DPW Spotlight Interview: Alina Adamczyk

Each week we will spotlight a different DPW artist who will give away one of their best paintings. To enter to win Alina's painting "Puponga" go to Daily Paintworks and click on the link at the top of the page announcing their interview.

From Alina's DPW Gallery Page:

I was born in Kracow, a magical city considered to be the centre of Polish academic, cultural and artistic life.

Strongly influenced by its rich history, medieval landmarks, abundance of museums and art galleries, I decided to study conservation of art, focusing on architecture. I developed an interest in drawing and painting after finding a stash of old sketches and watercolour paintings by my grandfather. At that time however painting was more of a hobby for me, and I decided to change my career to social work.

I moved to New Zealand in 2012, where I live in Richmond in sunny Tasman region. Overwhelmed by the beauty of New Zealand as well as the lifestyle it offers, I joined a local art group when I re-discovered my true passion – painting. I've been painting mainly in oils for few years now and am a member of local art gallery Wall to Wall Art. My works have been displayed at local exhibitions and in local cafe's and businesses and number of my works have found new homes in New Zealand and international private collections.

I love to paint New Zealand landscapes, birds and flowers. My paintings are richly coloured and full of light and I am drawn towards realism.

Tell us a bit about how you first started painting. 

I remember when I was a child there was a very special person who inspired me. It was my grandfather. The funny thing is that I never met him. He died in a car crash a few years before I was even born. But to me he was like some amazing mythical creature, everybody around me knew him and admired him. He was talked about with a lot of respect and love. I knew that he used to work designing roads and bridges, but one night I discovered that he was also an artist.

I sometimes stayed at my grandmas and I loved going through her things (she had those amazing dresses with sequins and ostrich feathers). One night when I was going through her cupboards and wardrobes I came across a massive stash of beautiful charcoal sketches and watercolors painted by my granddad. I couldn't take my eyes off them, they were beautiful: churches, cathedrals and castles. When I asked my grandma about it she told me about granddad's love for painting and she gave me his old set of watercolors and pastels. That is how I first started painting.

Puponga
(click to view)

Enter to win by clicking on the link at the top of the DPW home page announcing Alina's interview.

Did you have any stops and starts in your painting career? 

Even though I loved drawing and painting since I was a little girl, I didn't take it seriously until around three years ago. I think I haven't done any art since I finished high school.

I went to a very specialized high school where I did qualification in conservation of art. Drawing, painting and sculpting was our everyday bread back at school, but it all went a bit out the window when I chose to study social work. After doing my degree I went to Ireland where I worked as a preschool teacher and the closest I got to art was doing potato stamping.

Then I moved to New Zealand and this is when I really got inspired to start painting again. I picked up my paintbrush around three years ago and I haven't stopped since. Initially, it was just a leisure activity, once or twice a week just for fun, but with time it become much more than that.

Kingfisher
(click to view)

What mediums and genres have you experimented with? 

I tried painting in watercolors, acrylics and oils, I also had some fun using airbrush. The only subject I paint is nature. I manly paint landscapes, flowers and birds.

Which ones have "stuck" and which ones have fallen away? 

Definitely oils, I really like painting with fast drying oils: alkyds. I am a bit impatient, so conventional oils were taking a bit too long for me to dry. Acrylics on the other hand are sometimes drying too fast for me to achieve some of the blurry background effects that I really like using for my flowers.

Pelorus River
(click to view)

Which ones are you looking forward to exploring? 

One medium that I haven't really explored and I think could fit my style really well are pastels and pastel pencils and I plan to try them one day. 

Who or what inspires you most? 

My main inspiration is nature. I am absolutely in love with New Zealand and its beauty. It's incredible how you can travel fifty km and come across so many different type of landscapes, it's very unique. Whenever I go for a ride and look around all I want to do is stop and take reference photos for my paintings every few meters... I like big wide panoramic scenes and I also love little things like reflection of light on a winter berry or a flower on bloom.

As to who inspires me... well there are too many artists that I admire to talk about, but all of them are realist artists.

As to old masters, my favorite must be Ivan Ivanovich Shishkin; also Albert Bierstadt and others form Hudson River School. Talking about contemporary artists, well, I am mainly aware of ones that are a bit more active on social media. My favorite artist of all must be Andrew Tishler, he is originally form Australia but lives in New Zealand, not only he is an amazing artist but he also likes to share his talent through You Tube videos and tutorials. I also love landscapes by another NZ artist: Ivan Clarke, as well as flowers by Lyn Diefenbach and Amber Emm.

Fresh as Freesias
(click to view)

What does procrastination look like for you? 

I consider myself to be at the beginning of my artistic journey and I read somewhere that it takes around 10,000 hours to become a master at something. To me the main issue here is that I often tell myself I am not ready for something, that I should leave it for later when I get better at things... when I become a master... well it may take another seven years, right? So I realize that it doesn't make much sense, putting the things away, because as an artist I may never be fully satisfied with everything I do and there will always be room to improve or stretch so I try to fight that feeling and just get on with things.

Kereru
(click to view)

What techniques work to ensure that you make time for your art?

Time, hahahaha... I never have time... I am a wife, mum to two beautiful little girls (seven and three) and I work as a social worker supporting refugee families four days a week.

No, but seriously, when I first started painting it was only once per week at adult education evening classes on Mondays from 6-9pm. But I got hooked and I started thinking about when can I find time to paint. Initially, I started stealing some time on Saturdays and Sundays when my little one was having a midday nap (and I put a movie on for the older one - bad mother!). But soon it was't enough and I came to the conclusion that I don't really need to sit in front of a movie in the evenings as painting is my own way to relax.

Now I try to paint every day in the evenings after I put my kids to bed, it's often between 9pm and midnight, and I also paint on Tuesdays during the day when I don't do my main job (although since I joined local collective gallery, I also need to do shifts there two Tuesdays per month). I also now love wet, cold weekends as they are a good excuse to stay at home and paint. :)

How do you generally arrive at ideas for your paintings? 

I see things and places that inspire me.

Wharariki Beach Stream
(click to view)

How do you keep art "fresh?" What techniques have helped you avoid burnout and keep your work vibrant and engaging? 

I haven't been painting long enough to experience burnout, ask me in ten years.

What do you feel you are learning about right now as an artist? 

Marketing! Seriously, I had no idea how many skills an artist needs to acquire to become successful. It's not only about being good at painting... which I constantly work on. It's about making people notice you among so many thousands of other talented people, it's graphic design, social media, web design, marketing, accounting, interpersonal skills (especially if, like me, you work at a gallery trying to literally sell art to people), it's huge and it's necessary to get where I want to be.

What makes you happiest about your art?

Just creating art, the process itself. To me art is like yoga or meditation for some people, it takes me to a different place. When I paint I don't think about what happened at work or what I need to buy for dinner tomorrow, I lose track of time and it's only me and the painting in front of me and the colors.

Thanks, Alina!

© 2019 Sophie Marine

DPW Spotlight Interview: Sara Gray

Each week we will spotlight a different DPW artist who will give away one of their best paintings. To enter to win Sara's painting "Portland Headlight - Cape Elizabeth, ME" go to Daily Paintworks and click on the link at the top of the page announcing their interview.

From Sara's DPW Gallery Page:

I am both a painter and professional photographer living in Maine. My painting is strongly influenced by my 20+ years working as a photographer. The natural landscape has always been my source of inspiration and painting has given me the ability to capture the landscape in a more tactile way. I love texture, color and expressive brushwork.

I work both on location and from photographs, they both have their benefits and I don't always have the luxury of time to spend the necessary time to paint on location. Luckily I love photographing and have a plethora of material!!

Recently I have been splitting my time between Maine and Vermont. These are two amazingly beautiful states and two areas that have played a huge role in my artistic life. What brings me joy is sharing the beauty that I witness everyday with others.

Tell us a bit about how you first started painting.

I started painting abut ten years ago I had been a professional photographer for over twenty years at that point and I had always said I wanted to learn how to paint. My grandmother was an amazing portrait artist and my father was a watercolorist in addition to being a doctor and having a Morgan Horse Farm. I was always intimidated by painting and drawing, I joked that I couldn't draw and that's why I was a photographer, joking aside there was some truth to that! My husband bought me paints and brushes for Christmas and he had arranged for an artist friend of ours to give me lessons and that's how it began.

I live in Falmouth, Maine and we have the Maine College of Art in Portland. I took many Continuing Studies classes in drawing, still life painting, figure, portrait and Plein Air. I met some wonderful people in those classes and we decided to start painting at a friends studio once a week. We had models during the winter and in the summer we would paint outside. Over the years, I took several Plein Air Workshops with some very talented Plein Air painters, the most recent being with Tim Horn, Mark Boedges, Jon Redmond and Lori Putnam. I recently completed a 6 month mentorship with Lori Putnam. I don't have a formal art degree but I do feel like I have received amazing art instruction over the years and I am very grateful to all of the artists who have helped me along the way.

Portland Headlight - Cape Elizabeth, ME
(click to view)

Enter to win by clicking on the link at the top of the DPW home page announcing Sara's interview.

Did you have any stops and starts in your painting career?

Once I began painting, I never really stopped. It became more about the time and consistency I put into it. Three years ago, I ben to split my time between Maine and Vermont. My father had passed away six years prior and my mother was living on her own in Vermont and was at the point where she needed live in help to remain in her home. My daughter was in college and my husband was currently living in Georgie on a new business venture so I felt I had the time to spend with her. I feel like it has been during this time that I have been much more consistent win my painting. I stopped working as professional photographer to enable me to spend the time with her and painting became my creative outlet. My mother and I would go on drives, I would photograph with my phone and then I would paint from those photos while she napped in the afternoon. It was during this time I signed up with Daily Paintworks so that I had an outlet to sell all of the paintings I was accumulating!

What mediums and genres have you experimented with?

I began painting with acrylics but quickly moved into oils whenI began taking classes at The Maine College of Art. I have a travel sketchbook where I use pen and ink and watercolors, but I love painting with oils and haven't had a desire to switch. I feel as thought I still have so much yet to learn with the medium.

I have painted landscapes, still life and figure. Painting the landscape is what has really resonated with me. I was a landscape photographer for years so the hunt for beautiful areas and light are familiar to me and has been a part of the process that I love. light is often so fleeting. It is possible to capture many photographs during a sunset or sunrise but painting one complete painting is often not possible. This has led to many frustrating outings for me, but I am learning, I am challenged and just being outside and bearing witness to so many beautiful moments is really what makes me happy. A successful painting is a bonus, and those successes create a feeling that is so satisfying that it keeps bringing me out time and time again.

Little River - Freeport, ME
(click to view)

Who or what inspires you most?

I find my greatest sources of inspiration are being outside in nature and viewing work of other artists. We are so fortunate to have access to the internet because there is a wealth of information at our fingertips and access to thousands of artists both contemporary and deceased. Not only can you see their work but you can learn about them as an artist and their process as well. Living in Maine, I have access to some wonderful galleries and Museums. One of my favorites is the Farnsworth in Rockland. In addition to a collection that includes George Bellows, Rockwell Kent, Winslow Homer, Edward Hopper, Alex Katz... It is home to the Wyeth center which has a permanent collection of three generations of Wyeth paintings. And then I can walk across the street to a local gallery where I can see some of my favorite contemporary artists, Bo Bartlett, Connie Hayes and Colin Page. The internet is wonderful but nothing compares to seeing paintings in person. Maine has such a rich history of attracting painters and I feel incredibly fortunate to have access to so many venues throughout the state where I can view amazing artwork in person.

However, my biggest source of inspiration is being outside in nature. It is so challenging to paint Plain Air, often it's too cold or too hot, buggy, windy, wet... it can be so frustrating, but it is so fun and what you see and experience becomes part of the painting. Unlike a photograph, I am painting a period of time not a fraction of a second. I have more time to put myself into the painting. I feel the painting becomes a mixture of the emotions of the session whether they are of joy, frustration, awe... it becomes apparent in the brushwork, in the colors used, in the thickness of the paint, the detail or lack of... The painting becomes so much about my personal experience with the subject, the place, that a piece of art is created that only I could've created and I think that is an incredibly special aspect of painting.

Rocks & Surf - Two Lights State Park - Maine
(click to view)

What does procrastination look like for you?

As wonderful as the internet is at being one of my sources of inspiration, it is also my greatest, by far, sources of procrastination. What I intend to be a few minutes of checking emails and social media can easily turn into an hour of procrastination! Also when I start madly cleaning the house I know I am procrastinating!

What techniques work to ensure that you make time for your art?

I partook in three, thirty day painting challenges over the past six months and they helped me immensely in creating a discipline and a habit of painting everyday. Whether or not I was going to paint wasn't a question, the question was what am I going to paint? I had made a commitment so I couldn't paint because of travel, etc. but in my everyday life, it just became part of my daily routine. I tend to work much better and efficiently when I make this type of commitment. I have to do more work in making those commitments to myself and not having to be a part of an online community to follow through, but having a community that is right alongside me is really and inspiration and morale booster. Painting can be such a solitary endeavor and being part of a community is really valuable to me. Also having a reason to paint, whether it is a commission, painting for a show, etc... that makes me more able to make the time for myself to paint.

Mckown Point - Boothbay Harbor, ME
(click to view)

How do you generally arrive at ideas for your paintings?

This is one of my biggest challenges. I became more creative during the thirty day challenges. Wether didn't always permit me to paint outside and I had challenged myself to paint from life everyday so I started painting still lifes. My daughter had taken a ceramics class and we had a lot of her beautiful pottery around the house that I started pairing with fruit in my paintings. After doing this just a couple of time and having to paint everyday a theme emerged that I probably would never have thought of had I not been painting everyday. I was forced to come up with new ideas. I have often found that I am not always inspired to paint but just by the act of painting, something is learned or experienced that will often lead to an exploration of a place, subject or idea.

How do you keep art "fresh?" What techniques have helped you avoid burnout and keep your work vibrant and engaging?

Watching videos, taking a workshop, using new tools, painting in new locations, trying a new genre, painting on different surfaces or different size boards, creating exercises for myself where I focus on one thing when I paint, whether it is values, painting with different color palettes, or one exercise I learned from Lori Putnam that really helped me to loosen up was to do an eight brushstroke painting before beginning my actual painting. This allows you to just concentrate e on shapes and values and not getting caught up in the details. These are all tools that have helped me in the past.

Zinnias
(click to view)

What do you feel you are learning about right now as an artist?

I am really trying to concentrate on painting from life now. The majority of my landscape paintings had previously been from photographs but within the last six months I have really made a shift to Plein Air. I will still use photos but I feel as though there is an emotional element when painting outside that is present that isn't as prevalent when painting from a photo I am really trying to work on compositions and using Notans to help me determine lights and shadow and to help me with creating stronger compositions. I always thought composition was a strength I had coming into painting with a photography background. It definitely helped but I still have to get over the obstacle of realizing I don't have to be so literal in what I paint. I can move things around and leave things out to make a stronger painting. It will take me time to become comfortable with this concept!

What makes you happiest about your art?

Before I began painting, I always thought how of you start at a blank canvas and begin? Now that I have been painting, I find the beginning phase to be the most exciting time of a painting. I love how I can take nothing and create something that is completely unique to me. The choice in subject matter, composition, color choice, brushstrokes, what to include and what to leave out, these are all choices and artists decisions that are unique to me. The process of painting makes me happy, meeting people who are passionate about painting makes me happy, but when I complete a painting that I am happy with and it resonates with someone else emotionally, that makes me really happy!

Thanks, Sara!

© 2019 Sophie Marine

DPW Spotlight Interview: Jeri Ireland

Each week we will spotlight a different DPW artist who will give away one of their best paintings. To enter to win Jeri's painting "The Little Sentinel" go to Daily Paintworks and click on the link at the top of the page announcing their interview.

From Jeri's DPW Gallery Page:

Like so many painters, I spent years in the fields of advertising, illustration and corporate design. What a wonderful way to make a living!

Now I am concentrating on my fine art. It is different - rather than being given a task I am on my own, trying to conceive and produce. My goal is to show my love of the medium in each image. I love the feel of pushing paint around.

JeriIreland.com

Tell us a bit about how you first started painting. 

I started drawing as a child. Both parents attended Art Center in Pasadena, but didn’t pursue careers in art. They always made sure we had pens, pencils and paper as kids. When it came time for me to go to college they wouldn’t let me go to Pasadena, so I attended Sonoma State and California College of Arts and Crafts.

Did you have any stops and starts in your painting career? 

I painted some in college, where I was an illustration/graphic design major, but then stopped painting. As a graphic designer in the old days I could pump out comps in magic markers – they called me the Comp Queen at the agency I worked for. I also did a lot of fashion illustration. So my drawing continued to progress and I could produce anything in black and white, but I didn’t paint. I had a successful design studio for many years but all my art was commercial. And of course, once Photoshop and Illustrator came into play I used those.

Looking back, I might have painted more earlier with some traditional instruction. When I was in college the emphasis was on “feeling”. All art was supposed to be an inner expression of yourself and just spring out on its own accord. No help with traditional tried and true methods, which I have since studied on my own. No emulating the masters. Learning color mean cutting up Josef Albers squares and combining them. Just an expensive art free-for-all. Luckily I had some other instructors for anatomy and life drawing who stressed basics. We studied Gray’s anatomy and had to learn every bone and muscle. That was truly helpful and served me well in my career in graphics.

The Little Sentinel
(click to view)

Enter to win by clicking on the link at the top of the DPW home page announcing Jeri's interview.

What mediums and genres have you experimented with?

In college, I preferred pen and ink. Most of my later illustrations were graphite or charcoal. My first forays back into painting a few years ago were in watercolors. But I love oils and the way they feel on a canvas. They are also quite forgiving (at least they are now that I am able to handle them a little better!).

Which ones have "stuck" and which ones have fallen away?

I tried pastels a while back – loved them but hated the feel of the dust on my hands so I had to give them up!

Girl with Pail
(click to view)

Which ones are you looking forward to exploring?

At this point I’m going to stick with oils. As long as I can feel myself improving they are challenging and fun.

Who or what inspires you most? 

I love the impressionists. And of course I am influenced by Sarolla, Fechin, Sargent. Franz Klein appeals to my graphic nature. Dixon and Payne. Bill Cramer, Quang Ho, Liepke are some favs as well.

Pa'u Rider 3
(click to view)

What does procrastination look like for you?

Now that I have time to paint and not worry about making a living – I really don’t procrastinate. I guess that is the result of being a commercial artist for so long. Deadlines don’t wait. I never had the luxury of “waiting for the muse” when a client was waiting. 

What techniques work to ensure that you make time for your art?

My old design studio is now my painting studio. It is separate from the main house so I can head up there and go to work with no interruptions. It is my own little domain. I’ll put on some music and time flies by.

Untitled
(click to view)

How do you generally arrive at ideas for your paintings?

I have a huge collection of reference photos I’ve taken over the years. I am mostly driven by the effects of light, so I’ll usually choose something based on that criteria.

How do you keep art "fresh?" What techniques have helped you avoid burnout and keep your work vibrant and engaging? 

I try to work fast and am finally getting familiar enough with my paints that I can draw with them instead of paint with them. I am still experimenting with different techniques and “looks”, trying to decide which is the best direction for me. In looking at work I’ve done, I really prefer the ones where I can see that the process was immediate rather than labored. I’ve killed many a painting by working it to death.

Paniolo
(click to view)

What do you feel you are learning about right now as an artist?

My biggest revelation has come directly from daily painting. I don’t wait or spend time trying to figure out what to paint. I just paint. Anything. Everything. Every time I put paint on my brush I learn something more.

What makes you happiest about your art?

I love the feel of paint. I like how it slips and slides and I love brushstrokes. My favorite part is the execution. If I get a good painting out of it that is a bonus!

Thanks, Jeri!

© 2019 Sophie Marine

DPW Spotlight Interview: Monique Morin Matson

Each week we will spotlight a different DPW artist who will give away one of their best paintings. To enter to win Monique's painting "Caracal" go to Daily Paintworks and click on the link at the top of the page announcing their interview.


Tell us a bit about how you first started creating art.

I have always expressed myself through art. Creativity was encouraged through my childhood upbringing. My mother was an artist and inspired everyone around her to express themselves through art. So, while I do not have any formal training outside of my high school art class, art has been a part of my life since birth. It was in 2010, that I decided to develop my art into a profession.

Did you have any stops and starts in your art career?

Yes, of course. I am an artist, horse breeder, mother, and a wife. While I've always expressed myself through art, it wasn't until 2010 that I was able to produce my art with some consistency. Since then, I have been able to explore various mediums. In 2014, I was introduced to scratchboard by my son. Scratchboard immediately captivated my interest and I have spent the last five years developing my skills. Scratchboard is now my primary focus.

Caracal
(click to view)

Enter to win by clicking on the link at the top of the DPW home page announcing Monique's interview.


What mediums and genres have you experimented with? 

I have always been inspired by animals (and sometimes people). In the most traditional sense, the mediums I have explored are pen and ink, acrylics, watercolors, colored pencils, photography, and scratchboard. However, I have been able to use my creativity through a variety of untraditional mediums such as hand-decorated sugar cubes, custom children's table sets and horse jumps, and through the breeding of sport horses.

Which ones have "stuck" and which ones have fallen away?

As I have explored and developed as an artist, I've found scratchboard and breeding horses is my niche in the art world. 


Tiger
(click to view)

Which ones are you looking forward to exploring? 

I have yet to explore oils and pastels, but really look forward to having the opportunity to try them out at some point.


Who or what inspires you most? 

Color, nature and emotions are my primary inspiration.  I enjoy manipulating images and colors to convey or elicit a feeling for the viewer.

Dik-dik
(click to view)


What does procrastination look like for you?

Like most people, I find my daily chores have the tendency to distract me from my work.  My greatest challenge is learning how to balance my time between my art and my daily routine.

What techniques work to ensure that you make time for your art?

I work very hard throughout the day to make sure that I get my daily chores done, so that when inspiration strikes, I have the freedom to create art.

Tender Moment
(click to view)


How do you generally arrive at ideas for your paintings?

I am constantly looking for subjects that emote. Typically, I use animal and people as my subjects. When I want to try new genres, I participate in monthly themed challenges put on by my social media groups. These groups have really pushed me to grow as an artist and try new things.


How do you keep art "fresh?" What techniques have helped you avoid burnout and keep your work vibrant and engaging?

Inspiration is never far away. When I feel suck, I take a walk outside, play with my animals, and take photos of the surrounding nature. There is always something that will catch my eye, whether it be the local squirrel terrorizing my garden or the serene hummingbirds resting to drink from the feeder.
Other times, I just take a break for a day.

Patience
(click to view)


What do you feel you are learning about right now as an artist?

As an artist, I am constantly learning and developing my technique. However, my current focus is on devoting more time to my art so I can produce higher quality scratchboards with more depth and expression. Additionally, I am learning how to promote and develop my social media and online presence.

What makes you happiest about your art?

I am happiest when I learn that my art has positively impacted one of my collectors. Through the years, collectors have periodically messaged me about a piece that I created and how it has touched them or came into their life at the right time.

Harpy Eagle
(click to view)

Thanks, Monique!

© 2019 Sophie Marine

DPW Spotlight Interview: Heather Martin

Each week we will spotlight a different DPW artist who will give away one of their best paintings. To enter to win Heather's painting "Pink and Peach" go to Daily Paintworks and click on the link at the top of the page announcing their interview.

From Heather's DPW Gallery Page:

Heather Ihn Martin, a fine artist raised in rural Michigan, has been creating artwork since she could hold a pencil. Her passion for art was so clear and unwavering, that after graduating high school she found herself leaving her hometown in Michigan to earn her BFA in Illustration at the Ringling School of Art and Design (now named the Ringling College of Art and Design) in Florida.

Once receiving her degree, she spent years working as an illustrator, followed by nearly a decade as a game artist in the mobile gaming industry. In 2016, Heather was reintroduced to traditional media, and fell head over heels in love with painting from life and plein air painting. Despite working a full time job, having a long commute, and a ridiculously large family of animals, Heather spent every spare minute towards building a fine art career and working to be a better artist.

Tell us a bit about how you first started painting. 

I've been drawing since I could hold a pencil, but painting didn't really happen until I was in middle school art classes. My first oil painting was actually a Bob Ross piece that I painted with my grandma's husband. It was so fun, and eye-opening to see what could be done with oils.

Did you have any stops and starts in your painting career? 

Oh yes. I went to school at the Ringling College of Art and Design for Illustration. Back then it was 95% traditional mediums, and I focused most on oil painting. Once I got a job in the tech industry around 2008, I drifted away from traditional art, and primarily worked digitally. Traditional painting became an interest again around 2016 for me, and I wish I never took that break!

Pink and Peach
(click to view)

Enter to win by clicking on the link at the top of the DPW home page announcing Heather's interview.

What mediums and genres have you experimented with? 

Experimentation is so crucial, and I've tried several mediums along the way. Some of those include transparent watercolors, oils, acrylics, pen and ink, and charcoal.

Which ones have "stuck" and which ones have fallen away? 

Gouache has been the clear winner so far as for what's "stuck". It's so easy to clean! (cleanliness is not my forte). Gouache has such a nice smooth feel to it, similar to oils, it's very satisfying! I'd love to get back into oil painting though; I miss the smell, textures, and rich colors.

Which ones are you looking forward to exploring? 

After attending several transparent watercolor demos at our local watercolor association, I've been interested in exploring that more, but first would love to get back into oil painting and working on some large scale work.

Favorite Spot
(click to view)

Who or what inspires you most? 

Every day scenes and the way light shines on and through objects. It's fascinating to see how everything works in harmony with each other, and creates the most beautiful colors and patterns.

What does procrastination look like for you? 

Oh boy, when I procrastinate I tend to drag my feet quite literally around the house looking for things that inspire me. It's getting tougher since I've painted nearly every angle of the house. I try to keep myself busy even if it doesn't feel productive to me, like uploading new art to the site, responding to comments on social media, or taking a moment to write a blog post.

Transparent
(click to view)

What techniques work to ensure that you make time for your art? 

Be sure to always have your palette clean and ready to go! I set up fresh water jars so I can just sit down at the drop of a hat, and start a painting. Sometimes I have to settle for a less ambitious piece, and just do a small 30 minute to 1 hour study to keep myself from getting rusty.

How do you generally arrive at ideas for your paintings? 

Most of the things I've painted have been just unexpected moments of beauty. However, I've started a project with Chris Greco (A fellow Daily Paintworks artist) called the "Double Take Project" where we take turns coming up with prompts to paint, and then show our own takes of it. It's been keeping us both on our toes.

Eucalyptus Shadows
(click to view)

How do you keep art "fresh?" What techniques have helped you avoid burnout and keep your work vibrant and engaging? 

Challenge yourself! Even if it may not look like a challenge to an outsider, I guarantee there was an aspect of the work that had me actively problem solving and trying new things. It could be by pushing the composition to be a little more daring, or trying to paint a subject that just seems impossible! By setting these challenges up for myself, it hopefully makes for more interesting and engaging work.

Queen of the House
(click to view)

What do you feel you are learning about right now as an artist? 

Being a full time artist is new to me, and I'm learning so much about the art world. It's just as tough as they say, if not, tougher! So I'm trying to navigate the waters, and learn to balance both the marketing aspects, trying to make a decent income, and also stay true to my artwork.

What makes you happiest about your art?

Capturing special moments that have an emotional impact to me, whether it be a family portrait, or a favorite spot in a park. It's so wonderful to be able to translate your feelings on paper, and share them
with others.

Thanks, Heather!

© 2019 Sophie Marine

DPW Spotlight Interview: Bernie Wisniewski

Each week we will spotlight a different DPW artist who will give away one of their best paintings. To enter to win Bernie's painting "Poppy Landscape 2" go to Daily Paintworks and click on the link at the top of the page announcing their interview.

From Bernie's DPW Gallery Page:

I live and paint in the north east of England - it's an area with a beautiful coastline and lots of history. In my work I try to convey an emotion that the subject conveys, rather than trying to achieve technical correctness. Colour is important and I admire the work of the Scottish Colourists and the Fauves. The finished piece must be pleasant to look at, and if it stimulates the "feeling" of the subject so much the better.

Tell us a bit about how you first started painting.

I enjoyed painting when I was at school – we were lucky to have an art teacher who was passionate about art and gave great encouragement to us all. I developed my own style early on and would paint using a broken knife I’d found in the kitchen. The paintings weren’t gentle laborious pieces but were worked on with speed and enthusiasm. One of the teachers asked me to paint his favourite chess set (I suppose you could say it was my first commission) and I was rewarded with a smart new set of oil paints.

Did you have any stops and starts in your painting career?

Although given the chance to attend further education at Art College I decided that “getting a job” was what I wanted. Marriage and children followed and for the next thirty-something years I appreciated art as an observer rather than a participant. With the Family now grown and the financial responsibilities for them decreased (only slightly!) I’m able to spend time indulging my passion.

Poppy Landscape 2
(click to view)

Enter to win by clicking on the link at the top of the DPW home page announcing Bernie's interview.

What mediums and genres have you experimented with?

I got back into painting with a good set of soft pastels and conte crayons. I found that the immediacy achieved using these suited my style – the medium effectively became an extension of my hand straight to the paper. Acrylics came next as I wanted to give more depth, more solidity, to the colours. I like this medium – it again allows speed of working (I like the fast drying times) and there are excellent products with differing characteristics to choose from.

What mediums and genres have you experimented with?

I’m starting to experiment more using translucent paints and overlaying some areas with this. I think the effects of this contrast well with the block colours of the opaque paint. I often put my acrylics away and get the oils out – it’s a totally different way of working – I love the texture and feel (and smell of the oils). It’s great fun - exciting – and I almost always paint these using a palette knife. Again it allows fast working (easier to clean than a brush) and allows for a lot of different effects.

Geisha
(click to view)

Which ones are you looking forward to exploring?

I’d be interested to try screen printing and linocuts – I’ve seen some lovely work using both these mediums. The only medium I wouldn’t try is watercolour – again I’ve seen some excellent work in this, but I don’t think it would suit my way of working.

Who or what inspires you most?

There’s so much good artwork around that I’m constantly finding new artists whose artwork excites. My core favourites however would be the French Impressionists, the Scottish Colourists and the Fauves. I recommend having a look at the work of Joan Eardley – particularly the Glasgow “street kids” – she was a brilliant Scottish artist and I saw an exhibition of her work in Edinburgh. I’ve got no doubt that red wine and good music can also be inspirational in producing a pleasing piece of art!

Flowers Still Life
(click to view)

What does procrastination look like for you?

I admit that by nature I’m impulsive – it’s generally served me well – and it’s the same with my work. When I get the excitement – the idea of an image – I have to work on it immediately. If I were to procrastinate it would be lost.

What techniques work to ensure that you make time for your art?

I think everyone’s life just gets busier all the time. It’s not particularly beneficial to the person or society. Nature will always fill a vacuum so it’s important (I think) to allocate periods which are sacrosanct.

Built on the Tyne
(click to view)

How do you generally arrive at ideas for your paintings?

There’s no set pattern for ideas – I don’t look for them but let them come to me. If there’s an image – an idea – which will make an exciting painting, it usually registers. It’s important to keep an open mind so as not to miss these opportunities.

How do you keep art "fresh?" What techniques have helped you avoid burnout and keep your work vibrant and engaging?

I think in order to keep work fresh the artist has to routinely set themselves new challenges. It’s easy to slip into a rut of doing work which isn’t difficult. Every now and then I think about what would be a hard subject to paint. I then give it a go and in most cases it’s worked out well. This keeps the excitement, which is important, avoids burnout, and extends the artist’s abilities.

Croft Sunset
(click to view)

What do you feel you are learning about right now as an artist?

We’re all learning every day (or should be) and it’s the same with art. There’s so much to learn, so many new techniques – time is the limiting factor rather than ideas. Keep on experimenting and enjoying the work.

What makes you happiest about your art?

To me, there’s nothing beats the buzz of working fast on a piece, great music in the background, and knowing that it’s all coming together. Not every day is like this however and it’s self defeating to try to force it – it has to be enjoyable and this will show through in the finished work.

Thanks, Bernie!

© 2019 Sophie Marine

DPW Spotlight Interview: Marjorie Landrin

Each week we will spotlight a different DPW artist who will give away one of their best paintings. To enter to win Marjorie painting "Reel Time" go to Daily Paintworks and click on the link at the top of the page announcing their interview.

From Marjorie's DPW Gallery Page:

I have been making art since I could hold a crayon. Growing up in the time of "abstract art" being taught in schools. I went for something more practical. I studied architectural design and technical illustration which gave me income producing jobs. I picked up art workshops at places such as Scottsdale Artist's School as finances permitted. I've had the usual "stops and starts" with painting that come with life events such as becoming a cardiac RN, caretaker for parents, marrying for the first time at fifty-four to my best friend who like me cannot stand city life. We have built our own house and forged a unique outdoor life in the past eight years. Now is the time for me to get back to my "sweet spot" which is painting. The idea of small Daily Paintings caught my attention and I'm enjoying it. No guilt over wasting a lot of time and money on large paintings the average person can't afford. We'll see where this new journey takes me...

Tell us a bit about how your first started painting.

I don't remember a time when I didn't paint and draw. My first “lessons” came when my Mom decided I should do something other than school at age eight. I was easily bored. The only thing we could find was ballet at the time. That only lasted about two weeks. Then she found an artist that gave lessons to kids and I got to start oil painting. I was in heaven. I loved the smells and the mess and everything about it. I did that when I could in between school and camping with my family.

Did you have any stops and starts in your painting career?

I had continual stops and starts in my painting. It was never my career since I hated doing commercial art and supporting yourself as a fine artist is not always practical. I first went into technical illustration and architectural design and I even worked in aircraft designing ground support equipment. Then I became an RN. Reality often pushes art to the back for a time. Then you realize that you can't quit painting or your brain stops working as well.

Reel Time
(click to view)

Enter to win by clicking on the link at the top of the DPW home page announcing Marjorie's interview.

What mediums and genres have you experimented with?

I've tried almost all the mediums and my art closet can attest to that. I needed to be able to use most of them competently since I also taught local college classes for a time. I also like to paint any subject that catches my eye.

Which ones have stuck and which ones have fallen away?

I like oil and pastel the best. I've never gotten watercolor to do what I want it to do. I don't have the patience to “leave the whites” but I really admire a good watercolor.

Flaming Desert
(click to view)

Which ones are you looking forward to exploring?

I would like to explore a water-based paint that would act like oil but dry in a day for traveling. I haven't found one that suits me yet.

Who or what inspires you most? 

Nature inspires me the most. I love the effects of light and shadow and the different colors of light.

Young Woman in Denim
(click to view)

What does procrastination look like for you?

The longer I go without painting the harder it is to start again. The blank canvas seems to tell me I can't do it. It seems to be some kind of fear of failure reaction. So I either have to paint every few days or it's a major struggle after that.

What techniques work to ensure you make time for your art.

I avoid phones and the computer as much as possible. That's not hard for me to do since I don't like them that much anyway. I try to use my best time for painting and save the chores for when I'm brain dead. I can't have a set schedule because the mini-farm/logging life (www.jdsbirds.com) has to be done dependent on things that can't be controlled or predicted.

Hidden Valley
(click to view)

How do you generally arrive at ideas for your paintings?

I'm usually excited by the light and dark pattern or colors that I see.

How do you keep art “fresh”. What techniques have helped you avoid burnout and keep your work vibrant & engaging?

I find that I have to switch subjects and techniques frequently or I get bored to death and it shows in my paintings. I admire people that can keep painting similar things over and over to perfect their skill but I don't seem to be capable of that. I tend to want to paint whatever catches my eye.

Saguaro Kings
(click to view)

What do you feel you are learning about right now as an artist?

I'm trying to teach myself to remember everything I already learned over the years and to quit making the same silly mistakes over and over again such as: Not using enough paint! Cleaning my brush with turps and then using it again before it's totally dry (pulls the paint off the canvas). Not simplifying enough. Too much brushing and not enough looking.

What makes you happiest about your art?

When I get into the zone of painting, everything else in the world goes away and I don't have to think about anything. I just get to be Marge.

Thanks, Marjorie!

© 2019 Sophie Marine

DPW Spotlight Interview: Marita Hines

Each week we will spotlight a different DPW artist who will give away one of their best paintings. To enter to win Marita's painting "The Cabana" go to Daily Paintworks and click on the link at the top of the page announcing their interview.

From Marita's DPW Gallery Page:

I worked for over forty years in non-art related fields, moving from one job assignment to another in an effort to grow and stay engaged. It was both tedious and challenging. When I got the opportunity to retire and pursue painting full-time -- there were doubts that I would be able to maintain a level of engagement without constantly shifting direction. Then I was re-introduced to Plein Air painting! Capturing and translating a fleeting moment in time challenges me in ways my "day job" never could. (click to read more)

Tell us a bit about how you first started painting.

I was into drawing from an early age, using my skills to create paper dolls and doll houses. Arts and crafts have been part of my life as long as I can remember. As a teen, I was lucky to have participated in a Saturday art class sponsored by Carnegie University. Although I did not pursue a degree in art, I have taken many workshops and classes over the years.

Did you have any stops and starts in your painting career?

After working in a non-art related field most of my adult life, I got the chance to retire and pursue painting full time. Until my retirement in 2015, painting was something I did on occasion to relax or while on holiday. Now that I have time to paint full-time, I still don't know that I'd call it a career.  I sell my work in order to paint more. Nothing makes my day like someone who has fallen in love with one of my paintings and wants to take it home with them.

The Cabana
(click to view)

Enter to win by clicking on the link at the top of the DPW home page announcing Marita's interview.

Who or what inspires you most?

Early on, a mentor introduced me to Plein Air painting. Plein Air is a French term referring to painting in the "open air" or outdoors.  Although my first experience with Plein Air was not a good one, it was memorable. It was a cold, snowy day and my fingers would not cooperate. Yet, there was something so inspiring and challenging about painting outdoors. Van Gogh painted the same haystacks repeatedly -- was he inspired by the changing seasons and time of day? Those things just add to the allure. Today, I belong to two Plein Air groups, including one that I manage.

What mediums and genres have you experimented with?

I have experimented with sculpture, oils, pen and ink, charcoal, gouache and watercolor. There was a period when my work was abstract in nature. My only regret is that it took me so long to figure out it wasn't my thing. Today's paintings are loose and representational. 

Potted Pretties at Longwood Gardens
(click to view)

Which ones have "stuck" and which ones have fallen away?

My favorite medium by far is watercolor.  It's perfect for Plein Air painting because it dries quickly, cleans up easily, uses no chemicals or solvents, and is very portable. 

What techniques work to ensure that you make time for your art?

I start early in the day, because that is when my energy level is at its peak. I try to schedule the less creative work like sending emails and doing paperwork in the evening hours.

Docked
(click to view)

How do you generally arrive at ideas for your paintings?

I take pictures everywhere I go. Most people take photos of loved ones during special events. I take pictures of strangers and beautiful landscapes and architecture. It's not just my vacation photos that are potential paintings. It's the ones I take of everyday life -- the back alleys, old buildings, beautiful gardens, an old man sleeping on a bench.

How do you keep art "fresh?" What techniques have helped you avoid burnout and keep your work vibrant and engaging?

It's in my nature to get bored with a regular routine. But there are so many ways to change it up -- learning a new technique, using a new color palette, watching a video, reading a book, checking out a new location to paint.

Afternoon at Landis Valley
(click to view)

What do you feel you are learning about right now as an artist?

I'm currently working with a limited palette, trying to improve the harmony and innovation of my color combinations.

What makes you happiest about your art?

I enjoy when people make a connection with my art. Sometimes I make a connection with the work of other artists. I'm an artist and an art collector.  In fact, I won a painting from the Daily Paintworks Artist Spotlight.

Thanks, Marita!

© 2019 Sophie Marine