It was mid-day when I chanced on a group of scrubby-looking trees and underbrush.  I stopped and made a quick sketch and  took a few photos.   Back in my studio I transferred my sketch to a self-prepared surface.  Then I composed what I thought would be a good painting.  It just didn't  work.  With great mental anguish, I fretted over it.  I worked and re-worked it.  Finally, I became frustrated and I tossed it in the trash.  As it happens, the trash in my studio doesn't get dumped very often, which  was fortunate for me.   A few weeks after my rejecting this painting, and as I prepared to take the studio trash to a container for trash pick-up, I  noticed a part of the painting that wasn't too bad.  So laid it flat on my drafting table.  It was a bit warped.  Then I took an 11x14 piece of glass and slid it over the surface until I found what I felt could be saved.  I cut away the unwanted sections of the painting.    What was left was a rebirth - a brand new painting.  It was now a vertical painting with a raised horizon and a flowering desert plant. Here's the amazing part of this story....this little 11x14 section that I saved (along with nine other works), was selected from my FASO website by the editor of Pratique des Arts Magazine,  a French publication, as a feature article in their August/September Issue.  That's not all!  International Artist Magazine also selected it to be in their August/September Issue.  Who would have thought!!!!  Now, when I have the urge to trash a painting, I don't.  Instead, I  stick it in a box marked "SECOND CHANCE". 

 

As artists what we choose to paint says multitudes.  Everything imaginable is art.    It is indeed a mystery, as to “what to paint”.  The resolution lies within you, the artist.  What “rings your bell”?    Why are you drawn to this subject?  If what you paint is because it is acceptable or for profit alone, then you have missed the mark.  Memorable works of art touch those who view it in an unforgettable way.  It is this peaceful voice from the heart of the artist that stirs response and awareness in us all.    Albeit personal, it is that common thread that connects us to one another.   It is a privilege to be able to paint what we love and love to paint. Being inspired is truly a part of translating our art to paper.  But, if we cannot create a work of art which is technically well done it will not endure.   I’m not talking about talent.  I’m not even sure I believe in “talent”.   Yes, an artist is truly unique. No one sees things exactly as the artist sees them.  Plus there is that passion to create that must be present.  All of these elements contribute to becoming an artist.  Painting is like breathing.  You have to do it as a part of being you.  But becoming an artist, in addition to all the above mentioned components, requires training and hard work.  If you wanted to become a musician you would learn to play an instrument and practice.  If you wanted to play baseball, you would learn the game and practice.  Becoming an artist is no different.  You must learn the craft and practice, practice, practice.  So get started.

This blog is directed to pastel artists, or to those who are thinking about pasteling. I wanted to share a subject that took me awhile to discover on my own. That is, what kind of paper to use for the best results in painting a pastel landscape. Let me say first, you can use soft pastel on most any surface. It just depends on how you want the end result to look. The paper is so important. I began my pastel journey using velour pastel paper - great for realistic hair, fur etc, but oh so much work. The pastel kept disappearing. I then experimented with smooth surfaces as Pastel Mat, Color Fix , Canson all great papers and good for detailed, realist work. I liked these surfaces, especially for portraits, but for landscapes I wanted a more textured surface. I experimented with all kinds of textured papers and boards. I even made my own surface on gatorbord with a mixture of pumice and acrylic gel ( I also used this mixture on wood). I still use my own textured surface at times. A couple years ago, an artist friend gave me a scrap of UArt 400g sanded paper. I was delighted with this surface and it became my primary ground for landscapes. It works well with underpainting. Underpainting !!! Well, that's another subject for another blog.