Posted in Artwork, Plein Air

Day 2 of 30-day Challenge

jan-2

#2 Lebanon on Tuesday. 8×6 inch oil on panel.

What real artists know that others don’t is this: It’s not the painting that’s hard. What’s hard is showing up to paint.

I painted 50 pochade studies in October and November 2016, and distractions cropped up from everywhere. Weather—sun, heat, wind, rain, storms, flat light (no shadows), cold, ice, and snow—is a big distraction for plein air painters. Extreme cold, wind, snow, and ice are common here in Minnesota in January. But the benefits I have realized from daily practice are SO worth the effort that I decided to do it again.

Tomorrow, it will be windy and 2 degrees. I’ll be painting inside.

 

Posted in Artwork, Plein Air

Jan 1 – Hope

jan-1

“Hope” 8×6 inch oil on linen panel. Available

I’ve accepted a challenge to do 30 paintings in 30 days started by California artist Leslie Saeta. I finished a 50 in 50 challenge in November so this one feels less daunting — at least in length. The temperature today was 35 degrees and it was sunny, but a high of 2 degrees is in the near forecast. Burr!

These painting will be posted on this site and are for sale here.

Posted in Creativity, Deliberate Practice, Playbook Strategy, Plein Air

Showing Up Matters Most

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A blank canvas, or the blank page, IS uncertainty. Every time I set up to paint, I feel uncertain about many things. I’m unsure of my ability to paint a tree trunk or water so it looks “right.” I don’t know if the composition I see is the best composition. Perhaps there is a better one. I don’t feel confident about a lot of the decisions I’ll make while painting. I’m not certain I can convey what I’m thinking in this blog post. The only way  that I know of to move from uncertainty to less uncertainty is to keep trying. And that’s the beauty of deliberate practice.

We can work with a coach or teacher, who will assign things to practice doing. Or we can design our own deliberate practice. I attended a workshop in September and the woman who taught the workshop told us that doing 50 studies in 50 days would really help us to improve our plein air work. I’ve started a new 6 x 8-inch painting every day since September 24. I have to paint for one hour, but I don’t have to finish the piece. Removing the requirement to “finish” what I start has been liberating! Rather than being focused on the product (finished art), I stay focused on the practice. Each painting is an opportunity to practice doing what is difficult and finding answers to overcome limitations. I’ve learned a lot about the work of painting. Just as important, I’ve learned a lot about myself. Some of the most important (to me) things I’ve learned include:

  • Keep it simple. What I can accomplish in a given period of time is DIRECTLY related to the level of complexity I choose to introduce in to a study. EVERY different element (water, clouds, trees, rocks, hills, sunlight and shadows, color, distance, and on and on) ups the ante and increases uncertainty, because more things must be resolved. I continue to struggle with this even after doing 31 starts. But it is essential for me to understand not only what I can paint but also how much time it will take. Plein air (working on location) painting is challenging, because the sun is always moving, which causes colors to change and shadows to move so things can look different very quickly.
  • Every effort is successful on some level if I’m learning. The criteria for my deliberate practice is to show up every day, start a new painting, and paint for one hour. About one in five paintings is what I’d consider good enough to show someone. More often, though, the paintings themselves are not that great. Since I’m not focused as much on overall results, I can appreciate the little things in each piece and I can see where I’m improving.

I could go on for a while about all that I’ve learned, but this is enough for today. It’s not perfect, but if some small part of this resonates, the effort was successful.