Three creativity challenges to improve your art

Parasol (watercolor on paper, 16×24) by Keiko Yasuoka
Parasol (watercolor on paper, 16×24) by Keiko Yasuoka

Try freshening up your paintings and painting habits with these tips from artist Keiko Yasouka, courtesy of Cheri Haas, Online Editor of the Artist’s Network.

Three Creativity Challenges to Improve Your Art 

Keiko Yasuoka’s paintings take you to many places. Winter mountain ranges, a busy evening in San Francisco, a sublime bay with sailboats waiting for dawn to break, just to name a few. And these are just her landscapes.Her still life paintings are simply beautiful; and they vary in style, making an interesting collection of work. Keiko is featured in Watercolor Artist (February 2013). In case you haven’t bought your copy yet, I’d like to share her recommended creativity challenges that are meant to inspire you to take your work to new places.

Keiko’s creativity challenges

    
• Limit your palette when starting your next piece. Using three or four colors will help ensure harmony throughout your painting and strengthen your color-mixing skills.


 

    • Toss your photograph aside after you’ve blocked in the main elements of your painting. Because no photograph can accurately capture the colors found in nature, it’s best to rely on your knowledge and memory and just use the photograph as an occasional reference.

 

    • Try something different from your usual [art] workshops. Take a pottery class, work with mixed media for a month or break out your colored pencils. Having a range of experiences to draw upon can help you master techniques that are effective across media and subject matter.

Julie Gilbert Pollard is another talented artist who shares traditional watercolor painting techniques and tips for achieving a loose, painterly quality. Explore more in her book, Watercolor Unleashed: New Directions for Traditional Painting Techniques.

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Artists, Don’t Give Up

Rock Climbing

We artists go through periods of self-doubt and discouragement, especially when it seems nobody wants to purchase our art. We all know admirers who tell us that our work is very good (but they wouldn’t dare buy anything from us!). Artist Jack White always inspires with his Texas straight talk and razor-sharp wit. Here is an excerpt from his latest article. I hope it inspires you to stay tenacious and everlastingly at it, when it comes to achieving your breakthrough.

 

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Rejection

by Jack White

Whiteism: Rejection can be painful, but never fatal.

The single most powerful reason artists fail is FEAR of rejection. It’s impossible to be an artist and not experience rejection.

When I started writing I knew I would face multiple rejections. I remember reading the story of crime novelist John Creasey. John set a record of 742 successive rejection slips in a row before he was ever published. John received 500 more rejections than Stephen King before he was published. But once John’s first book was published, he wasted no time exploding on the market.[…]

Read the rest of this article at:
http://faso.com/fineartviews/54816/rejection

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This excerpt appears courtesy of FineArtViews Art Marketing Newsletter by FASO,
a free email newsletter about art, marketing, inspiration and fine living for artists,
collectors and galleries (and anyone else who loves art).

For a complimentary subscription, visit: http://www.faso.com/art-marketing-newsletter

———————————————–

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Do Art Organizations Matter Anymore?

Organizations
Photo Credit: Portland Development Commission via Compfight cc

Mark Edward Adams has an interesting take on whether or not art organizations have fallen behind the times in the age of Twitter and FB. I like his suggestions on how they can serve the individual artist better, also.

Do Art Organizations Matter Anymore?

by Mark Edward Adams

I think the prestige of the art societies was a casualty of the new culture of personal branding. In the past, there were a limited number of these groups and they had a lot of power. It meant immediate exposure and sales if your art won an award. However, with the emergence of social media it became very easy to start your own group or just ignore the art societies and promote yourself. Suddenly there were a lot more voices in the room and it became very difficult to distingush one from the other. […] 

Read the rest of this article at:
http://faso.com/fineartviews/49467/do-art-organizations-matter-anymore

———————————————-
This excerpt appears courtesy of FineArtViews Art Marketing Newsletter by FASO,
a free email newsletter about art, marketing, inspiration and fine living for artists,
collectors and galleries (and anyone else who loves art).

For a complimentary subscription, visit: http://www.faso.com/art-marketing-newsletter

———————————————– 

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Which art gallery is right for me?

Choosing the right gallery to represent your art can be an exhaustive, time-consuming experience, but one that pays dividends in the end. Here are tips from gallery owners to help you navigate the gallery waters:

Art Gallery Representation: Some factors to consider. Part 4 – Experience

by Brian Sherwin

I have covered several factors with this series: distance, art pricing and materials. In this edition I will tackle another important factor – that being, experience. […]

Read the rest of this article at: http://faso.com/fineartviews/48406/art-gallery-representation-some-factors-to-consider-part-4-experience

———————————————- This excerpt appears courtesy of FineArtViews Art Marketing Newsletter by FASO, a free email newsletter about art, marketing, inspiration and fine living for artists, collectors and galleries (and anyone else who loves art).

For a complimentary subscription, visit: http://www.faso.com/art-marketing-newsletter

 

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Morning vs. evening light

Sunset at the BeachI enjoy the long shadows of both morning and evening. I know that some artists like to paint the cool yellows of morning, but I am leaning more toward Charles Sovek’s preference of evening light. His point?

Warm afternoon sunlight

Moviemakers like to call the late afternoon light “magic time” I call it the best time of the day to paint. Why? Because, to me, the light at this time of day is at its most poetic position. While tints ranging from pink to orange reveal light-struck passages, luminous purples and blues, reflected from the sky, dance in the shadows. The cinematographers are right: Even a depressing slum can take on an inviting, never-never-land quality.

Another bonus of late afternoon light is the fascinating shadow patterns caused by the low position of the sun. While interesting shadows can also occur in early morning, it’s only in the late afternoon that the unbeatable combination of long, revealing shadows and warm, luminous color merge to create the most intriguing effects.

The Impressionists were probably the first artists to take advantage of this magical time of day. Spanish painter Joaquin Sorolla devoted practically his entire life to chasing after these effects. – Charles Sovek, Oct. 1984

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Adding your fragment to the whole

One of my favorite poems is by Robert Henri.

All any man can do,
is add his fragment to the whole,
No man can be final,
but he can record his progress. . .
What he leaves is so much
for others to use as stones to step on,
or stones to avoid.
After all, the goal is not making art.
it is living a life.
Those who live their lives
will leave the stuff that is really art.

– Robert Henri, The Art Spirit

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Joy

Farmhouse

My Creator has graciously give me the ability to place colors and shapes together, on canvas, in a sort of harmony. The subjects for paintings are countless, as the time to paint them all is not.

I need to get busy!

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