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
