I find that most of my plein air works could have been greatly improved in compositional choices. This is one of many reasons my plein air work serves mostly as studies and not as finished paintings. If I do a very large canvas, I wouldn't want to consider it a mere study. I would want a finished painting. But with all the visual stimuli out there and quickly changing light, most compositions aren't as well thought out as they could be. [...]

My plein air work is about responding emotionally to the moment. But, I have realized that my studio work enables me to explore other ideas, push compositional choices, or push color to create a mood. [...]

A certain amount of self-doubt is healthy. It keeps us humble and motivates us to strive to learn, practice, and improve our art. But an overabundance can be harmful or even crippling. [...]

These words resonate with me. Now, I will admit, I have had my fair share of excuses. And who knows what opportunities I have missed because of them. But, I have also seen the other side ? and I try to stay on this other side. I know of the opportunities that will arise by not making excuses. [...]

Someone recently asked me for guidance on how to develop a personal style. The short answer is not to worry about it too much. It will come naturally with time. The caveat, though, is that you need to let it develop. This leads me to the long answer. [...]

Now, let's assume you sign up for a workshop. You want to understand how to fit those remaining pieces together. But what happens instead is the instructor dumps a thousand or so more pieces right in the middle of your puzzle you are trying to put together. Now your pieces and the instructor's pieces are all mixed up. And to top it off, the instructor removes some of the pieces you put down and replaces them with new pieces. This can cause you a lot of frustration. [...]

I didn't (and still don't) want a fish, I wanted to learn how to fish. For me, specific techniques, methods, materials, etc. are fishes. On the other hand, learning how to fish is a combination of learning the basic foundation (the fundamentals) coupled with learning how to see and respond emotionally to your subject. [...]

So, some of you may have painted for many years. You have taken workshops in the past. You might even teach them now. But if you have reached a plateau or you simply want to understand art at a higher level, then consider attending another workshop. [...]

To recap, mastery of greens only comes through careful observation and practice. Avoidance is not the answer. You may not paint a summer landscape which is nearly entirely green. But you will still need to understand green to paint a winter scene which seems devoid of green, a portrait of a woman wearing white, or a still life with teapots and eggs. You need not be a master to paint greens convincingly. [...]

How close you stay to (perceived) reality and how much you deviate and create something entirely new is completely up to you. But don't be so tied to a literal depiction that you fail to see the possibilities of improving upon the design you see in nature. [...]

Creating is a very personal inward endeavor. We, as artists, create from within. "You" focus on what "you" want to say with "your" art. "You" get inspired by "your" muse. "Your" work is an expression of "your" emotions or ideas, etc. And it should be. Your art needs to be genuine. Just as the desire to teach needs to be genuine. But how do you bridge that gap between creating for self yet focus on your collectors? [...]

But this principle doesn't just apply to those of you who teach. It also applies if you just simply sell the work you create. When I first learned this principle, I thought, "That applies to services, like teaching, mentoring, coaching, etc. But not to selling products like my paintings." But I have since learned that I was wrong. It does apply to my art and it applies to your art. [...]

Despite what inspired you to create your work, despite your intentions, each viewer will complete the artwork in his or her mind. It may be similar to your intentions, but it may be vastly different. [...]

Even if you don't master each of the fundamentals, a certain awareness, understanding, and even proficiency is essential to adequately express yourself. Your strengths are more important. And cultivating them to their full potential will make your work authentic, real, unique, etc. Your strengths will define you. [...]

The projects that are the focus of this article, and my resolve, are the projects that have been set aside for awhile. Some have collected quite a bit of dust. Some were set aside as other things took priority. Some of these projects were set aside because I was stuck and didn't quite know what the next step should be. Others remain unfinished because of fear. Still others have been hindered by overwhelm. You get the picture. There are many reasons why projects get set aside. [...]

We at FineArtViews (FAV) strive to offer solid insight into the world of art and art marketing -- by introducing readers to viewpoints concerning the state of the art world, and exploring a wide range of art marketing strategies. That dedication was stronger than ever in 2012. [...]

Is there a way for you to feel inspired and excited about the work and still fulfill a client's request for a commission? Can you do it without feeling like you are selling out to commercialism? Can you maintain your artistic freedom and integrity while doing a commission? Yes. [...]

The truth is you cannot possibly do every idea that you come across. There are a gazillion great ideas out there (and a gazillion bad ones). [...]

An original creation emanates something from within that is felt. Not by your fingers, but within you. Felt by your spirit. I don't know how or why, but somehow, through the hands of labor and through the labor of love, you imbue within your artistic creation a portion of you. Not your physical self, but in a way part of your spirit self. [...]

Regardless of your style, tight or loose, bold or delicate, put in only what communicates what you want and leave all else out. This will allow the viewer to fill in the missing information in a way that is unique and personal. [...]

The desire to be original is universal. We are unique individuals with unique personalities, likes, dislikes, etc. We want our art to reflect that individuality. But some are looking for individuality and originality in the wrong places. [...]

The problem is, if you only rely on the refilling that naturally occurs without your conscious effort, it may not always be enough to sustain you. Droughts will come. But they will be less severe and less frequent if you 1) realize that your well does needs refilling, 2) consciously do something to ensure it is getting refilled, and 3) do it regularly to stave off the dry spells. [...]

A few months ago, in a previous post, I briefly mentioned the idea of developing a routine in the studio to help you get into the zone. Think of a basketball player at the free throw line. His routine is exactly the same every time. It is specifically designed to get him into the zone. You can do something similar in the studio. Music is one of many things you could add to your routine (some other ideas about developing a routine may be the topic of another post). [...]

Remember, people aren't investing in you, they are investing in themselves when they buy anything ? whether a hot dog and soda or a fine work of art. People buy to fill a need. Identify both what and how your art satisfies collectors' needs. [...]

Your ideal collector is that person who you most enjoy working with. The more you know the characteristics, traits, fears, desires, etc. of your ideal collector, the better you can communicate effectively with that collector ? and the better you can reach that collector. [...]

Over the past year or so, I have read several books on money, business, and financial planning. I have also read blog posts, had conversations with family, friends, business acquaintances, and others about the same topics. I've noticed things in the news and media. All of these things combined have given me much to think about, all at a time when I am redefining for myself how I want to structure my business, plan for retirement, manage my financial affairs, and purchase that acreage in the country where I can build a nice studio [...]

In my last article, I wrote about how to travel on airplanes with artists' colors. In response, I received an email asking how to carry wet paintings in your luggage. So, I'll share my answer here since there are probably many who have wondered the same thing. [...]

Be prepared to have your bags opened and inspected. Your art supplies will almost always get a closer inspection. Doing these simple things will make it much more likely that your travels will be hassle free (at least when it comes to the art supplies). [...]

In your art business, there are many weeds that are preventing you from being your most productive. Spending time on a regular basis to keep them in check will do far more than a less frequent weeding blitz. [...]

According to him, it is critical to develop a personal style, but it is equally critical that it isn't forced. Experimentation and exploration of a variety of styles, media, motifs, etc. are important. In the process, a personal style will eventually emerge. Let it emerge, don't resist it. [...]

And I find that there is good karma when you talk up another artist's work and help collectors decide to purchase it. It usually comes back around in one way or another. It isn't always right away. But it does come back around. [...]

Neither musicians nor athletes perform without a lot of practice. In most cases more time is spent practicing than performing. Yet, many visual artists think that once they reach the professional level, they no longer need practice. Many have the false idea that they can perform each time they enter their studio to create. [...]

On the other hand, if you have the skills to handle the logistics and are willing to do the work, you could earn all the profits ? 100%. Yes, you will incur expenses you otherwise wouldn't. If you begin local ? preferably in your own studio ? you can minimize many of those expenses. If you have a decent mailing list already, then advertising can be minimal as well. Play with the math and see what the projected expenses and profits are. Look at best and worst case scenarios. Then decide for yourself which route you want to go. [...]

Teaching can be rewarding on many levels. But not everyone is cut out to be a teacher. This list will help you determine whether you should consider teaching or not. [...]

For a long time, I have had a theory that highly creative people ? such as artists ? have a strong connection between both hemispheres. The ability to communicate between hemispheres and use both sides of the brain enables greater creativity. [...]

Protect your painting the next time you need to frame it wet. [...]

But first, what is clean color? Clean color does not necessarily mean pure color straight from the tube. Ironically, clean color can be gray, neutral, muted, subdued, etc. Or it can be bright and pure. The color's chroma does not determine whether it is clean or not. The Russians have beautifully sophisticated grays. Yet they are clean. How or why? In his book Alla Prima, Richard Schmid defines muddy colors as a mixture of color that is simply the wrong temperature. So, if that is true ? and I agree with Richard - then it follows that clean color is simply a mixture in which the temperature is correct. The key to the Russian artists' sophisticated grays is proper temperature. [...]

Can someone strengthen the ability of the cones to recognize color better? Or can someone strengthen the ability of the brain to interpret the signals better? Can there be both a physiological and mental development in color perception? [...]

"But what if?I fail?" This is your fear talking. Let me turn it around, "But what if?you succeed?" Is it worth the gamble? Is it worth the sacrifice? Is it worth the discipline? [...]

You really do only have 2 options. You can have the discipline to pursue your art ? which requires sacrifices, or you can look back years later and wish that you had. You will have regret or disappointment in the dream you never dared pursue. [...]