DPW Spotlight Interview: Christopher Clark

Each week we will spotlight a different DPW artist who will give away one of their best paintings. 

To enter to win Christopher Clark's painting, "Lake Tahoe Stream," go to Daily Paintworks and click on the link at the top of the page announcing her interview.

From Christopher's DPW Gallery page:

His travels, inspiration, and education have taken him all around the world, including Italy, France, Germany, Greece, Japan, and Mexico. His award-winning paintings have been collected and shown in private and corporate collections around the world.

Tell us a bit about how you first started painting.

I've been doing art my whole life since I was a kid. I used to watch Bob Ross on TV and mimic what he was doing, but with crayons.

Lake Tahoe Stream
(click here to see original image)

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

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

I have had periods of my life where I've focused on either art or music. For the longest time, I chose one or the other, for a few years at a time. Just over two years ago I made the decision to focus almost all my attention on my artwork, and have been pursuing it very passionately since then.

What mediums and genres have you experimented with? Which ones have "stuck" and which ones have fallen away? Which ones are you looking forward to exploring?

When I started studying art seriously I began with mostly pencil, doing super-meticulous, photo-quality rendered drawings. I was kinda scared to do anything with color for a long time. I ventured forth into color using pastels and chalks, still clinging to the pencil-style art I was comfortable with.

I then made the decision to start painting in acrylics, which opened my world up to the versatility of the paint medium, and experimented a ton with mixed mediums and textures, painting on wood, etc. because you can pretty much paint on anything with acrylic. I finally settled on the more classical approach of oil on canvas, as I started studying old masters and so many of their timeless techniques, and this is my current preferred medium. I do still like to do value studies and sketching in charcoal.

Golden Hay
(click here to see original image)

Many of your paintings are suffused with "the golden hour" light of sunset or sunrise. What can you tell us about the kind of light you're drawn to painting and why?

It's my absolute favorite time of day. In fact, I have a secret fantasy to move to the northern Netherlands or something where during some seasons it's like that 24 hours a day (and I'm moving to Europe this summer, so that fantasy may not be too far fetched).

I think everything looks better during that time of day, as the sun is low and its warm, orange light shines through everything and makes the world translucent. The leaves on a tree glow the most gorgeous green, a grassy field becomes full of dazzling light, and a girl's hair is a halo of gold. Everything looks so magical at that time of day, and I just can't capture it enough. I'll oftentimes add that lighting to my subject even if it isn't there when I'm painting it.

What does procrastination look like for you? What techniques work to ensure that you make time for your art?

Procrastination comes in the form of being drawn to my other passions in life: playing music (I play guitar and sing), and dancing (I do vintage dances from the 1920s and 30s - Jitterbug / Lindy Hop / Swing / Charleston / etc). I'm always torn between these other forms of art, that I don't always get to focus on my painting as much as I'd like. The only way I ensure that I make time for my art is if I choose to stay home and do it, and not go out dancing, or not pick up my guitar and practice all night. But it's a very endearing battle, because I love all of them so much.

The Big Apple
(click here to see original image)

How do you generally arrive at ideas for your paintings?

I really try to paint things that I see in my daily life, or that I've seen during my travels. I take tons of photos with my phone whenever I'm out somewhere, and sometimes the most random pictures that I snapped from my car window on the freeway become my most popular paintings (not the safest form of artistic expression, I'm sure).

I do love painting places that I've traveled to, because it allows me to relive those beautiful, exotic places again, and share those travels with other people. The most common place I paint is Italy. I've spent time there in the past, and I will be moving there this summer, so expect lots more Italy paintings in the near future. And I can't deny it, people freakin' love paintings of Italy, so it works well for both me and my customers.

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

I only paint things that I love. I had a brief stint in the decor art market, and I can't tell you how fast I got burned out on the idea of painting the same dull poppies or chrysanthemums, or doing the same boring typography designs of the words "Love," "Hope," "Friends," "Laughter," etc. Blech. I still have a connection with the decor market, but I now only supply them with paintings that I love, like landscapes or people or anything else that I get really involved in.

Florence, Italy - The House Next Door
(click here to see original image)

I recommend going out into the world and finding what makes your heart sing, and painting that. Don't paint from other people's photos, don't paint what you think people will buy, but only paint what you love. Because only then will you love to paint it, and only then will people buy it.

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

I'm studying technique as much as possible. Devouring everything written by Andrew Loomis and Richard Schmid, watching every video by Johnnie Liliedahl and Zaoming Whu, etc. I recently took a semester of workshops from Vadim Zanginian in LA. I feel like I do possess a lot of natural spirit for painting, but learning sound technique is the only way to truly have control over every brushstroke you ever make.

Drawing, values, color, edges, composition, linear perspective, aerial perspective, anatomy, color theory, light behavior, shadows... These things have become invaluable to me as an emerging professional artist trying to set myself apart from the ocean of other artists out there. And they will ultimately enable me to most effectively communicate my feelings through my paintings. Rather than stifle or hinder the creative forces as many artists would feel, it sets you free in unimaginable ways to successfully tackle any painting you can envision.

Castelfranco, Florence, Italy VII(click here to see original image)

What makes you happiest about your art?

I have to admit, I'm happy that I'm pretty decent at it (and I hope I don't ever think I'm "great" at it, then I'll have a personal problem). When I have a vision in my head, I'm very confident I can bring it to life in a painting. My art makes people happy, and that makes me happy. Plus I do actually sell paintings, which is a great bonus, I can't deny. But ultimately, it makes me happiest when people look at my art and feel spoken to.

Thanks, Christopher!

© 2013 Jennifer Newcomb Marine

DPW Spotlight Interview: Cindy Haase

Each week we will spotlight a different DPW artist who will give away one of their best paintings. 

To enter to win Cindy Haase's painting, "Dash of Pepper," go to Daily Paintworks and click on the link at the top of the page announcing her interview.

From Cindy's DPW Gallery page:

My art education has been self-directed studying with some of the best in the medium of colored pencil and pastel. I serve as the national president of the Colored Pencil Society of America, and am a member of Impressionists Society of America, Missouri Valley Impressionists Society, and the Pastel Society of Colorado.

Tell us a bit about how you first started painting.

I walked into the little studio I shared with my painting partner and she was painting this huge canvas in oil with a big paintbrush. I suddenly felt envious. I put away my pastels, got out some old tubes of paint, a scruffy brush and began in December 2010.

Dash of Pepper
(click here to see original image)

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

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

My goal was to go to college after high school and study art, but my first big stop was falling in love, marriage and two little baby boys. Then there was the care and feeding of the boys, so I worked in the corporate world for about 25 years. When I left my corporate job, I had no confidence in any of my artistic skills so rather than go back to drawing and painting, I started a decorative wood painting business, then managed a quilt shop and taught classes in quilting. After making dozens of small traditional art quilts, I began to explore art quilting and that's when my artistic sensibilities started to kick in. That was 2002.

What mediums and genres have you experimented with? Which ones have "stuck" and which ones have fallen away? Which ones are you looking forward to exploring?

I took a year-long drawing class in 2002, which really helped my confidence and began exploring colored pencil on my own. My first five years back into my art, I worked only in colored pencil, took classes from some of the best CP artists, taught CP classes myself, and got involved in a the wonderful community of CP artists. I have been on the national board of the Colored Pencil Society of America since 2006 and have served as the president for the last year and a half... even though I don't work in colored pencil anymore.

Cat Nap
(click here to see original image)

In 2007, I began to dabble in pastels which was my first love as a little girl. (A neighbor had given me a box of pastels and some art books and I spent hours in my room creating.) A friend of mine was taking studio classes with master pastelist, Deborah Bays, who lives here in Denver. Deb is fluent in atmospheric realism and the light/shadow (chiaroscuro) approach to still life. I studied with her for 2.5 years and am indebted to her for the concepts she taught me. She not only taught me how to wield my pastels, but much of what she taught me has transferred to my oil painting.

Quang Ho is also a masterful Denver-based artist and I have several of his dvd's which have filled in any of the oil painting questions about the light/shadow approach. In this approach to painting everything is either in the light or the dark... so simple. It's also not so much about painting the objects but the structures created by the lights and shadows... again, simple. Yet, it is very challenging to put in practice.

So much of your beautiful work actually appears to be glowing! How do you do that?

That's an awesome compliment, but I'm not really sure. I paint mostly on Gessobord panels and anything bigger than a 6 x 6" is rare. I consciously minimize my use of white to mix colors, trying to express the light and shadow with pure color. Red is my favorite color and I like it best when it jumps off the painting surface and into your face. I learned a great deal about color mixing, temperature and saturation from my colored pencil "career," and even more about the quality of light from my pastel studies with Deb Bays.

Strawberries and Cream
(click here to see original image)

What does procrastination look like for you? What techniques work to ensure that you make time for your art?

I fight procrastination every day, but having a studio away from home helped. Sadly, my studio mate and I made the decision to give up the studio after two years for financial and other reasons this month. So for now, I have my oil painting "studio" set up in the dining room right next to the bank of north windows. It will stay out all the time, unless the President is coming to dinner.

I also have a black painting apron with a red chipotle pepper on the front. When the apron goes on, it is time to paint. Money is also a motivating factor.... no money... no fun stuff.

Vintage Bottle and Tea Roses
(click here to see original image)

How do you generally arrive at ideas for your paintings?

I gravitate to fruits and vegetables as my painting subjects. The thought occasionally runs through my head to paint something else, but then I think about famous artists like Monet who painted the same thing over and over. There is always something new to be discovered, even if it an apple or a pear. Instead of different subject matter, I usually look for a different approach to expressing my artistic vision, like exaggerating edges, or scratching into wet/dry paint.

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

I love to look at good art and follow dozens of talented artists on Facebook, always looking at how they handle edges or light, or a particularly difficult passage in their paintings. Also interesting to me is when a fabulous painting touches me: what is it that I'm responding to and how do I incorporate that quality into my own art? I've always been a "learner" (I could have been a professional student if I had the money!), so the constant challenge of learning new things keeps me motivated and my art fresh.

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

I love the philosophy of Quang Ho about the different levels of seeing. I'm heavily paraphrasing here. At first, you are just so darned happy to be able to make your brush turn out a decent representation of an apple... that would be first level. Then you move beyond the literal interpretation to "What is there to say about this apple?" and how do to go about expressing that. The third level is.... well, I haven't gotten there yet. I'm still at the second level and happy to be so.

Pepper and Jug
(click here to see original image)

What makes you happiest about your art?

I grew up in a family with a father who was quite authoritative. My interpretation, most probably not his intention, was that what I had to say was not that brilliant. I think he was trying to instill humility. For me, art is my personal language... I am free to see and communicate whatever I want. It's a conversation between my insides and the outside world, whoever is interested in joining the conversation.

Thanks, Cindy!

© 2013 Jennifer Newcomb Marine

DPW Spotlight Interview: Carol Nelson

Each week we will spotlight a different DPW artist who will give away one of their best paintings. 

To enter to win Carol Nelson's painting, "Gemstone 11," go to Daily Paintworks and click on the link at the top of the page announcing her interview.

From Carol's DPW Gallery page:

I have been painting for about 12 years. My formal art education was in the form of workshops taken from nationally known artists. Now I teach other artists my mixed media techniques in Colorado and around the country.

Tell us a bit about how you first started painting.

I was an art major many years ago, but my degree is in a scientific field – I wanted a career where I knew I could support myself. Art was on the back burner for years, until one day, a chance encounter in Hobby Lobby lead me to pick up a copy of Maxine Masterfield’s book, Painting the Spirit of Nature. Looking through the book I was enthralled. I bought all the supplies suggested in the book, and that began my painting career.

Gemstone 11
(click here to see original image)

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

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

No, once I started painting in 1998, it has been full steam ahead. As a matter of fact, the pace of my art career, which is now a full time (plus) job, has only quickened with each passing year.

What mediums and genres have you experimented with? Which ones have "stuck" and which ones have fallen away? Which ones are you looking forward to exploring?

I first started out with pouring inks and watercolor. Then, because I hated matting and framing under glass, I switched to oils and acrylics. Acrylics naturally lead to mixed media because of all the mediums and other materials that can be incorporated into an acrylic painting.

Batik Poppies
(click here to see original image)

Encaustics is something I’ve always wanted to try – it’s a natural progression for a mixed media painter I think.

I love the rich, jewel-tones of both your abstracts and still lifes. What can you tell us about how you are either pulled to create representational art or something more nebulous?

I love both representational and abstract art. I find the most satisfaction for my creative drive, however, in abstract work. I find it much more challenging to create a work of art that, in the beginning of the creative process, I have no idea how it is “supposed” to look.

The rich jewel tones of my work are the result of painting with layers of Golden fluid acrylics, which are very transparent, yet with high pigment content.

Frosty Morning
(click here to see original image)

What does procrastination look like for you? What techniques work to ensure that you make time for your art?

Procrastination is Pinterest (lol). Reading volumes of email, Facebook, Youtube, and other computer activity can suck up a whole day. It seems like I’m always working under a deadline – an upcoming show, class, workshop, or other reason to have work available, and that’s a great motivator.

How do you generally arrive at ideas for your paintings?

Lots of things inspire me to be creative. Seeing the work of other artists is one, discovering a new technique or material is another. I love experimenting and trying new things – acrylics are MADE for that kind of thing.

Watchful Eyes
(click here to see original image)

My greatest ideas come in the early morning when I’m in bed halfway awake, although sometimes they’re not so great after I’ve had my coffee.

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

I teach classes in the fall, and workshops all year round. I’m always searching for new things, new techniques, new materials to share with my students.

Often times, a walk through Home Depot will reveal some new thing I can use in a painting. Or, as referenced earlier, browsing on Pinterest is a world of discovery. I just discovered the art of nkisi, from the African Congo tribes using rusty nails – can’t wait to try that on one of my assemblages.

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

I am investigating pouring acrylics – creating art without a brush. I would like to try being less controlled in some of my abstract work.

My Painting on the Cover of the Blick Catalog
(click here to see original image)

What makes you happiest about your art?

Art makes my life filled with purpose. I am always busy. It’s very gratifying to hear wonderful comments from people all over the world about my work. Knowing that my work inspires other artists to expand their artistic vision is the best.

Thanks, Carol!

© 2013 Jennifer Newcomb Marine

DPW Spotlight Interview: Nora Bergman

Each week we will spotlight a different DPW artist who will give away one of their best paintings. 

To enter to win Nora Bergman's painting, "St. John's Bridge," go to Daily Paintworks and click on the link at the top of the page announcing her interview.

From Nora's DPW Gallery page:

I'm an artist/mom living out my dreams in Clatskanie, Oregon with my husband and three young boys. Originally from Minnesota, I studied Interior Design and Art at North Dakota State University.

Tell us a bit about how you first started painting.

I've been very creative my entire life. I was always doodling, sewing, painting things onto my clothes, making the posters for school – just always crafty. I was the kid who got calligraphy kits and drawing supplies as gifts and loved it. My favorite teachers were the ones that incorporated art into learning, and my seventh grade art teacher taught me all I've ever needed to know about drawing in perspective. I enjoyed school and did well, but didn't really think I had the gumption to make 'art' a career, so I eventually landed in an interior design program. I would finish the drafting and designing part of a project as quickly as possible in order to get to my favorite part, the design rendering.

St. John's Bridge
(click here to see original image)

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

Throughout my education, I've taken many art and art/color theory courses, but never a painting class. After graduation from college, I avoided the design world and started down a rather random work path including youth ministry, floral design and picture framing. About fifteen years ago, I moved to the west coast and one of my friends suggested I try painting a mural on another friend's dining room wall. One painting led to another, and I essentially learned how to paint on bathroom and bedroom walls and living room ceilings.

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

Painting murals was only ever a part-time occupation for me, but I happily painted what other people wanted, thinking of fine art as a 'maybe someday' option. I knew I didn't have the inspiration or motivation, and, frankly, was terrified that I wasn't good enough.
In 2004, I married my amazing husband, Alan, and within the following seven years, we added three little boys to our family. Painting was random and rare for me during that time, but I did start my blog then, mostly just to have an online place to document all the work I had done up to that point.

In 2011, our family experienced a sudden loss that was heart-breaking, and for me, life-altering. It was as if God gave me a little shake and said, “Are you seriously going to let fear continue to stop you from really living?” All those trite cliches about seizing the day, living in the moment, you only have today, well, suddenly they were oh-so-real. A switch was flipped in me, and I haven't looked back.

Whatever Befall
(click here to see original image)

What mediums and genres have you experimented with? Which ones have "stuck" and which ones have fallen away? Which ones are you looking forward to exploring?

I painted strictly with acrylics up until last year, and still enjoy using them. When my 'someday' became 'today', I went to my friend, the internet, to learn about oil paints. After a time, I stumbled onto Daily Paintworks and the art-blogging community. Right around this time, the ArtBytes were introduced, and Carol Marine became my teacher. I literally took her supply list to the Utrecht store in Portland and filled my basket. I nearly went crazy at first, trying to keep mud from appearing on my board, but every attempt brought small successes and things learned.

Since I haven't even been at the oils for a full year, I'm really looking forward to the continued learning and improving, to someday feeling like I actually know what I'm doing. And, to figuring out if I'm cleaning my brushes the right way!

I just love your scenes of a quiet, rural life. What can you tell us about how you find painterly inspiration, whether it's tools, a window latch or a grain silo?

Hmmm, I guess it's because it's what I know. I'm a farmer's daughter and the descendant of extremely resourceful souls - a junker at heart - so I see beauty in those things. Fields of crops, rural architecture, small town life, a tool that's been held in someone's hand over the course of decades -- I don't just see these as things, I see the people that came before us, I see their hard work, their dedication, their struggle, their legacy. I suppose I'm subconsciously trying to preserve a bit of it, to capture my own memories and experiences in a way that is interesting and unique. On the other hand, I'm secretly obsessed with urban areas and the way people live in large cities, for much the same reasons. I haven't experienced it myself, but if I do, I'm sure it'll show up in my art.

Old Glory
(click here to see original image)

What does procrastination look like for you? What techniques work to ensure that you make time for your art?

Well, for the first time in my entire life, that word doesn't really apply to me! I've been the queen of procrastinators in the past, but I've never before felt a sense of urgency and excitement like I do now. I feel like a late arrival to the daily painting party, so I'm trying to catch up! I have so much to learn, so much I want to paint, and I'm a full-time mom, so my time is precious. But, having all these responsibilities is an advantage -- I accomplish much, much more when my schedule is full.

Right now, what seems to be working is to paint first thing in the morning. For those who know me even a little, this is shocking! I've been a night owl for 39 years, and suddenly, I can't wait to get up in the morning to start a new day of painting. The more frequently I paint, the faster I achieve the results I want and the sooner I can give my full attention back to my family and the other chores of the day.

How do you generally arrive at ideas for your paintings?

I paint from my photographs and have learned to take my camera whenever I leave the house. Also, I take photos of my still-life setups and paint everything from my computer monitor. It's easier for me to 'see' the composition when I get it on the screen – I can crop, re-crop, manipulate it all until it's just how I like it. This is the part that can hold me up – deciding what to paint. But, I'm getting faster and the more frequently I paint, the less I submit to the need to choose that 'just-right, super-special' composition or subject matter. Just get on to the work! Time's a wastin'!

Phone Book
(click here to see original image)

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

Since I've only been at this for less than a year, I haven't really had a chance to get burned out. I certainly have off days, where I can try painting all day and end up with nothing but extreme frustration, but I'm learning to fall forward. To not let the mistakes of today stay with me tomorrow, to move on, on to the next! No looking back! That's been the really freeing part of daily painting in a small format. Often, I'm thinking of what to paint next before I'm done with what I'm working on. I don't get too attached to my work.

I also change my subject matter frequently – still-life, landscape, car, I'm kind of all over the place. I do the same with my style; some days I want to see the details, others, I get a little loosey-goosey and just roll with it. I suppose when I'm at this for a few years I might settle into a narrower focus, but, I doubt it. That doesn't really feel like me.

Oregon Winter
(click here to see original image)

Of course, I'm not naive enough to think this crazy enthusiasm I have now will never wane, but hopefully if it does, daily painting will be a well-established habit, a natural part of my everyday life. When I do struggle, I take a break, get some sleep, do something completely different. I have a gazillion art-bloggers on my Google Reader, so flipping through the blogs on my phone before bed, seeing the new paintings posted on DPW each night, seeing what others have done each day really spurs me on. The community of this all is really, really encouraging.

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

Everything! Mostly, I'm learning that baby steps are better than no steps. If I can't do it all, or I can't do it all exactly the way I want to right away, don't freak out. Just paint! My to-do list of things to paint, things to learn about painting, or the internet or websites or marketing, etc, is exceedingly long, as I'm sure it is for most people, so I'm learning to take these other things one small baby step at a time and just really put my main focus on the art itself.

Reflecting Elm
(click here to see original image)

What makes you happiest about your art?

When the completed painting in my head actually shows up on the panel!

The act of creating is just so rewarding to me, and when someone spends their hard-earned money on my work, well, that's just awesome, but the feeling that I'm actually living the life God intended for me is most satisfying.

Thanks, Nora!

© 2013 Jennifer Newcomb Marine

DPW Spotlight Interview: Joanne Grant

Each week we will spotlight a different DPW artist who will give away one of their best paintings. 

To enter to win Joanne Grant's painting, "Tabby Cat," go to Daily Paintworks and click on the link at the top of the page announcing her interview.

From Joanne's DPW Gallery page:

Joanne Grant is a self-taught artist born and raised in Bucks County, Pennsylvania and currently living and painting in Buckingham, Pa. Art has been a part of Joanne’s life since early childhood and as a young mother, she began to paint commissioned trompe l’oeil murals while raising her growing family.

Tell us a bit about how you first started painting.

I was always doing something artistic for as long as I can remember. I painted murals and did portraits of homes, pets and figures on commission when my kids were small. My kids took art classes with Amanda Layre (a local artist) after school, so I decided to take an adult class with her. I fully intended on drawing in charcoal, but after drawing a landscape in charcoal, she was insistent that I paint over it in pastels. She gave me a box of pastels to borrow. I instantly fell in love and never looked back.

Tabby Cat
(click here to see original image)

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

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

I was home with my kids when they were small while I did commissions. After they grew up, I decided I needed to go back to work. I went to nursing school and worked at our local hospital. I was so busy studying and working that for two years I did no art whatsoever.

But life has a way of bringing you back to your true self. I began to have some health problems and was not feeling well enough to keep up my hectic pace. I left nursing, quit my job and found my way back to my painting. It has been a rough two years where I feel good and paint - and then some time where I just don’t feel up to going to my studio, for months on end. I really am happiest when I am painting and my goal for this year is to not allow any health problems to keep me from my passion.

Rough Surf
(click here to see original image)

What mediums and genres have you experimented with? Which ones have "stuck" and which ones have fallen away? Which ones are you looking forward to exploring?

From the first day of being introduced to pastels, I have never done a drawing in charcoal again, except to do a value study underpainting. Even those have been passed over to getting right to the paper with pastels and diving in without an underpainting.

I bought watercolor and oil paints. I even bought watercolor paper and prepared canvas with gesso for oil. I have dabbled in each, but always go right back to pastels. There is such an urgency to create that I find I have very little patience to teach myself something new.

However, I am sure that I would love both those mediums if given the chance. So I hope to at some point this year get to dig deeper in at least one of those to see where it may take me.

All genres of art captivate me. I seem to gravitate to still life. I have done commissioned pastel animal portraits in the past and am moving to doing more of that. After a trip to Europe this past summer, I couldn’t wait to get home to paint urban landscapes. I took 1,600 photos in Europe and hope to use them for references for future paintings.

I love the delicacy of your work. What's helped you cultivate the patience necessary to capture the super-fine details of what you're seeing?

Oh, thanks so much, I’m glad you enjoy it. I think my background in trompe l'oeil murals pushed me to notice the details. I find when I get deep into a subject and see the little details, I lose myself in the painting.

An Apple a Day
(click here to see original image)

It is almost something I have no control over. I sometimes think I will stray from the realism to do something more loosely, but I can’t seem to make it happen… I’m not sure how to do it any other way. It's something I am working on though.

What does procrastination look like for you? What techniques work to ensure that you make time for your art?

Oh procrastination... my daughter tells me I am my own worst enemy. I’m not sure I would call it procrastination as much as distraction. Family, my dog, household chores, and all the errands that need to be done can easily distract me. I feel like I need to have everything done and in its place to free my mind enough to paint.

I find that if I think the night before about what I want to accomplish the next day, then I have a plan, an importance even, which hopefully will in my mind be greater than any chores I have to do. I'm learning that when I do that, I accomplish a lot more in a day.

How do you generally arrive at ideas for your paintings?

Usually I see something that catches my eye. For instance, the other day I noticed the way the sun was reflecting off of a glass-canning jar. It's all I can think about now. I almost can’t wait to explore mason jars, to see what I can do with them. I have a few paintings I'm working on that I almost can’t wait to finish so I can get to those jars!

I like to go to local antique or thrift stores to see what I can find that might be interesting. I look for old things with interesting textures; something that usually has a meaning for me in some way. I know it when I see it.

Captain America
(click here to see original image)

Oh and let's not forget Pastel Journal and other art magazines. I love to look through them to see what other artists are inspired by. I look for ways they handle light and color. That always gets me out of a “I don’t know what to paint” rut.

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

Having my studio in my home can definitely make me stale. I need to leave the house every day. I walk my dog through a wooded area every morning without fail. These little adventures wake up my mind… I take notice of how the light hits the trees, the path or even on the pond we pass. I think about what color/technique I would use to convey what I am seeing. Even though most of what I see never makes it into a painting, I find that it is almost as if I am painting in my mind. So invigorating to me!

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

I am trying to make my paintings softer. I hear a lot of artists discussing how realism is not fresh and exciting art to look at and it seems to be my style and what comes naturally for me. But I want to explore adding more to a painting. More feeling and expression. Later this week, I am taking a workshop to help me with that and see if it is something that will work for me.

Max
(click here to see original image)

What makes you happiest about your art?

During everyday, everything I see as I go about my day is analyzed—color, shape, how the light is reflecting, the color of the shadow that is being cast, even the length of a shadow due to where the sun is in the sky. All of these things have been given to me. I am not sure other people see these types of things as I do.

I take this stimulation back into my studio and put it into a painting. When all goes well I lose myself for hours, only to awaken with a finished painting, not sure of how it was done.

It doesn’t get much better than that!!

Thanks, Joanne!

© 2013 Jennifer Newcomb Marine

DPW Spotlight Interview: Vincenza Harrity

Each week we will spotlight a different DPW artist who will give away one of their best paintings. 

To enter to win Vincenza Harrity's painting, "Barn at Wolf Creek," go to Daily Paintworks and click on the link at the top of the page announcing her interview.

From Vincenza's DPW Gallery page:

Formally trained in fashion illustration, Vincenza has always sought to develop her skills as a painter with classes and workshops. For more than 10 years, she has focused on still lifes and en plein air landscapes using oils. Her work has been displayed and sold in galleries and exhibitions throughout Ohio and Kentucky.

Tell us a bit about how you first started painting.

I was always interested in art, fashion and painting, even as a child. I have a background in fashion illustration and after raising my children it was time for me to get back to art. I started painting and I haven’t stopped.

Barn at Wolf Creek
(click here to see original image)

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

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

Having moved a few times, I have had to stop and restart. Painting has been a way for me to reach out to the community. I sought out teachers at the art museum and local art clubs. All of those opportunities opened new doors to artists, ideas and growth in my art journey.

What mediums and genres have you experimented with? Which ones have "stuck" and which ones have fallen away? Which ones are you looking forward to exploring?

I started painting in oil and pretty much have stayed there. I did have a brief season of painting with acrylic, but found it harder to mix to get the colors I was looking for. For a long time, I painted on stretch canvas, but once I started painting “en plein air,” I went to panels and love it. In time I’d like to try oil pastels.

Autumn Reflects
(click here to see original image)

Your beautiful paintings make me feel like I'm taking a peaceful walk out in the country. What feeling are you hoping to inspire in your viewers?

Thank you, I’m glad it evokes a feeling like that for you. I would say it is my desire that the viewer feels some emotion when they look at my work. I am inspired by the world around me and want to pass that on to the art lover, whether it is a nostalgic, peaceful or moody feeling.

What does procrastination look like for you? What techniques work to ensure that you make time for your art?

I get easily distracted with household chores, going out and playing my ukulele. One of my other passions is cooking, so I can get wrapped up in making dinner or cleaning; I like a neat house. What works for me is a plan! This way everything gets its due, including my art, and I try to keep it all in balance.

Moon Rising Over Route 71
(click here to see original image)

How do you generally arrive at ideas for your paintings?

In my travels, I snap a lot of pictures and I get outside to paint as often as possible. Nature inspires my awe. I also spend time visiting museums, looking at what other artists are doing.

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

Due to other commitments in my life, I'm allowed to step back from my work, gain perspective and look at my art with fresh eyes. I also have a wonderful group of artist friends that keep me motivated, making me want to be better.

Afternoon Winter
(click here to see original image)

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

I’m learning to paint softer, with more muted shades and less hard edges. I had an opportunity recently to view some of George Inness’s paintings and was overwhelmed by his ability to paint things in a way that reads like it is there, but in such a subtle way. I’m also thinking about going back to a limited palette, especially when painting plein air, maybe using Prussian blue, instead of Ultramarine.

Spicy Lamb Path
(click here to see original image)

What makes you happiest about your art?

I think that when you are an artist whether you paint, write, play an instrument or shoot a camera, we all need to respond to the world around us. I’m happy to be able to express the beauty I see around me, to be part of creation in some small way.

Thanks, Vincenza!

© 2013 Jennifer Newcomb Marine

DPW Spotlight Interview: Kim Stenberg

Each week we will spotlight a different DPW artist who will give away one of their best paintings. 

To enter to win Kim Stenberg's painting, "Morning After Snowfall," go to Daily Paintworks and click on the link at the top of the page announcing her interview.

From Kim's DPW Gallery page:

I received a PhD degree in British history at the University of Minnesota in 1993. Taking art classes turned out to be a life-changing decision and I have been using both sides of my brain ever since. I retired from teaching recently and now paint full time.

Tell us a bit about how you first started painting.

I had always admired people who could draw and paint. When I finally had leisure time after receiving my PhD, I checked out Betty Edwards's "Drawing on the Right Side of the Brain," tried all the exercises, and realized I could draw! I got hooked. I started taking art classes at The Art League School in Alexandria, VA in 1994. The rest is history.

Morning After Snowfall
(click here to see original image)

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

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

The only time when I didn't paint was when I had my daughter. For a year in 1999, I didn't paint. Obviously, it was tough for me to live without art! After years of hesitation and self doubt, I finally found courage to quit my job as a college professor in 2011. I now paint full time, living my dream.

Glory of Iris
(click here to see original image)

What mediums and genres have you experimented with? Which ones have "stuck" and which ones have fallen away? Which ones are you looking forward to exploring?

I first started out with colored pencil, as it seemed the easiest. It was, however, too time-consuming.  So I switched to watercolor, which many beginners choose somehow, thinking that it is easier than oil but isn't in reality. Anyhow I was successful as a watercolorist, received many awards, and was published in a book and magazines. Eventually, I fell like I hit the wall and decided to try acrylic, first on paper, then on canvas. My then art teacher told me that oil was easier than acrylic for the reason that the latter dries so fast that it makes blending difficult. So at a whim, I tried water-mixable oils about four years ago. That is when I found my true path! I am done exploring, although you never say never again. I have a brand new box of Holbein oil pastels lying around in my studio!  One of these days....

Many of your paintings have this wonderful, sun-washed glow to them. How are you capturing such a beautiful, but elusive quality?

Oh, thanks. As so many artists say, we are in the business of painting light. I can't say honestly how I do it. I guess I go for a subject with a strong sense of light and try to capture it as best as I can. I learned that, in order to paint light, I have to paint rich, luminous darks and mid-tones. Does that make sense?

Bishop's Garden at National Cathedral(click here to see original image)

What does procrastination look like for you? What techniques work to ensure that you make time for your art?:

How do I dawdle? Suddenly I feel like cleaning my studio! If I paint everyday, or almost everyday, painting becomes a routine. Then I don't dawdle. Besides, it's now my job. I have to show up.

How do you generally arrive at ideas for your paintings?:

I usually work from photographs, although I go outside to paint when the weather is too good to stay inside. I have a stack of pictures--mostly landscapes and florals. I go though them from time to time and set aside a pile of let say 10 pictures. When I come to my studio, which is at home, I pick one from the pile.  My decision depends partly on what kind of mood I am in and partly on how much time I have that day because some subjects require more time for drawing.  I don't spend hours trying to figure out what to paint. This also answers the above question of how to avoid procrastination. When you know what to paint and are excited about it, you are less likely to procrastinate.

Happiness of Donuts(click here to see original image)

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

They say that you have to find your brand, your niche. That is a good advice, but I would also argue that one has to have several interests so that you don't get bored or burned out. I paint landscapes, architecture, florals, still lifes, animals, and occasionally figures. I paint en plein air, I paint from life, I paint from photographic references. I paint snow, I paint water; I paint tulips in the garden, I paint peonies in a vase; I paint birds, I paint dogs. I go back and forth. This way, I avoid boredom. Boredom would be the death of a daily painter!

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

Last year I took a still life class for a year, which taught me a lot about composition and color mixing. Through my own experimentation last year, I learned to use more paint in my work. I continue to learn to mix better grays, mid-tones, and clean bright colors. As long as I live, I will be aspiring to become a better painter.

Sunset Over Marshland
(click here to see original image)

What makes you happiest about your art?:

Selling my paintings give me a momentary pleasure. But ultimately, the act of painting makes me happy. I recently came down with shingles over the holidays, which put me out of commission for a couple of weeks. When I started painting again, I still had lingering pain. But while I was painting, I didn't feel any pain. How about that!

Thanks, Kim!

© 2013 Jennifer Newcomb Marine