercolor I do nothing but 300-pound arches paper from France
and I pre-stretched all my watercolor work first so there’s never any wrinkles
in it so the surface you’re painting on what I was talking about things that
you’ve got to do you want to you want to be sure to work on a good surface and
that brings to mind a little thing I want to touch that out I’ll catch you is
is as I looked through this show here not only was I looking at the wonderful
thing of the composition I was looking at the way in which things were arranged
within others I was looking at the technique
that was used and how well that was I was looking at brushstroke I was looking
at color but a very key part that plays into the surface that you’re on is
you’re going to get better results out of better surface secondarily the final
part for me and for most judges is presentation how is it matted and Frank
does the matting and framing complement the piece and subtly enhancer or deadening to it or those the framing and
the matting become so elaborate it overtakes the painting so presentation
is that final step and it’s very important to figure out how to present
your work well and what I’ve learned is something in that painting some of the
color in there somewhere I’m going to cue my math and my frame harmonious way
to do that your ladies probably get this more than us guys like when you’re
stepping up for a day like this you didn’t just get up and throw on anything well you don’t know that I can
coordinate yourself so coordination is the key word between your painting your
math and the fit and finish will can be a ward stopper all that self if it’s
when you die oh okay I had a a professor in college
Evo brink is a German guy and this time a very famous painter in Europe and here
and he painted a lot of oil but he also he did his we get this he did his free
oil paintings in watercolor they were fabulous but he thought I was just my
sketches and then he went on the penis oils because he was a student of Winslow
Homer and that’s my guy what he did is this you got a bathtub
tall tank whatever you could find and what lukewarm water then about four
inches deep lady your arches watercolor paper in that water and make sure that
it none of us slept right it’ll it’ll float and kind of stick near the top but
water will drip over it watch the clock carefully about 15 minutes no longer
than 20 pick it up very carefully by a corner bring it up there until the water
excess runs off and you get it in half and take it to your board and lay it
down now you’ve got it on there and it’s pretty wet yet you take some paper
towels and you go out around the parameter of it and get that and we take
some of the water off leaving a puddle in the center now you take the regular
brown gum tape and you have a little bowl and you cut that off so they little
travel and of your board and you start with one
site and you can it again your take that and it’s different through the water you
put it on there and then you gently furnish it with paper top dry to do the
next side next site next site when that’s all on you make sure that those
edges are damp but not wet and you got a nice puddle in the middle now what I
learned on the modern age is the cool thing called the staplers so midway
between my paper and my tape every three inches I always stapler up but I put
staple in all the way around the next day that thing stretch is so tight like
a drum now I could throw up up to the water on earth on one tonight right and
I’m in watercolor I mean pretty much wet in the way and as you saw in that couple
of pieces there I can do whatever I want there now the second key is when I’m
done I leave it a full day so it’s totally dry and I go around a little
staple puller and take all the staples out and I take an exacto knife and I cut
that first site where the tape leaves the paper and it’ll snap with cracks and
it jump about an eighth of an inch I’ve cut off the other three sides and that
thing is flat yep I never paint watercolors smaller
than like a sixteen by twenty I’m gonna use a little tiny brushes so that just a
good solid pine board because it’s easy to put stick what you don’t want a piece
are old for maple or something this staple said yeah yeah yeah just a good
you can go to any lumberyard me buy one you know already get it in a in an art
supply store you don’t want you want a real piece of pine board however you
don’t want to screw together laminated stuff the water will get to
that so you need to put and used to be much easier to buy a good piece of wood
and buy watercolor boards 20 and 30 years old but I keep using them all right yeah
she asked a good question and oil painting
what about picking the surface well it hinges on the effect that one in my case
and I think that’s what most other artists and so today I paint on women
I mean gesso masonite FINA good needs to just apply one
I did a effect for a lady here in Janesville she moved to a condo and in
moving from her house to her condo she loved it except in the kitchen there’s
no window over his sink and she had this fabulous flower garden at her house and
she had a lot of pictures of it so she said can you what can you do here for me
can you paint something here and I said well behind the sinks kind of and it
difficult so I came up with an idea I got a really nice eighth inch thick
piece of a great plexiglass and I made my sketch of it all but I turned the
wavelet Alexa gas down in the way that would be facing the wall and I flopped
my sketch on there and I painted it on the backside of the flexible ass oil and
then make sure that right well then we took that and put it up on the wall
between their cabinets and things by the sink and built some really nice
wholesome and puts on a little fancy flower like things that you used to hold
up on the earth so it properly treated surface anything
one of the beauties of acrylic even more than on you can clean up acrylic and
anything you need go to places and see some people can’t real decorative stuff
on wine glasses and so forth that’s acrylic you see a lot of nice
stuff painted out and pieces of furniture that’s a cool so it’s very
flexible in terms of your surface but to finish the question if I’m looking for
something where I want a smoother expansive look I’ll paint on just over
masonite if I’m doing the first portrait or when I get roped into people
portraits I’ll paint those on linen because I want the chance of smooth
blending I’m going to need a more rugged thing and I want the more rugged look to
it and I’m gonna maybe use some pellet knives involved then I’ll work on
regular canvas but the thing with regular canvas it has a greater tooth so
you’re either gonna if you can’t real light out there than the texture of the
canvas is always with you so the more tooth you have thicker the auto paint so
I use regular tooth canvas for thicker paintings and then I moved to smoother
surfaces if I want a smoother look I know how I want to do it all of that and I’ve had some good
fortune with my Western stuff the other side the Mississippi Wyoming and Arizona
and so on and so I parkland are cute there’s seven of us would call a circle
artist and there’s five ladies one other gentleman and myself and we have a group
website and if you’d like to see that it’s simply circle of artists calm and
open the thing up and that all our names are you click on each name you get to
better look at the work that’s in there so that’s the website I use I’m also for
a number of years I was driven into an organization called oil painters of
America so i standing memory oil units of american i participated in some of
these things they offer and there they have a large network of publicity and
they hit they hold jury competitions and regional shows they have a nice online
competition where you can create a painting make a digital image other than
high resolution and submitted them and it’s finished and it’s this there’s the
general membership and then they have what they call OPM masters and that’s
master status after you’ve achieved a lot of awards and competitions I never
bother to go into that one but then they become the judges in that organization
at the various shows new composition right there yes I don’t notice any difference now I say
that with spending a lot of time with both overs when I first started with the
curling I was my first opinion I went this me needs crap in this payments crap
but see I hadn’t experimented with it and our dope acrylic is is that it’s
dries very quickly and that’s both the benefits first but now instead of
advanced they have wetting agents you can use in there and what’s important to
understand what acrylic is if you you can use water in it to give it more
fluidity but if you do that with water you’re weakening the intensity of the
pain if you use the fluidity solution that’s there or if you use the medium so
when I want more fluidness out of my paint and I want to hold the color
intensity and I want to pull the wetness I just use the plain old mat medium I
mixed that with my paint whenever I want to glaze and and so once I came to
understand the world of places and what that could do my work really improvement
writer that it was happy with anyway so it’s it’s the most flexible medium
that’s out there today in terms of what paint on anything with it I’ve even
painted get roped into a couple of euros of my
career and I ended the largest I’ve done is 80 quid coffee I paint the whole
thing with the cloaks and that was like eight years that’s the one and Friends
bathroom donor they had a wall in her bathroom that was 12 feet by 8 feet and
the way the room was shaped it was just because I was the end of the house and
so I paid it up my tropical beach scene on that that’s kind of pretty good
any other questions well gallery this is we all know it in a
victim of the crazy economy they’ve also been a victim of all of the online
options there are so today there are less galleries around but when that
happens to any industry the better ones survive and less efficient ones
disappears so what governments there are today are good ones and so what you’ve
got to do is offer yourself to them and the way to do that’s online so if I see
a gallery I’m interested in that I looked at it online to see that okay in
my opinion this would be a deli that probably is interested in representing
might work by what I see then I put together a little resume that I put the
half of those know might be nice to it and I online look up the person I should
send it to and so I just introduce myself online and if I hear back that’s
sort of how that part of it works and the other thing in local galleries is
it’s kind of tough to take six or seven paintings within walk into a gallery
blind and expect to get anywhere so don’t try that way even a local gallery
I would make a contact first and then send again even to a close by one unless
it was down the street online first and then if we talked again and often they
will say since we’re close by can you bring two paintings on let’s see
a couple actual painters knowing that photographs are photographs of paintings
in the pain itself is his opinion itself so those are the ways I found that that
works and it’s like anything else it’s making a personal connection with
somebody there and there have been cases where I were the gallery out of state or
some tonight communicate with them email and then we’ve talked on the phone
chitchat a little bit you got to know a little about each other and then it’s
evolved from there so it’s personal contact is a big part of it but in
today’s world you gotta you got to introduce yourself
electronically basically first yes so here’s my my process for
Commission work is that when I arrive at the agreement to do a commission here’s
what I do my state to my clients all right I want you to send me like let’s
take the horse world send me several pictures of your body I’ll let me look
at it and get a feel for them so they’ll send me sometimes 50 so I look through
these and then I call them back and say alright tell me about your horse I want
to know about what’s he like what’s his personality what’s he like what doesn’t
he like how do you use him what’s his purpose to you and so I familiarize
myself with that and I go back across those pictures and I usually a
compilation of a couple of them I work something up I think would be attractive
and then I after I make my rough sketch as I create a in proportion that that’s
going to be a larger piece I’ll do like an 18 by 24 like I did of that gentleman
with the cowboy hat in a bell you study I then take a digital photo of that I
then would into the computer and I send them an email and say check this out
here’s where I’m heading and I’m interested in some feedback so what I’m
after there is to bring my client in for the process with me so we could talk by
email start or sometimes and if they have any input for me to
like to make the site a little bigger that she would make his name a little
wavy years but she made our color evoke darker whatever it might be so I take
that and if there’s enough of that I’ll do another value study including what I
heard from my client and I take any photo of an email with him when I get
sign off on that then I go to the team and when I get the painting done I take
a digital of that what did the competitor email it to them and see if
they’re happy again if there’s anything I want to hear about it and maybe
there’s a little later what if a minor thinks usually or one way he was you
know I forgot to tell you that that her horse’s name was snorting something
Arabian and it flared its nostrils a lot could you make the nostrils a little
more flavor she didn’t say that and then when it’s done using PayPal account ship
the painting but what before I ship they deposit the money on PayPal PayPal holds
it as it states there until the client gets the painting and are happy with it
the final thing I say to it to them is if for some reason you get that painting
you’re not ecstatic with it you just ask you to send it back to me
no further obligations I’ll put it in some show and sell it to somebody down
the road just like the picture of the horse so that’s been a good process for
me to follow and I probably said never gotten in trouble with the customers by
following that but see again that’s part of my personal style I am determined for
that customer to be fully satisfied so I do everything I can within reason don’t
make that effort that’s the fun I never thought of that
one there’s there’s something new it’s it’s artists do that there’s a guy
that’s a associate of mine my friends by the name of Derek and me up in Jefferson
he paints wild x-pac stuff crazy the swings beam but they’re well thought out
before he thinks he’s it’s somewhat reminiscent of Jackson Pollock who
paints some of the most extraordinary abstracts you’ll ever see at our time
but he spends a ton of divine sketched belly study area getting the rhythms and
applause how he wants them so they’re plays music when classical music only
does that so that in his mind he wants them to be harmonic in terms of holes
then he picks his color palette and then he goes and thanks to that for Jackson
Pollock yeah Derek hammy and he’s from Australia initially but anyway this guy
throws paint around like crazy and I was getting them one day I said you know you
ought to sell your shirt pants or something said what about he’s a boob
guy like me said what about Michael I looked down at his boots they look like
a pink color so what he’s been doing at his shows when he gets one of these
completely fulfilled in her older boots he puts them up for sale and
people apply all over the bottom each each am be wet interesting trouble
I mean he’s he says crazy about what he does sewn into it I guess his
significant other for sure yeah might have I’m not sure oh yes he’s he’s
infectious because like all of us none of us would be here today if you didn’t
have a longer part nobody this would be an empty place but it’s relative in life
you know the things you love like in my case that my family and my dogs are dogs
with my horse you have this love affair going with this thing and you want you
want to cover it and keep it with you and nurture them so what I was talking
to you about today is basically that keeping it with you and your internet
and if you’ll do these things I guarantee you you’ll see an improvement
you’ll see it and then the magic happens others will see it as well that’s what
happens you

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