11 things I wished I’d known as a young artist

Or, “Art, Talent, and Arrogance”

This is a painful subject for me, and one that has hampered my progress my entire life. I still struggle with it. In fact some would consider I’ve lost the battle merely by writing this article!

I’m talking of course about arrogance in relation to art. Personally, this has manifested in the idea that my thoughts were superior to others. I didn’t often think of it that way but that’s really what I was saying every time I refused input, avoided constructive critique, or thought my work didn’t need improvement. This was deadly to my progress and nearly caused me to leave art altogether. I know I’m not alone here, this is something many artists struggle with, and that’s why I’m talking about it. If I can cause even one artist to rethink some of the decisions that caused me so much struggle, than it’s worth it.

Quick story: I was having fun with art, drawing whatever my li’l heart desired. I was on DeviantArt. I was posting every day, doing all kinds of paintings and drawings and proudly posting them. I was a bit too blind to my mistakes. On my profile I’d put that I was professional level and had some high number of years in art – over twenty years I think, because I was counting the stuff I’d done when younger. Some of it was middling, some of it had promise. Someone came along and posted on my profile that I didn’t look like I’d been doing that art that long. I don’t even think they were all that rude about it. I was crushed – that was one of the biggest reasons why I deleted my profile. There were others at the time but that was a biggue.

The biggest problem here was the poster was right. Objectively, if a person compared my stuff to an actual professional (not just one who occasionally did an illustration or two for pay) the difference was like night and day. I had a long way to go, mostly because I’d focused on the stuff I thought I was good at, rarely pushed myself, and hated using references. At best I was an amateur with promise provided I actually applied myself.

I see that now and that’s why I carefully label myself as “hobbyist.” I’m finally getting to a level that I’m somewhat pleased with but I know I have a hell of a long way to go before professional level. It’s okay though because I’m enjoying art again and that’s important to me. I could avoided a lot of heartache if I’d seen feedback – even HONEST feedback – as the gift it is.

When I got feedback as a young artist, I never really saw it that way. I pretended to because after a certain point I knew it was expected, but it always hurt inside. At some level I saw my work as perfect, and I saw myself as talented, special. As a talented person I didn’t need to think of these things as much as others did. Or maybe my judgement was superior. Sometimes I told myself that it wasn’t my fault if other people didn’t see what I was trying for. Actually it was – art is primarily about communication and I can guarantee you my technique always needed work.

One of my biggest roadblocks was believing the idea that I was talented. If so, that was mostly in the fact that I was a bit better than average at getting my tools to do what I wanted them to. I certainly wasn’t better at observation or remembering what I saw! My visual memory is actually a bit worse than average. Over and over I deluded myself that drawing from imagination was better. However since no one around me could draw at all, I got away with it until I went to school for art, and saw how wrong I actually was. It hurt a lot. Later I went online and saw how amazing so many other people were. That was great to see but hurt more. I started realizing that I needed to quit believing my own PR.

A great art teacher recently said that if someone looks at your art and says you are talented, they are in a way insulting your hard work. I totally understand that for most people it’s just a simple compliment and they don’t mean anything by it, but I wish I’d heard that when I was young. For me, my “talent” was mostly a passionate interest that caused me to practiced more. If I had practiced properly, and had worked harder in the right ways, I could have harnessed that interest into some really phenomenal art. If I’d actually taken people’s advice and used references more, or learned to draw from life, it would have been a game-changer. But I was too busy thinking I was too special and too talented to do all those boring things, meanwhile I was still getting paint up into the ferrules of my brushes and lacking basic studio skills.

I’m not bashing myself. I am however looking honestly at the fact that I hampered myself more than circumstance ever did. That mindset hurt me more than inadequate art supplies or poverty ever did. You can make amazing art with the simplest of tools if you have the right mindset! Here are the things that would have helped me most:

Tips for anyone wanting to be great at art (or anything really)

Maintain Beginner’s Mind – there’s always something to learn

Stay Curious about new techniques and how others do things

Listen when feedback is offered, because it truly is a gift – probably the hardest tip in here

Find out the basics about your tools even if you think you already know them

Whenever possible, practice from life, or at least photos – even fantasy is based on reality

Spend time on the fundamentals, they are the basic building blocks of your craft

Think about what your goal is and what you want to communicate

Observe in as many ways possible, new information is grist for your creative mill

Forgive yourself your mistakes but always try to figure out what to do better

Keep it fun by challenging yourself

Stay humble!

I wish someone had told me this stuff! If they did, I wish I would have listened! Who knows, maybe I’d be doing art for a living? It’s an expending field with more opportunity than ever.

Do you have any tips that should be included? Things you wish you would have known?

Inktober is here again!

It’s October 2nd.  I should have started yesterday.  However, I’ll make up the time!  October is my very favorite month and a truly beautiful time in Arizona.  So here we go, welcome to Inktober!

Feel free to join in – if you have a blog and are participating, comment away so that future readers can see your work too!  I will accept either analog or digital ink.  Maybe if we can get some participation, I can do a little art show at the beginning of the month!

Here is day 1:

Darth Decaf 900
Darth Decaf

 

Here is day 2:

Shrieker 900
Shrieker

 

***

(Need art supplies like I do?  Dick Blick.com has some amazing sales and fantastic products for anyone who is interested.  A small portion of the proceeds from any purchase you make by using this link will go to support Mindflight.  I buy from Blick, and I’ve never found a better art store!)

Inktober Day 27: Quoth The Raven –

Nevermore!

Today I’ll post a copy of Edgar Allen Poe’s famous poem, in honor of my Mom, who is named…

…Lenore.

 

Once upon a midnight dreary, while I pondered, weak and weary,
Over many a quaint and curious volume of forgotten lore—
    While I nodded, nearly napping, suddenly there came a tapping,
As of some one gently rapping, rapping at my chamber door.
“’Tis some visitor,” I muttered, “tapping at my chamber door—
            Only this and nothing more.”
    Ah, distinctly I remember it was in the bleak December;
And each separate dying ember wrought its ghost upon the floor.
    Eagerly I wished the morrow;—vainly I had sought to borrow
    From my books surcease of sorrow—sorrow for the lost Lenore—
For the rare and radiant maiden whom the angels name Lenore—
            Nameless here for evermore.
    And the silken, sad, uncertain rustling of each purple curtain
Thrilled me—filled me with fantastic terrors never felt before;
    So that now, to still the beating of my heart, I stood repeating
    “’Tis some visitor entreating entrance at my chamber door—
Some late visitor entreating entrance at my chamber door;—
            This it is and nothing more.”
    Presently my soul grew stronger; hesitating then no longer,
“Sir,” said I, “or Madam, truly your forgiveness I implore;
    But the fact is I was napping, and so gently you came rapping,
    And so faintly you came tapping, tapping at my chamber door,
That I scarce was sure I heard you”—here I opened wide the door;—
            Darkness there and nothing more.
    Deep into that darkness peering, long I stood there wondering, fearing,
Doubting, dreaming dreams no mortal ever dared to dream before;
    But the silence was unbroken, and the stillness gave no token,
    And the only word there spoken was the whispered word, “Lenore?”
This I whispered, and an echo murmured back the word, “Lenore!”—
            Merely this and nothing more.
    Back into the chamber turning, all my soul within me burning,
Soon again I heard a tapping somewhat louder than before.
    “Surely,” said I, “surely that is something at my window lattice;
      Let me see, then, what thereat is, and this mystery explore—
Let my heart be still a moment and this mystery explore;—
            ’Tis the wind and nothing more!”
    Open here I flung the shutter, when, with many a flirt and flutter,
In there stepped a stately Raven of the saintly days of yore;
    Not the least obeisance made he; not a minute stopped or stayed he;
    But, with mien of lord or lady, perched above my chamber door—
Perched upon a bust of Pallas just above my chamber door—
            Perched, and sat, and nothing more.
Then this ebony bird beguiling my sad fancy into smiling,
By the grave and stern decorum of the countenance it wore,
“Though thy crest be shorn and shaven, thou,” I said, “art sure no craven,
Ghastly grim and ancient Raven wandering from the Nightly shore—
Tell me what thy lordly name is on the Night’s Plutonian shore!”
            Quoth the Raven “Nevermore.”
    Much I marvelled this ungainly fowl to hear discourse so plainly,
Though its answer little meaning—little relevancy bore;
    For we cannot help agreeing that no living human being
    Ever yet was blessed with seeing bird above his chamber door—
Bird or beast upon the sculptured bust above his chamber door,
            With such name as “Nevermore.”
    But the Raven, sitting lonely on the placid bust, spoke only
That one word, as if his soul in that one word he did outpour.
    Nothing farther then he uttered—not a feather then he fluttered—
    Till I scarcely more than muttered “Other friends have flown before—
On the morrow he will leave me, as my Hopes have flown before.”
            Then the bird said “Nevermore.”
    Startled at the stillness broken by reply so aptly spoken,
“Doubtless,” said I, “what it utters is its only stock and store
    Caught from some unhappy master whom unmerciful Disaster
    Followed fast and followed faster till his songs one burden bore—
Till the dirges of his Hope that melancholy burden bore
            Of ‘Never—nevermore’.”
    But the Raven still beguiling all my fancy into smiling,
Straight I wheeled a cushioned seat in front of bird, and bust and door;
    Then, upon the velvet sinking, I betook myself to linking
    Fancy unto fancy, thinking what this ominous bird of yore—
What this grim, ungainly, ghastly, gaunt, and ominous bird of yore
            Meant in croaking “Nevermore.”
    This I sat engaged in guessing, but no syllable expressing
To the fowl whose fiery eyes now burned into my bosom’s core;
    This and more I sat divining, with my head at ease reclining
    On the cushion’s velvet lining that the lamp-light gloated o’er,
But whose velvet-violet lining with the lamp-light gloating o’er,
She shall press, ah, nevermore!
    Then, methought, the air grew denser, perfumed from an unseen censer
Swung by Seraphim whose foot-falls tinkled on the tufted floor.
    “Wretch,” I cried, “thy God hath lent thee—by these angels he hath sent thee
    Respite—respite and nepenthe from thy memories of Lenore;
Quaff, oh quaff this kind nepenthe and forget this lost Lenore!”
            Quoth the Raven “Nevermore.”
    “Prophet!” said I, “thing of evil!—prophet still, if bird or devil!—
Whether Tempter sent, or whether tempest tossed thee here ashore,
    Desolate yet all undaunted, on this desert land enchanted—
    On this home by Horror haunted—tell me truly, I implore—
Is there—is there balm in Gilead?—tell me—tell me, I implore!”
            Quoth the Raven “Nevermore.”
    “Prophet!” said I, “thing of evil!—prophet still, if bird or devil!
By that Heaven that bends above us—by that God we both adore—
    Tell this soul with sorrow laden if, within the distant Aidenn,
    It shall clasp a sainted maiden whom the angels name Lenore—
Clasp a rare and radiant maiden whom the angels name Lenore.”
            Quoth the Raven “Nevermore.”
    “Be that word our sign of parting, bird or fiend!” I shrieked, upstarting—
“Get thee back into the tempest and the Night’s Plutonian shore!
    Leave no black plume as a token of that lie thy soul hath spoken!
    Leave my loneliness unbroken!—quit the bust above my door!
Take thy beak from out my heart, and take thy form from off my door!”
            Quoth the Raven “Nevermore.”
    And the Raven, never flitting, still is sitting, still is sitting
On the pallid bust of Pallas just above my chamber door;
    And his eyes have all the seeming of a demon’s that is dreaming,
    And the lamp-light o’er him streaming throws his shadow on the floor;
And my soul from out that shadow that lies floating on the floor
            Shall be lifted—nevermore!

-Edgar Allen Poe

 

crow web.JPG

Improve your drawings – with one simple trick!

Happy Inktober Day number 26!  I missed yesterday so today’s a tip, too.
If you are drawing anything with hard edges, your work will look so much better if you use sharp, clean lines and good perspective. So, how can an enterprising artist keep their fluid, natural lines and combine them with correct mechanical structures without the whole thing looking stiff?

I find that what works best is to rough out my drawing in pencil, so that things still look natural, and then use a clear plastic ruler to redraw anything that needs to be exact. Simple!

That way the woman at the table can still have her beautiful, flowing hair and her frilly dress, but the stripes on her tablecloth will be even and the legs straight. Or the wild horses can still look dynamic and three dimensional, while the old fence posts they are standing near still stand straight and tall with good parallel lines. Think of how the impact might be different if those posts were drawn with wavering unrealistic lines. A great opportunity for contrast would be completely lost.
Paying some attention to how things are really shaped, even in your sketches, will give your work a more grounded, realistic look and bring a hint of professionalism. To me, nothing is sadder than seeing an artist draw a really beautiful figure, animal, or natural landscape – then completely ignore the structure of the piece, so the setting looks skewed and lopsided because none of lines are straight, even when they are supposed to be. It’s a fast way to ruin an otherwise beautiful work.
Best of all, this problem is not only easy to fix, but helps train your eye to be a better artist!

DIY Camera Monopod

I wanted to take a picture of the moon last night the same as I did two nights ago, but it wasn’t in the right position to use my usual trick of bracing my camera on the back fence.  Still, the sheer beauty of the moon as it peeked through the treetops made me find a way, and it worked well enough that I wanted to share it here.

I sat in a chair so that part of me was braced, and for a monopod I used a sponge mop!  It was dry, so no harm done to the camera.  However it worked well enough that I was able to get several shots of the moon.  At maximum zoom, it’s of course rather hard to hold still, and this little help was invaluable.   The spongy texture was stiff enough to support my hands and the camera, and soft enough not to scratch the finish, and the pole handle made a sturdy base that I could angle as I liked.

The featured image shows my result.  Still not perfect, but my camera isn’t a fancy expensive one and I was doing without a tripod or telescope.  I’m happy with it!

Observation: The Artist’s Eye

If you are a representative artist, observation is the key to everything. If you take pictures, look at your subject from all possible angles. See things others might miss. If you draw or paint, pay attention to where the light falls, where the shadows lie, how the colors change in your subject depending on when you look at it.

Try different ways of looking at an object, too. Blur your vision and look at the masses, the major areas of color or form. Look at a tiny area of it. Try tracing just the outline of an object, to help you look at the negative space around it. Maybe even pull out a magnifying glass.

For example, take a look at this photo.  Can you tell what it is?  You could make it into water, or fabric, or a landscape, or take it as it really is – sun shining off cat fur.

How you see is as important as what you see!

Tell a Story

Whether you are painting, drawing, or sculpting, it is best to tell a story. It doesn’t have to have a beginning, middle, and an end. But there should be little details about the character and setting that help your viewer place themselves inside the work.

If you are painting a landscape, what creatures live there? Are there little nibble marks on a stump, perhaps? Tracks? Weather?

If you are drawing a portrait, give the posture a little life. A little contrappasto, a bit of jewelry that says something about the character. Have the person doing something. Not just staring at the viewer, doing nothing!

It’s such a simple tip but it can really make a difference in your work. Details, energy, life. All these help make a great piece.