Where ideas are born… I’m often asked where I get inspiration for some of my ‘wild’ paintings. Well there’s inspiration everywhere! Look all around you. The chair you’re sitting in or the silverware you use at your meals, someone has designed it. Even the cracks in the pavement can offer inspiration! Do you all remember that strange book way back in 1993, that was the wild rage called the Celestine Prophecy? The gist of the book was that ideas and opportunities are all around us and that we just need to be receptive to recognizing them.
A newer book that I have enjoyed is THE BIG MAGIC by none other that the author of Eat, Pray, Love; Elizabeth Gilbert. Her unique philosophy is that Ideas are swirling around in the universe waiting for a human to seize them and bring them to life. At first glance this seemed ridiculous but since reading her book [which I highly recommend for anyone in the arts] I’ve come to believe her! She states that ‘Ideas are driven by a single impulse; to be made manifest.’ The concept is that if you don’t recognize a good idea, the idea will find another way or person to bring it to life! Gilbert states, “Therefore, ideas spend eternity swirling around us, searching for available and willing partners.” I’ve come to really believe this ‘wooowoo’ philosophy. Many a night I’ve sat bolt upright from sleep with a vision of what needs to be expressed on my easel, and if I don’t get to it quickly the idea will find another willing collaborator!
I keep lists of ideas on my iPad, and if on the rare occasion I run out of concepts to paint, I simply scroll through my hundreds of collected thoughts and start to play. Not only do I get inspiration from everyday objects around me but from words, phrases, lyrics, music, and of course nature where you can find fractals and fibonacci patterns. (If you’ve never heard of those look them up and be enthralled!) Ideas are also born by making ‘connections’ between shapes and forms that are all around us. Pieces of jewelry, or architecture. When I first saw Frank Gehry’s architectural wonders, I couldn’t look away. He carves space like no other! Who says we cannot pull inspiration from another artist!
In a little book that was given to me when I was in advertising called A Technique for Getting Ideas, by James Wood Young (btw, you can find this bitty 60 page book free online) the bottom line is that there are no new things under the sun but the recombination of ideas is the true creativity! So when I looked at Pinterest page and saw a beautiful pin it sparked a whole series of ideas around our current pandemic and I call this the Covid Series. The graphic shape of the pin gave me a window to express what was going on inside my head and out in the world. Here are a few pieces that will show the progression. I’m still not finished exploring this vein yet. I constantly see new combinations that need to be expressed. Whether these paintings go anywhere or not, the ideas are lingering around my psyche and until it’s on the easel it will nag me until it is finished.
So when you’re in search of your next idea, simply look around, make new connections, and listen to the universe before those ideas find a new owner.
Foster Creativity with this Practical Guide to Setting Up an Art Studio at Home
Our friends at Porch.co put together this wonderful step-by-step guide to creating your own art studio. Maybe this will inspire you in the new year!
Whether you enjoy doing some oil painting, sketching, or creating sculptures, it’s essential to have a place at home where you can be creative. If you don’t have an art studio at home, it’s easy to set one up in just a few easy steps. No matter what type of arts or crafts you love to make, having your own area to express yourself is key to letting your creative side shine. This guide explores ways to help you get started creating art at home with your own studio. Read on to learn some helpful tips and tricks to begin setting up your very own creative space.
Before you start planning your art studio, there are several important things to consider, including:
Budget: You don’t have to spend a lot of money to enjoy an art studio at home. However, it’s important to set some cash aside and create a budget, so you don’t end up spending too much. Think about what you’ll need, including lighting and supplies, so that you’re prepared for these costs as you go.
Lighting: When it comes to creating art, natural light is best. However, you’ll also need ample lighting to work on your art at night and at different times during the day. Look at the area where you want to set up your art studio and ensure that it has enough lighting. If not, consider adding some brighter overhead lights or a few task lights, such as a floor and table lamp with an adjustable shade so you can direct the light as needed.
Ventilation: Proper ventilation is crucial, especially when working with paints, glues, and other potentially volatile mediums. Be sure that you have enough windows in your art studio and consider installing a ceiling fan for extra air circulation.
Sink and water: Working with paints and other supplies can be messy, especially if you’re dealing with oils or watercolor painting at home. If possible, choose a room with a sink or have one installed. A utility sink is an affordable, durable choice. These sinks have a deep basin and are perfect for busy artists who need quick access to water.
Workspace: Consider how much room you’ll need to work. You may only need a small studio if you like to draw, but a larger one if you’re working with massive sculptures. Think about your workspace before you designate a place to set up your studio, so you’ll have enough square footage to create your masterpieces.
Privacy: It can be tough to get creative if you’re in a noisy part of the home. Choose a studio location that’s quiet and private when possible. This will allow you to focus and really immerse yourself in your art without outside distractions.
Floor protection: Carpet is not recommended for an art studio since it will absorb paint and other materials, leaving stains behind. Make sure you install flooring that’s easy to clean, like linoleum or vinyl material, for quick and easy maintenance.
Chair: A comfortable chair is a must when working on your art. Look for chairs with ergonomic support so you don’t end up with a sore neck or back. Chairs with wheels make it easy to move around the studio as needed, too.
Where to set up the studio
When you’re ready to set up your art studio, think about where you plan to get creative. Here are some ideas to consider when setting it up at home.
Shed: A separate outdoor shed is an excellent spot for art. Set this area up with new lighting, all of your supplies, and more. Sheds are also great for drying paintings and sculptures or for storing your larger pieces.
Spare room: A spare bedroom is a perfect place to set up your art studio. It’s easy, convenient, and gives you quick access to the studio from anywhere in the home.
Garage: Your garage is a fantastic place to set up an art studio, and many already have utility sinks in place. The garage door lets lots of light in, and concrete flooring is perfect for dealing with spilled paint. They also offer plenty of ventilation and storage space too.
Patio or outdoors: If you’re feeling inspired, have some fun creating your artwork outside. A screened-in patio is an excellent choice to help you avoid dealing with insects or debris.
Attic: The attic is an excellent area to work on your art. However, make sure that it has proper heating and cooling to keep you comfortable and protect your artwork from extreme temperatures.
Basement: Your basement can quickly transform into an art studio. Use this space to get creative while enjoying some quiet and privacy. Make sure your basement is dry and free of water issues to protect your artwork and supplies. Paint the walls white to create a brighter room and a nice blank canvas to work in.
Corner: If you don’t have an extra room, consider designating a corner of the living or dining room to become your art studio.
Under the stairs: Reserve a spot under a staircase for a small art studio. This is ideal for sketching, drawing, or for making smaller paintings. Attach a wall-mounted easel or some shelving to the wall to give you more room.
Popular types of art to make at home
The type of art you choose to make at home is entirely up to you, but it often depends on what type of space you have to work with. Here are some of the most popular types of art to make at home.
Painting and drawing: Whether you’re doing oil painting at home or using watercolors, this is one of the most popular art forms to enjoy. Sketching and drawing are also popular mediums, and none of these require a lot of extra room unless you’re planning to paint a mural or work on an extremely large canvas.
Sculpting: From clay to wood carvings, creating sculptures is a wonderful medium to enjoy making at home. Be sure you have all of the tools you need while allowing plenty of extra room to get creative. Easy cleanup is also important for this type of art, so look for the right flooring material when you set up your studio.
Jewelry making: Custom jewelry is a beautiful art form that’s perfect for a home studio. A spare bedroom or attic is ideal for this type of art. Organize your jewelry-making materials and label them clearly so you can find everything you need as you go.
Sewing: From beautiful quilts to custom clothing, sewing is a true form of creativity. Set up a sewing room where you can use your sewing machine, cut fabrics, and get as creative as you want without interruption.
Painting/drawing materials required
Here are some key materials you’ll want to have on-hand if you enjoy painting or drawing at home:
Drawing: Make sure you have a good variety of graphite pencils, colored pencils, and pencil sharpeners. Stock up on paper and get a few quality sketchbooks to work in. A durable table and comfortable chair are also key items to include in your drawing studio.
Oil Painting: Gather lots of beautiful oil colors to get started on your artwork. Make sure you have a quality artist palette, several different-sized brushes, a sturdy easel, and canvas in several sizes. A drying rack is also important to allow your artwork to fully dry before you display it. A paint extender can be helpful, too, especially if you want to change the texture of your oil paints when applying them to canvas. Primer isn’t required, but it can help provide a good base before you paint.
Water Painting: Watercolor painting is a very popular medium. Make sure you have plenty of brushes on hand and containers to hold your water as you go. An easel is highly recommended, however, you may also paint while working at a table or desk. Don’t forget to stock up on canvases or quality watercolor paper too.
Sculpture Materials Required
Sculpting at home is a great way to decompress and get creative. Here are some things you’ll need to start sculpting in your new art studio:
Modeling clay: When working with clay, you’ll need to make sure you store it properly to prevent it from drying out. Stock up on clay in different textures and colors and gather tools like carving knives and a V-tool for relief carving. Ensure you have access to water since clay dries out quickly and needs to stay moist while working. Armature wire, shaping tools, and calipers are also necessary modeling clay tools to consider.
Wood carving: Working with wood can be messy, so make sure you’re in an area that’s easy to clean up the sawdust. Choose different species and colors of wood to work with. You will also need sandpaper in different grit levels to help smooth and sand your sculptures. Hand chisels and gouges are also crucial when you’re working on the fine details of wood sculpture. Wear a mask and make sure your studio has proper ventilation, so you’re not breathing in the sawdust as you work.
Ice Sculpture: You’ll need a deep freezer if you plan to work with ice, and a garage or shed is ideal for this type of art studio. Choose large, clear blocks of ice that are at least 50 pounds or more. Look for quality permanent markers to draw your design onto the ice. A rubber mat is great for holding the block in place. Other items to include are durable rubber gloves, an apron, and safety goggles. You’ll also need sharp carving tools or a small chainsaw and a sharp chisel to make ice sculptures.
How to organize the space
No matter what type of art you enjoy, it’s essential to keep your art studio organized.
Shelves and racks: Freestanding shelves, wall shelves, and racks are a must for an art studio. Use them to stock and store cans of paint, brushes, clay, and tools.
Folding table: A folding table frees up space when you don’t need it. They’re also portable, making them a handy item if you want to do some artwork outside.
Plastic containers: Clear plastic bins make finding all of your art supplies easy. Make sure you separate your art items by type, then store them in the bins. A plastic container with a lid will keep your things clean and free from damage.
Mason jars: These handy organizers are great for paintbrushes, pencils, and much more. You can place them on a desk or table, on shelves, or hang them on the wall for quick access.
Wine rack: Repurpose a wine rack and use it to organize your art items. It’s a perfect way to hold small jars of paint. You can also fill the wine rack with the Mason jars to keep each one separated and organized.
Pegboard: This handy accessory is a perfect addition to an art studio. Mount some pegboard to the wall, then add hooks and small bins to hold everything neatly in place.
Whether you love to paint, draw, or sculpt, setting up an art studio in the comfort of your home will let your creative juices flow. Think about your budget, the best lighting, and which part of your home you plan to use before you get started. With some patience and creativity, you’ll be able to enjoy your at-home art studio in no time.
Porch.com is a Seattle-based home services platform that connects homeowners with local home improvement contractors. It’s the leading destination for professional installation, assembly, repair, maintenance, and other home services from quality pros to offer our services nationwide. Learn more at porchgroup.com and porch.com.
by Sabrina Hill, PSWC President and Robyn Heller, Artist, Actor, Teacher
In January 2020, I wrote a blog post about my lack of creativity and the ensuing frustrations it was causing. So many of you responded with such warm words of kindness and encouragement. And many felt similar frustration with their creativity.
With your words of encouragement in my head, I began doing little drawings every day, and that helped, but then the PANDEMIC hit, and well, creativity was replaced by fear and down the rabbit hole we all went. But there was a light down in that rabbit hole. My daughter had taken a class called the Artist’s Way (on Zoom, of course), based on the book by Julia Cameron. She called me one night after a couple of weeks in the class and said, “SIGN UP RIGHT NOW!” So, I did.
This is an amazing experience. The class is designed for artists of any ilk—painters, actors, sculptors, writers, performers. Anyone who needs to refocus or relocate their creativity button. For twelve weeks you focus on different aspects of your life related to your creativity–what might be hampering it, what might be helping it.. It is not a judgmental space, but one of openness and encouragement, just as I found here in January. You may share in class if you like, or you may not. (Do share, though, it’s so much more fun and I find you get more out of it). One of the main tools is a writing exercise done daily called the Morning Pages–3 pages, handwritten (if possible) that only you will see. No grammar, spelling, content, punctuation or judgment are necessary. It’s like emptying the trash everyday. It seems like a small gesture, but it keeps things tidy and keeps your mind open for whatever creativity might bring.
And it works. My creativity was not lost, just buried (do you blame it? 2020 has been rough on all of us). Now it has room to bloom. So, I asked Robyn Heller if she would be interested in teaching the Artist’s Way to PSWC starting in January. This is a wonderful opportunity to start the year with a great framework for success. Everything is on Zoom, so no traveling. A journal, a book, and an open mind are all that are needed.
On that note, I would like to introduce you to Robyn Heller, actor, writer, teacher, motivator. She will be our guide for twelve weeks of locating the creative person inside us all. I will be doing an interview with Robyn on our YouTube Channel and Facebook in December. Watch for class information on Facebook and this website. Here is Robyn’s Artist Way Story:
My Journey on the Artist’s Way
By Robyn Heller – actor, writer, teacher
“How long can I expect these symptoms of trauma to last?” I saw a brief expression of surprise cross my therapist’s face. I’ve got to admit I was a little proud of myself. She had said that my ex’s behavior fell “under the umbrella of abuse,” but I think she was a little impressed at my ability to label it as trauma. What can I say; I taught myself to read when I was three. I’m a fast learner… at some things.
I was a month or two out from ending the relationship, and I was ready to be done with the anxiety, the self-reproach, the worrying about whether I was capable of keeping myself safe. The thing about being involved with a manipulator is that when you emerge, you question your own perception of reality.
Experiencing the unsettling feeling that I wasn’t sure what was true and what was not, I reached for something instinctively comforting to the fast learner: classes. I know many people hate school, but for me it’s a comfort to have a curriculum to follow, a structure to build upon, and a community to lean on. If I could become a professional student, I might be the happiest woman on earth.
Several years before, I had bought the book “The Artist’s Way,” having heard many, many good things. I didn’t make it very far on my own, but I had a feeling it was going to be right for me someday. So I still had the book on my shelf when I found out about a guided Artist’s Way group. We met in a shared artist studio space, and we took turns bringing snacks and wine each week. Among us were actors, a painter, a sculptor, a television editor, and a lawyer who didn’t know exactly why she was there except that she yearned for something more. As we got to know each other, it became clear that a lot of life was going on for everyone in the group. One was parenting an autistic child through college, and one was a stay-at-home artist and primary caregiver to two kids under five. The lawyer was being let go from her job. The leader of the group had two kids, her own business to run, and an autoimmune disorder. I wasn’t the only one dealing with some pretty heavy stuff.
No wonder we were stuck creatively! We all had a lot of trauma, stress, responsibilities, and expectations weighing us down. At its core, the Artist’s Way is an internal mining expedition. We cut away layers of inertia, fear, shame, and judgment to get to the fragile and precious gemstone of each individual’s unique creative voice.
Every time we start an Artist’s Way group, we commit to showing up for ourselves and each other through laughter, tears, and exploration. We treat our inner artists with the care and consideration that we might not have gotten from the outside world. We start listening to our inner second grader more and our inner second grade teacher less. We open up to possibility and wonder.
I won’t say it’s an easy process – there are emotional ups and downs – but sharing the journey with other artists can lighten the load. Witnessing someone else’s courage is a great way to build up your own. And it takes courage to make big discoveries or changes. For example, during that first Artist’s Way group, I discovered that I really missed singing and playing bodhran (traditional Irish drum). A few months after class ended, I joined a Celtic band. I realized how important yoga was to my well-being, and I enrolled in a yoga teacher training program. The lawyer remembered how much she loved baking and contributed spectacular cookies to a charity fundraiser. Recently in a group I lead, an academic writer confessed that she’s terrified by the prospect of her heart’s desire: to write poetry.
Artist’s Way isn’t a substitute for therapy, but it sure has helped me through some tough times, starting with recovering from that toxic relationship and continuing through losing a loved one, losing a job, and losing a sense of normalcy during these chaotic times. Every time I go through the process, I learn more about myself, I get better at protecting my inner artist, and I get braver about sharing my art – and myself – with the world.
Meet High School Junior Laura Ni from the San Francisco Bay Area. An accomplished pianist, student, and an AMAZING artist!
by Sabrina Hill, PSWC President and Editor, PSWC Magazine
In the midst of the COVID-19, I had a chance to meet Laura Ni and her dad, Martin, over Zoom. She has one proud papa and with good reason! We chatted about her life, and her talents as an artist and pianist. Laura has studied art since 8th grade under Xiao Chang and also with her high school teacher, Mrs. Murphy. They have helped her develop her skills as a painter in a variety of mediums. She is going to be a name to watch for as you will see. It is important that we recognize these artists of the next generation. Their work is inspiring and innovative.
Take a look at Laura’s work below. She has written a little about each piece, but the work truly speaks for itself. (All work is the property of Laura Ni and cannot be reproduced without permission c2020)
The name of this drawing is “The Crossing Paths.” This pastel drawing is based on a photo that captures the moment when four rushed people crossed paths on the streets. I chose to recreate that moment because I found people’s interactions intriguing. This was the first and maybe the last time all four of them would ever see each other all at once. It was a magnificent moment because it happened to be these four people out of any other seven billion people in the world as if fate somehow brought them together. However, none of them realized, because they were all hurrying to get to their destination. The idea that the chances of us meeting the exact persons we have met is smaller than winning a lottery ticket made me wonder how lucky we were when we met the people we cared for and loved in our lives. To emphasize this idea, I painted the brick walls in the background extra dark which highlights the figures as that creates a contrast to the bright colors on their clothes.
The name of the artwork is “Time Lapse.” This art piece has an amusing creation story. It all began with me becoming incredibly confused in a class that taught logic and reasoning. I always loved doing logic puzzles, guessing riddles, and reading detective stories which was why I got enrolled in the class in the first place. However, I soon found out the class was much more than what I expected. The class got much harder quickly, and the teacher was bringing in complicated topics such as the paradox of time travel and possible solutions to the paradox. To visualize the idea, the teacher drew a timeline and many arrows in different directions on a whiteboard to show the traveler’s pathways. Sadly, the diagrams did not help me understand the problem, but instead made me more confused, as the arrows became tangled in my mind the way the earphone lines would in my pockets. Therefore, in an effort to clear my mind, I started doodling on a piece of paper, and because all I could think of at the time was “time,” and that became the theme of the new artwork.
This drawing is called “Devotion.” It is a derivative work based on a photo of an old lady. The photo was taken near a temple. When I saw the photo, the lady’s solemn and devout expressions captivated me, so I decided to emphasize her posture by drawing her head and hands in pencil only. The sharp tips of the pencils allowed me to draw with more precision and carve out every wrinkle on her face and hands. The reason I wanted to do so was that wrinkles tell stories. The wrinkles in between her eyes hinted that she regularly frowned, and the wrinkles on her hands, especially on her fingers, revealed that she did a lot of manual labor. These details formed part of the lady’s identity. For the same reason, I kept the colors on the lady’s clothes because colorful stripes were an element of the traditional clothes in Tibet, which revealed the ethnicity of the lady. After I finished drawing the lady, I decided not to draw in the background because I felt that the artwork should reflect her sacred and pure emotions. The way for me to achieve that goal was to keep it intricate but simple.
This drawing is called “The Weaving History.” On the left side, a mystical Chinese palace quietly stands and gazes at an ethereal German castle under a starry night sky. This drawing was inspired by a historical fiction novel I was reading at the time. I can still remember how often I held my breath as I read, when I was about to learn the result of the events. The author painted a glittering romance with her words which was so exotic that I could not help myself from needing to sketch it out and be able to visualize that ancient world. The reason I chose buildings as the main characters of this drawing was that I found that it is common and easy for people to forget that buildings are works of art. Additionally, they are more than art because they can be the only witnesses of stories that are long forgotten. The “meeting” of these architectural styles was to show some of the most remarkable art creations in the world that would never be together in real life. It was also a celebration of legacies.
This artwork is called “Waiting.” The artwork is a derivative work based on a photo that depicts an old man earnestly staring into the wilderness. While completing the work, oftentimes, I would wonder what he was trying to see. A local celebration event? A shepherd collecting his flock on the nearby hill? Or is he looking forward to seeing someone? If so, who is it? Is that person a student of his who is carrying on his beliefs as the next generation? A neighborhood kid who used to come and play with him? Or his own family who has moved to a more urban city years ago? With these thoughts in mind, I decided to sketch the old man and only color in the background. The different mediums would separate the man from his surroundings and put the man away from the chattering and vibrant world. The focus on the man faded because he is lost in his thoughts and only pondering how much longer he needs to wait.
The drawing is called “Gypsy — My Dear Cat.” It is the portrait of an adorable cat standing under a beam of sunlight. The drawing was a gift for a friend. Gypsy is her cat, and she named the drawing. When drawing the portrait, I remember putting special attention on the eyes of the cat. Shakespeare once said, “Eyes are the windows to the soul,” and I found the eyes of Gypsy revealed how sharp she is. Her eyes seemed as if they had the ability to sparkle in the dark like aliens would in science fiction stories. That thought prompted me to choose a mainly dark blue background because that is the color of the night sky. That beam of light can be interpreted as a comet that happened to fly behind the cat or as the light that shines down from a UFO.
“The Blooming Summer” is the name of the artwork. It is based on a photo of flowers glowing in the blazing summer. The photo was taken on Lombard Street in San Francisco. The flowers were free-falling off of the exterior wall of a two-story building. The energy and vigor embodied by these flowers excited me. Furthermore, I have always wanted to draw flowers, but I did not want to draw bouquets since I found them too docile, and these flowers were perfect. While completing the work, I decided to take away all elements that might connect the flowers back to human civilization. The reason was that I hoped these flowers were more than just the decoration of a residential building but instead an important part of nature. I imagined that the flowers were growing wildly, unrestricted, and boldly in a prehistoric rainforest. I dreamed that they were spreading their branches the way the sunlight casts through the clouds, blooming as if this was the last chance before they wither.
Our Guest Bloger for June is Susan Kuznitsky. Her nostalgic painting Star of the Show will develop right before your eyes. Watch how this talented pastelist brings a memory to life. See more of her work at her at http://susankuznitsky.comAll photos and images are the property of Susan Kztnitsky and may not be used without permission from the artist.www.susankuznitsky.com
This painting was definitely a labor of love It was a 35 mm slide from the archives of my family history that I had made into a JPG. I am the oldest of four girls, and we all took dance lessons in the home of a woman in the Chicago suburban neighborhood where I grew up. The lessons culminated at the end of each school year with a big extravagant dance recital. Lots of tutus and tap shoes! The darling little girl in the middle is my youngest sister. She was always the ‘Star of the Show.’ I just had to paint this.
I used a 400 grit sanded paper cut to 24 x 15. I used my pastel pencils to draw out the dancers and began to indicate the darks. This is the stage (no pun intended) where I can work out my composition which went through changes as you will see in later steps.
I used hard and soft pastels to lay in local color and simplify values and shapes. I tend to use mostly hard pastels at this stage. Soft pastels can be used but pay attention the amount of pressure used so as not to over fill the tooth of the paper.
Next, I applied denatured alcohol on a brush to moisten the pastel starting with the lighter colors. This ’sets’ the color onto the paper creating a strong base upon which to start building up layers of color. The drawing gets a bit lost during this part of the process so I used my pencils again at this point to redraw. Obviously this is a very complex subject with all the hands, arms and legs. I began getting more detail in the middle figure (my sister Penny) with the intention of working from the center of interest out.
Next, I began adding more detail to the girls on either side of Penny and added the reflections which are very much part of the overall composition.
As the painting developed, I felt there were too many arms and legs distracting from my center of interest. I removed the areas circled in red. The wonder of this technique is how forgiving and flexible it is. I took a stiff little scrub brush to brush out what I didn’t want. The result created a stronger composition.
The finished painting. More layering and blending done alternating with my pastel pencils and hard and soft pastels to create the level of finish that makes me happy. I am actually inthe black leotard behind the girl in the all white tutu. So fun to travel down memory lane of my childhood to a much more innocent time. And I still love to dance!
Our guest Blogger is Ugo Paradiso, a wonderful artist and friend of PSWC. He is sharing some of his tricks and tips for pastel painting. He makes bold use of color and the result is a strong, powerful painting the really revs your engines! (All photos and images are the property of Ugo Paradiso and cannot be used without permission.)
Here is is a short step by step on what I did on my painting titled – Take a Ride.
I had a black and white reference photo of an old 1956 Pontiac Chief Star that I took during my travels. My job requires travel for 2-3 weeks at a time to various part of the United States. I bring my camera with me so that any chance I have I take photos of what I find interesting.
Stage 1: Planning Stage
Planning stage is very important to me. Choosing the subject and having a connection to the subject is critical. I paint what I have an emotional connection with. It becomes easier to create your own input. Also, during the planning stage, I carefully evaluate the information I see in the photo. Because I have seen this car, and I remember it very well, I cremember its warm colors. The car was asking me, “What are you waiting for? Paint me!!!”
A. Do a pencil sketch. decided to do a pencil and ink sketch (on an 8X10 Master multimedia Pad) to give mean idea of what strokes to use. I do a fast study of the form, stroke directions, etc. I make this a relatively quick sketch. I don’t get all the details, but I I draw what I think is important.
Tools I used a ruler, my o.5 ink MICRON 1 archival ink Pen and my HB pencil.
B. Decide the size. In this case if I make it smaller than 16X20, I will not get the details I want. So, I decide to go 16X20 and mount my pre-cut paper on an acid free, black board I have, and I tape to secure the corners with blue painter’s tape. (Note: I use it only for the painting. As soon I finish it I take it off as is not acid free).
C. Detemine the palette. After the sketch I am ready to think about what palette to use. I decide at this point to use warm orange colors as my main palette.
D. Prepare palette. I get my palette colors all together and quickly try these out on a piece of extra pastel mat. I love these colors. I think it gives me a good value to work with. Knowing that I willAdd more values and colors as I go. I have Included in the photo a dealer a Rowney a lemon Yellow and a blue Ink bottle of Ink thinking I may use these In my painting as underpainting but I am not going to use them as I realized late that it didn’t work well onThe dark paper I have.
E. Determine Painting Technique. I decided also that I am going to do a more loose approach to my painting. I want the feel of movement in my painting. So the way I make the strokes and use of edges is very important to know. I want to keep that in mind as I go.
Stage 2: Drawing
A. Starting in black and white. I have printed out a black and white photo. Its 8X10. I did my sketch on a 16 X 20 pastel mat paper mounted on an acid free board with tape to hold it on. I place it on my easel and accurately sketch the car using as reference my ink sketch (size 8X10) and the photo reference (8X10). I use the grid system, and I use my PROPORTIONAL DIVIDER to correct measure distances between areas as needed.
I use my professional divider tool to accurately correct distances between the various shapes. I don’t draw everything, just what I consider the main shapes.
Note: The professional devider is a fabulous tool to draw any image from different scale: 1 to 1, 1 to .5 or 1 to 5 X etc. It it adjustable, and I found it fabulous to accurately measure your drawings. I found it on Amazon for less that $ 20. Is made of plastic and very light. Perfect for drawing.
My approach in most of the painting is that I draw the fine details as I go because there may be some parts of the information in the photo that I don’t want to draw or paint. I may add some parts or take some out later. IT ALL EVOLVES AS I GO.
F. Finishing the drawing. I finish the main part of the drawing and do any needed corrections. Doing a good drawing is vital for an accurate painting, especially if you’re trying to make realistic work. I use the sketch I did and the photo reference. (It is easier to see the ink sketch than the photo in drawing and this helps me tremendously in the drawing on my canvas!)
G. Underpainting, yes or no. I usually do an acrylic or water underpainting but because the paper is dark, I decided to use pastel pencils for this.
Stage 3: Painting!
A. Starting to paint. . I am starting with pastel pencils. I want a section of the underpainting done to see how all the colors come together. I make sideway strokes. I roughly draw part of the headlight and upper part of the hood. I use at this point only few pastel pencils, yellow. orange-red and purple. I look at the color relation on Poker Color Wheel as a reference.
I am adding a Rembrandt pastel and make few markings. I add a red violet on top of the fender. I know in my vision that this car will be in a closed location, so I have to consider the light source; therefore, I choose a cooler color.
Here I did some more and so far I have pullout these pastels.
I take a photo with my iPhone and make it black and white so I can see the value.
I refined the headlight a bit more
Here I decided to start working on the background because I want to see how everything comes together. I add two signs and decide that I am going to place the car in a garage. I need to decide where the light source of the background is. I know where it is in the foreground. I decided to add another light source. I want to add three light bulbs somewhere on the ceiling with good spacing between them.
By now I know that I need to add purple and blue hues to the background. It all comes together. I decide to put a red beam on top of the ceiling and create walls with correct proportions. I can see my vision is coming to life! I love seeing the cool and warm colors together. I make strokes with pastels based on the direction of the prospective and space. The red beam I added separates the two walls, and I like to see that separation. Once I decide what warm colors to use, I clip the color swatch to the side of the painting.
Here is a photo of the pastels I have so far: Carbothello, Cretacolor, Faber Castell pencils, Rembrandt, Unison, and MYNGO pastel sticks.
Now, I flip the painting sideway (to avoid pastel dust going to the painting) and I add some details and texture to the meta beam.
As I continue to work, I use a paint brush to rub off the pastel in some cases to make a thin layer. I added some dark values (using dark value Rembrandt) to the grill of the car.
I decided at this point that I need to get more layers done on the background as this will determine the contrast, light source, and the general appearance of the painting. So I add layers of pastel with pastel pencils and pastel sticks and play around until I see the general tone. I see that because the car is inside, the colors in the background need to be softer with less details than the front of the car. I work more on the car, adding layers and layers of pastels going from dark values to lights. At this point, I keep adding light layers of pastels using both pastel sticks (Rembrandt) and pastel pencils. I intentionally use side strokes and keep my strokes uniform. This gives a soft and calm feel to the painting. I am building texture. Not all the strokes are the same but try to keep UNIFORMITY. This is where the creativity of the strokes kicks in! I try to keep the colors of the car somewhat similar based on the light source.
I continue in this way, adding layer after layer of color, making adjustments, taking value photos with my iPhone to get it just right.
NOTE: I don’t like to make any final correction at night but rather during the day with the daylight. I have spot light I have added to my ceiling, but it is more on the warmer side of the light spectrum. (I need to change them to daylight)!! As I feel satisfied with my painting. I can now take a picture with my Nikon camera and put it away for few days till I see if I need any corrections to be done, then I will sign it and put it away.
I clean up my work area by now as it is a mess! I also make notes on my Art NOTE BOOK of when the painting was completed, and anything I want to say about the painting. This is something that I am doing so that if one day I want to go back to that painting I have a recollections from the notes I took.. Here is the finished painting:
We have two Guest Bloggers this month. Ginny Burdick is an artist and Gallery owner who now finds herself dealing with Safe-at-Home practices. She touches on the new reality of living in the time of CoronaVirus.
Artist Cindy Schreck Gillett wrote a beautiful little story about her experiences with a family in Italy as they, and we, deal with the pandemic.
An artist’s thoughts from seclusion/shelter in the studio
I am an artist, or so says the degree on my college diploma. I am Ginny Burdick and I live in the Sierra foothills in a town called Coarsegold. Through this blog I am hoping to connect with other artists and PSWC members and talk about how I am meeting this solitary challenge, and what I am doing to grow as a person and artist during this time.
At the suggestion of my husband, I started a daily journal or diary to capture what I was doing during each day. At the end of the day I could look at my accomplishments and also see the time I wasted. When we have nothing but time it is easy to let is sneak by us. This blog will be part of my journaling.
The first day we were here, I spent the morning wandering around my office in the studio not accomplishing much, but I was quite successful at just moving things around. The second day, it was time to tackle the studio. I set up separate work areas for pastels, oils, and watercolors. I am very fortunate, and a little spoiled, that I can get up in the morning leave the house and be in my studio in minutes, still staying within the shelter-at-home rules. Below is the house, the inside of the studio, and the view out my studio window. From this angle you can see the pastel and oil set ups. My studio is in an old barn on our property and up the hill from the house.
When I left corporate America to start the next phase of my life, I was determined it would all be about art. Knowing that I do not do well in isolation, I opened a fine art gallery about 45 minutes from where I live. Each day, 5 days a week, I make the trip to the gallery. I have the opportunity to not only represent some fantastic local and nationally known talent, but I also teach both pastel and watercolors. In addition, I sponsor nationally recognized artists to teach workshops in the gallery. Like so many other small businesses, the doors are closed until such time as we can safely open them again.
Like you, I now find myself learning how to organize my day and life in a new way and still at the end of the day feel as though I have accomplished something. I have many more thoughts and ideas to keep us all motivated and creative but will save for another day.
Back at the desk and looking to share some more thoughts. My studio is in an old barn that we remodeled about 16 years ago to provide a separate office for my husband, and office for me, and a large studio space. The office is now cleaned and ready for work.
Even though the gallery is now closed until we can again open it again, there is still work that needs to be done each day to support the gallery. Just because the doors are closed does not mean that there are not bills that need paying. I also maintain a web page for the gallery and have taken much of the artists’ artwork online and available for purchase.
As artists we also have to have business insight, looking for ways to keep our names and art out there. With the current shelter-at-home I have seen so many of the artists’ workshops being cancelled all over the country meaning that artists are looking for new ways to supplement their incomes. I have enjoyed watching social media and artists talking about the challenge of being home. Even though creating art is solitary, I find myself being tested to paint when all I have is time. It feels like I am being forced to be creative. I have managed to start a couple of bad. When this happens, I go back into my office get on the computer and look at what other artists doing and get inspired. In talking with artist friends I know that I am not alone in this creative black hole.
Another day ….
Locally there is a group of artists who have been painting in the gallery every Saturday for about 5 years. This time has become very special for us as it gets us painting, talking, and even providing some feedback to each other. Not only is the gallery closed, but our Saturdays are gone as well. We are scheduling this next Saturday to try an meet remotely. One thing I know it will do for me is get me back at the easel again.
I am also fortunate to be on the Executive Board, as Treasurer, of the International Association of Pastel Societies. Even though the world feels as though it has been put on hold organizations like IAPS need to still keep moving forward. We have monthly meetings via Zoom and so I have another opportunity to spend time with other artists remotely. It also gives me some important responsibility I cannot shrug off.
What I am also missing, during what is feeling like solitary confinement, is my students, many of whom I have worked with for nearly 7 years. I have loved watching them gain more confidence and grow in their craft. They have also become special friends that I enjoy my 2 hours each week that I spend with them. When I opened that gallery, I also began teaching pastel. The class structure has been working with the students one-on-one. All of us learn at a different pace and in a different way. For most of my students, working with me was their introduction to the pastel world, though they all had had experience in other mediums.
I have tried find a way that I can still spend time with my students. To that end, I have set up a virtual studio on Zoom (www.zoom.us), and I can meet to talk about what they are working on and any challenges that I can help with. They send me a photo of their work; I post it on my desktop, and we can both share the screen and talk about the piece in real time. There are even tools available that I can mark on the work and point things that could be changed or enhanced. This is a good learning tool for us both. It gives me the ability to continue to teach and mentor, which helps me grow as well.
The other thing that I have done to keep myself from self-pity is to give myself a schedule to follow each day. It also keeps me from always arriving at the studio in PJ’s and staying in them all day. I begin the day with exercise to keep the body and mind healthy. When I was working at the gallery, it meant leaving the house at 8:00 am and not getting home until after 6:00 pm, hence not always great food on the plates, but with all this time, I am also getting artistic with the meals I prepare. I am enjoying watching what others are posting on social media about the food they are making. I also have made cookies and muffins and shared them with neighbors.
After breakfast it is time to go to the studio, check emails, Instagram and Facebook. It is hard not to spend too much time on social media as a way to feel connected. Then it is time to do art. I consider myself a full-time artist, but this is way too much full time. To get myself inspired, I have been watching videos of other artists I admire and reading articles and blogs they are doing as well. We need to find ways to continue to learn. Without the direct contact with other artists, we need to find other ways to get feedback on the work we are doing. I am hoping getting back with my Saturday group will continue to do that. We call ourselves the Sierra Art Collective. In fact we just hung a special show of our work at the gallery, had the artists reception, and the next day the Governor sent us all home. I did put the show online on the gallery’s web page so it could still be seen virtually. I continue to work on my own personal artist web page to make it more robust.
What we also need to be doing is making ourselves a list of all the things we have not had time to do. Those things we have put off, with no more excuses about lack of time and could actually do now. Like finally learning how to use the camera on my new iPhone 11 Pro Max, which I have had since December and have not had the time to learn. Finding all the new features of the phone and make use of them. Learning to draw better on my iPad Pro, now with all this extra time there are no excuses. My list is now at 19 things, with no check marks yet.
Another day …………
At 10:00 am on Saturday, the same time that we regularly meet at the gallery, the group of us met online on Zoom and painted together. It was fantastic. We all felt that we were in the same room. We all were in our home studios ready to paint, and we did. There are 6 of us that meet on a regular basis. Even if someone is out of town, whoever is in town meets to paint. We have developed such a strong comradery, and this last November went to Carmel to plein air paint together for 5 days. We then came home with the intent to hang a show of the work done there and the work inspired by the trip.
Find a group of artists that you can paint with each week, don’t worry about being at the same level or style. Our group has many different styles, one is even a print maker who does her linoleum carving at the gallery then goes home to print them. Our group started when Daniel Keys became one of the artists I represent. He wanted to meet more local artists, and so we decided to start painting on Saturday and slowly found some other artists that we would ask to join us. I think it has been about 5 years now. And I can tell you we have all gotten stronger as a result. Daniel is not there to teach us only to paint beside us. Our friendships have really grown, there is a lot of trust and confidence in each other.
If you can put together a similar group with the goal of painting together once a week, it will help you keep on track and painting more. We critique each other, we laugh and joke with each other, and we share who we are with each other. We also share ideas about how to get our work out there. I had never done Instagram before and started posting there at the suggestion of one of the artists. Now that we are at home in our studios and not having direct contact with each, we can still paint, talk, laugh, and share. We even all managed to have lunch together over the video. Our Saturday lunches are a big deal with this group, and we were not going to let the miles stop us. There was no need for negotiating where to get lunch, we just all walked into our own kitchens and back again.
This group has also taught me it is okay to take risks and to paint a bad painting, because we are all learning. Yesterday I painted confidently for the first time since sheltering at home. I felt really good about what I was doing, but in the middle of the night the painting came into my thoughts and I knew there was something that was not right. I came into the studio this morning and wiped off a section and now I know what the painting needs before the signature is added. Just to validate my thinking before the paper towel was in hand I photo’d the painting and sent the image to one of the artists, who agreed with my assessment. She also wants me to send another image of the painting to see what the change meant to the overall piece. I am so lucky to have a group of artists will to share and take time to help make me better at my craft.
Cindy Schreck Gillett
In these crazy times we all need to find our “comfort zone” while being as careful as we can regarding the pandemic that is COVID-19.
Today I’m honoring all the pets around the world who are in isolation with us, providing more comfort than ever before. Jack, the Jack Russell terrier is currently hunkering down in Verona, Italy with his family. You can find Jack on his Instagram page: Beautiful Jack Alfonso.
That’s where I recently found his photo which inspired this painting. I reached out to his “mom” and have instantly found a new virtual friend. Someone who is by now well versed in what it’s like being in isolation in a country besieged by this virus.
We have been messaging each other during the past few days and she has provided me a glimpse into her world…the world we are beginning to experience here in the United States, an uncertain world indeed! So, my message would be: find your comfort zone, take care of yourself and your loved ones, reach out to a stranger and connect…social media can provide some scary information but it also can provide us hope and a way to connect with others around the world. We can pray, connect, protect ourselves and continue to have hope that one day, we WILL dance again!
It’s January of a new year in a new decade. Lots of reasons to reflect on the past year. My dwindling ability to engage in art has made me a little sad. I blame it on several reasons—dealing with my mother’s Alzheimer’s, helping to run a successful and very busy dental practice, and my own insecurities about my art—each which have taken a toll on my creativity.
One day recently, I was scrolling through my Facebook friends—liking a painting by Laura Pollak, and laughing at a cartoon depicting a Rhinoceros artist whose painting always include a giant horn right in the middle of the view, when I came across two posts from artist friends Ruby Silvious and Deborah Pepin (PSWC membership Chair).
Debbie’s post showed a lovely painting she had completed in pastels on watercolor paper with a coating micaceous oxide as the ground.
I was impressed with the painting and very impressed that she created her own substrate with the micaceous oxide.
Ruby Silvious’s post showed one of her many unusual canvases. Though this brilliant artist is widely known for her paintings on teabags (she has two books on the subject), she will paint on anything— from eggshells to corks to acorns—you name it. Here we see what she does with a roll of adding machine tape at breakfast every morning.
“Why can’t I do this? Why am I not this creative?” I reflected. I thought about these posts all day and into the night. And then it hit me: they were experimenting, having fun, taking chances. They were playing!
Numerous scientific studies have proven the advantages of playing. Playing is a stress reducer, a creativity enhancer, and a communication builder. It improves reasoning skills, problem-solving, and the ability to focus. Plus, playing is fun! Often as adults, we cast aside this important human activity in deference to the responsibilities of adult life.
Fun. I forgot the fun of art. For years, I have been creating emotional art, commissionable art, and the perfecting of an art technique. I was doing the work of art. Now, I love being an artist, and I love being able to make a living working as an artist.. As a professional, I always have commissions in the works. I also do calligraphy, so there’s always a wedding or shower or piece that must be done in a certain way by a certain date. And it’s not that these pieces are not fun, but they are not play. They can’t be experimental or quirky or have a surprise ending. But I haven’t allowed time for the other pieces that can flop or fail but also soar with new possibilities for techniques and materials and joyous play.
I haven’t made time for the sheer fun of making art.
But what to do next?
Luckily, it’s January 2nd. 2020. Time for a new vision and a maybe a gentle resolution or two or three. Here are mine:
This one is the big one for me in 2020. My art supply cupboards are Armageddon-ready. (If the world experiences a shortage in art supplies…call me, I can fix it). I don’t even need to leave the house to come up with a new use for a tool or material.
My first order of play is to experiment with calligraphy and pastels—my two art loves. And I am going to try incorporating Debbie’s micaceous oxide ground for this one.
I have written a children’s book that I want to illustrate with richly colored pastel paintings, but I have gotten stuck in the desire to make it perfect. And so, the book is stuck in my head. I am going to play with some techniques that will bring this to paper.
BE KINDER TO MYSELF
In my head there runs a news crawl that features debilitating criticism of my own self, from my weight to my art abilities. I won’t go into the painful way I speak to myself, but I am going to play with this idea a lot more as well. I am also going to expect a little less perfection—which BTW I haven’t achieved at all—and opt in for something that speaks to a sense of fun, forgiveness and love.
I still have commissions to do, projects to complete, but I am going to accept them as they relate to my changing perspective of myself and my art. If it is going to involve excessive stress, I may not take it on, at least not this year. And if the art can’t be fun, I am going to balance it out with other kinds of fun, adventurous projects. But more on that in a minute…
MAKE A PLAN
So, you can’t make effective change without a plan and a few goals. That’s where the SIMPLE STEPS come in. I am setting a real low bar for these resolutions so that I don’t get stuck in the failure of unattainable goals. Once I meet the first expectation, I can regroup and set the next one, just a little higher. Having lofty goals is great, but you can’t get into the loft without a ladder. I am choosing the one rung at a time method to achieve these goals.
Simple Step 1
A Doodle a Day. I must have a dozen sketch books and a least 2 rolls of adding machine tape. One doodle, each day, silly or serious, doesn’t matter.
Simple Step 2
Out of the Box. To break out of non-productive habits, I am going to experiment with new materials and techniques—one each month. January will be calligraphy on watercolor paper with micaceous oxide a la Debbie Pepin.
This year I will also try plein air painting which scares the hell out of me. My worst nightmare is I can’t capture in a painting the things I see, and I am totally washed-up as an artist. I then retire to the garden to eat worms—as the old song says.
Simple Step 3
Change the Dialogue. Specifically, change my internal dialogue. I am turning every statement I make to myself into a positive and empowering statement. When I question my art ability, I will remind myself of the pieces I am proud of. This one will be the hardest, but I am going to do it. Every time. I want to become my own best fan.
That’s it for the moment. I don’t want to overwhelm myself early in the process. I would like to know what you think, and especially what your reflections, revelations, and resolutions are and what your plan will be as you move forward.
By Sabrina Hill – President of the Pastel Society of the West Coast & Editor of the PSWC Magazine
Attention Artists! Do you have a regular job? If you answered, “Yes.” then do you GO someplace to do your job? Is there an address that you journey to so you can do your work? Chances are that like most of us, you leave home to do a job and come home at the end of the day.
As an artist, do you have a studio? If not, where do you make your art? Chances are that you are making art in a makeshift place in your house that may also be used for cooking, dining, bike repair, or storage of rowing machines and old equipment…sound familiar?
If you are an artist—even if you think it’s a hobby—I am here to tell you two things.
It’s NOT a hobby. It’s a part of your soul, and you must listen to your inner voice, and
You need a studio. Period. Because art is work and EVERYBODY needs a place to go for their work.
Benefits of a studio:
You don’t have to bring out boxes of supplies to start a project.
You can find everything most of the time (nothing is perfect).
You don’t have to pack everything up and put it away every night.
You can see your work in progress in changing light and multiple times a day, often making corrections on the fly throughout the day.
You confirm out loud to the world that you are an ARTIST.
Now, some artists live in areas where studio space is plentiful and affordable, and it’s lovely to have a place to go to make art for hours at a time, but for many of us, renting studio space is not a viable option. If you have a house with an extra room that is ideal for a studio, ‘Yay’ for you. Some of us live with more limited space. That’s why we turn to the dining room. You remember the dining room–that space where you hardly ever eat and last year’s tax returns, two weeks of mail, dry cleaning, and all those Amazon returns sit, waiting to be sorted, sent back or put away. Most homes have a designated space for a dining room, and it is often the least used room in the house…assigned to holiday dinners and tax season—and used maybe 10 times a year. Yet, we are giving up use of this space the other 355 days of the year. Tap into this space for your studio! Imagine if you could switch this and make art 355 days, and clean it up for a couple of dinners.
I can already hear your arguments:
It’s my grandmother’s dining table!
I use it during the holidays.
Where will I put my wedding china?
Everybody can see it (then why is it a such mess, huh?)
OK, let’s go through these excuses one-by-one:
GRANDMA’S TABLE. Yes, your grandmother’s table is a lovely piece. So, protect it by covering it or wrap it up with professional packing supplies (blankets, plastic) and store it in the garage. Use the matching credenza for art supply storage—imagine your brushes and paint tubes stored in glass jars in the glass cupboard. So fancy! So pretty! So Practical!
HOLIDAY NEEDS. 10 Holiday events vs. 355 days empty. Let your sister host the events and bring her a nice painting for her efforts. Or dine alfresco in the backyard. Or have art supply carts on wheels that can be moved out for the few times you need the room.
WEDDING CHINA. When was the last time you used your wedding china? If you use it often, make some room in your kitchen cupboards—move that electric pizza oven you thought you would need and any other misfit appliances that sit silent. You can even use the china cupboard for art supply storage!
EXPOSED VIEW. If your dining room is in full view, you may have to clean it up periodically. Or maybe you can install barndoors on sliders that can be closed for “company” occasions. If you truly entertain more than once a month and this is a critical part of your life and well-being, then celebrate your parties and forget about the studio. But if you are a frustrated artist with no place to work, the dining room is calling….
The most important thing about creating your own studio is believing, KNOWING that you deserve to have it. I often hear artists say that they don’t want the house to look messy, or they don’t want their small children to get into the mess.
I hear you.
I raised three children (3 kids in 3 years, I get it!) while being an artist. They knew my studio was MY space. They knew that they needed to be INVITED to touch things. They knew that there were consequences for using materials without permission. And they knew that if they showed an interest in anything I was doing; I would happily find time to show them how to do it—or find another time if I was busy working on a commission or in the middle of a piece. Best of all, they saw a fulfilled mother/artist who was not shy about indulging in her passion for art and not afraid to share her joy for art and life.
Things to Plan for When Creating your Own Studio
I converted our open-concept dining room into my studio, and I am thrilled about it. Here’s what I took into consideration when setting things up:
Storage- What kind of storage will you need? I use Husky toolboxes on wheels. They are under $250 at Home Depot. They can be delivered directly to your home and only required the attachment of the wheels. They have a lock if you have a little person who could get into your supplies. There are shallow and deep drawers that can accommodate spray bottles, cans of paint and even paper. I even bought one with a wooden top for working on projects. The best thing about these storage chests is that you can wheel them out of the room in the event you need a different configuration. You also may need open, vertical shelving for frames or canvases.
Workspace- I have a drafting table in my studio that I use for calligraphy projects and as a surface to hold pastels when I am at the easel. I also have a fold-away typing table and a small open cart if additional surfaces are needed.
Easel- I splurged on a Sorge 8 ft studio easel. It’s a great investment (about $1000) and I use it almost every day.
Table- As I mentioned, I have a large drafting table that I keep it in the flat position. I use it every day. It was also a great investment (about $300)
Chair- I use an office chair that can be raised and lowered depending on whether I am at the taller drafting table or the lower easel. It has wheels so it’s easy to move. Also, easy to tuck away. If room permits, have a comfortable chair for visitors, which you will want to have periodically.
Bookshelves- I have 1000’s of books in my studio. Make sure you have room for yours and a good system for finding them.
Wall Space- I put a series of bulletin boards up so I can display samples, cards, ideas, magazine clippings, quotes and an occasional grocery list.
Lighting- I have good natural light, a good overhead light, and lots of additional lights. I try to use natural lights since I often work at night in the space.
Floor covers- I have hardwood floors in my house, and since I am not doing super chemically things in my studio, I have a cheap (but cute!) area rug under my table and easel. If I am using drippy, messy materials, I put down a tarp (cotton or plastic) for the duration of the project.
Water Source- If you are painting, you may need a water source. I am next to the kitchen, so that’s my main water source. If you are cleaning brushes or using any for of turpentine or mineral spirits, don’t use your kitchen sink, use a bucket or utility sink and know your local laws about disposal of hazardous chemicals.
Dangerous Materials Storage- Although I don’t use a lot of chemicals in my work, I do use Denatured Alcohol and mineral spirits occasionally. I keep anything like this in my garage, transferring what I need to a smaller container for “as needed” use in the studio.
Trash- I have a small trashcan in my studio, but because of potentially flammable material, I am in the habit of moving everything out to the garage trash every day. Most days there is no issue.
Dust- Pastels=Dust. I use a paper towel the length of my painting folded under the work on the easel which catches most of the extra pastel dust. I also have a shop-vac and a hand-held vacuum to get everything up after I have finished a piece.
There is a new magazine called In Her Studio that has tons of fashionable and practical ideas for studio space.
Setting Studio Rules
It would be helpful for you to establish a few rules for your studio space. If you taught your kids to wash their hands before dinner or how to use a hairbrush, they (and spouses or significant others) can be taught the rules of the studio.
DO ask to touch art in the studio. DON’T touch work on the easel or on the bench.
DO come sit in the studio to chat and ask questions. DON’T be hurt if a deadline requires some quiet time.
DO think about ideas you may have to create your own masterpiece. DON’T use materials until you have cleared it with the artist.
DO tell others about Mom’s/Dad’s/Spouse’s amazing artistic talent! DON’T tell others Mom/Dad/Spouse will create art for them without asking first.
DO admire the work—finished and in process. DON’T offer criticism unless SPECIFICALLY ASKED to do so. (We can be fragile in the process!)
I will leave you with one last bit of commentary. Art studios can be messy places a lot of the time. And sometimes, we want to impress the neighbors or family or friends, so we try to put our My-house-is-so-fancy-and-clean-and-so-am-I studio face on. But people love art studios. They love the creative energy of an art environment. There’s a freedom in seeing someone else’s creative mess. I do a show almost every year in my studio, and I do tidy it a little bit, but people come in and LOOK PAST THE MESS to the art. They love seeing art in process, they love looking at art materials in use. They love imagining that they could make art with crayons and brushes and ink, and chalk. Indulge them.
I have a friend that I call when I get down in the dumps and just plain cranky. The first thing she asks me is ‘when was the last time you rode your bicycle?’
On our first date, my wonderful hubby of 36 years, took me on a bike ride. I’ve always loved the freedom and the wind whistling by, not to mention the gorgeous scenery. But just recently, I’ve realized that my ‘creative health’ is very dependent upon how much I exercise.
A couple of months ago, when all my paintings were turning out like doodoo, I kept trying to force myself to get some mental clarity, and everything just went downhill. I felt that exercise was a luxury I couldn’t afford. WRONG!!! Jeff (my hubby( said I needed a bike ride (he was the brunt of my general crankiness, poor guy!)
When I got outside onto my bicycle, I immediately felt the endorphins kick in (sorta like the feeling you get after a great belly laugh or eating chocolate) and a sense of well-being rushed over me. Not to mention the eye candy of the gorgeous scenery of the rolling North Carolina countryside! What was amazing…was that old and long forgotten, happy memories kept popping into my head. AND one after the other, I kept getting new ideas for paintings that I wanted to try. Mental connections were buzzing in my brain! Like little doors opening, rapid fire! Those endorphins were letting my synapses fire and creativity was ablaze!
Now, I try to make exercise a scheduled activity. (I know that most of you already realized this, but I’m a little late to the game.) Yesterday, I rode 35 miles in the morning! Yes, I was tired but my brain sure does feel better. And on days when I can’t take a few hours to ride, a walk in the neighborhood does the trick.
All I’m saying is our brains need to be well oiled, just like our cars. Neither performs well without stomping on the gas and cleaning out the carburetors. So, if you’re in a creative slump, hop on your bike, take a walk or a swim. Watch what happens and let those endorphins kick in!