Ladies and Gentlemen, this year’s Award For Writing Art Stuff goes to… Doug Swinton!
Let’s go back in time to put this amazing achievement in context. The year is 1978 and Disco is King. The school is Dr. E.P. Scarlett. (Strange, I still don’t know after whom this school was named. Does anyone know?) Up to this point, the total number of written words in my entire school career was less than a 100. I was that kid in school with the worst book report but totally rockin’ book cover... Why am I telling you this?
Below is my 200th newsletter! Where, when and why I started to write about art is a mystery, but in the last 24 years I have written over 200 of them. I’m no Robert Genn who wrote some 2 newsletters a week, but once a month I sit down in front of the computer and do just that… write.
In honour of this great achievement, I went through my notes and hand picked the Top 200 Things That Will Make You a Better Artist...
You take our workshops for many reasons. Sometimes it is to enhance what you already know and leap to that next plateau. Other times it is to step out of your comfort zone and learn something completely new.
The rewards of taking an art workshop are numerous. In order to inspire, we thought it might be helpful to share your thoughts with other artists, so we asked around the studios and compiled this list of 10 ways you benefit from taking art workshops.
I love teaching workshops. I love getting the opportunity to share my passion with others, and in the process, I learn so much from the students. They offer me visuals in areas I know I myself struggle with. Seeing them work through these issues has helped me develop certain practices in my own studio. In painting, it is easy to fall into bad habits. The main issue that arises time after time is "finishing a good start" or keeping an initially successful painting from ending poorly.
How to get the best results from your next art workshop.
Whatever your level of experience, workshops are a super fun way to learn new art tricks and expand your skills.
Swinton’s is gearing up for summer workshop season and we have more than ever to choose from. As an instructor, head wrangler, and an active participant, I have some insights of what to consider when choosing a workshop and how to get the best results...
What to do when your painting is not at it's best.
You are merrily painting along when you start to sense that things are getting a bit murky. Then, in a flash, things become very bad... Calm waters churn into choppy seas. Lights flicker, then go out. Red emergency lights flash on, spinning, while sirens sheer through the studio “awooga awooga!!” An ominous voice is heard overhead, “We have an emergency situation…abort painting…abort painting.”
This is the scenario that plays out in my head when a painting suddenly takes a nasty turn.
Holdfast my friends. Inside every crisis is an opportunity!
Getting rid of studio clutter to achieve new directions.
For some artists, the studio becomes a dumping ground for unresolved artwork and everything else that doesn’t seem to have a home. Although you may not be conscious of it, the clutter in your workspace competes for your attention, resulting in decreased performance and increased stress.
When you are surrounded by unresolved paintings, your brain can’t help but continually try to work out possible solutions instead of focusing on fresh possibilities.
Finding ways to un-clutter will give you a sense of power and a freed mind, leaving more room for you to be creative...
Good painting is all about opposites. Warm vs.cool, big vs. small, colourful vs. dull, etc. When we use opposites in our work, they play off of each other to create dynamic excitement and heighten the visual appeal.
Warm colours allow cool colours to sing. Big shapes concede to the small shapes, allowing them to dance joyfully. Colours burst when placed in a sea of grey.
The key is to avoid using the same amount of opposition. When you split the opposites into equal parts you negate the effect.
Let’s go down the rabbit hole and explore how all of this works…
How to simplify your subject to produce a better painting.
The busier the scene the easier it is to paint.
I know this sounds odd but a chaotic scene has a way of being easier to paint than something overly simple. Large empty/flat areas with little information can be hard to handle because there aren’t enough visual clues to glean ideas from.
Your subject (nature, photo reference, still-life, figure) can sometimes seem to have so much complex information that it becomes hard to decide what it is you want to paint, but at least there is something to work with. It’s just a matter of learning to read beyond the chaos and find the story that lies within. Here is how:
I recently read Adeline Halverson’s blog post “WHY DO I GET WORSE THE LONGER I PAINT” and because I frequently hear this question myself I asked Adeline for permission to share the article with you. I’m sure you will agree she tackles a lot of painting issues that need to be addressed.
Enjoy our guest blogger Adeline Halverson and don’t forget to leave her a comment below…