Lori Putnam

Resolutions That Stick

Lori Putnam · Jan 3, 2016 · Leave a Comment

WOW, I don’t know about you, but I’m feeling a bit “over-stuffed” with holiday cheer right now. It’s that time of year again, when most of us resolve to make a change for the better. My resolutions? Oh, I am always trying to lose the added pounds, exercise more, draw every day. You know, the usual stuff. But the average New Year’s resolution fizzles out in about 6-8 weeks. Here are three ideas to guarantee you won’t drop the ball, by committing to others instead of only to yourself this year.

Pledge to give. Whether it is time or money, it doesn’t matter. Just do it. There are lots of places to volunteer your time or donate your money that will help others in the art world (or otherwise). Obviously, finding ways to serve in your local community, or on committees in organizations to which you belong is the easiest. Most of us sell ourselves short in that regard. You may be thinking you have no particular skill that would be useful. Chances are there is a job or small task with your name stamped on it. If you feel you cannot make any time to volunteer, perhaps you could make a monetary donation. Even $10 helps. If you wish to make your donation to an arts, look for respected organizations, like donating to the OPA scholarship fund, to a project like Kevin Macpherson’s ArtAmbassador.org, or by browsing through GoFundMe.com or Kickstarter.com. There are lots of others of course. Just check them out carefully. These are just to give you some ideas of where to look.

Share your talents. Teaching is an amazing way to improve both yourself and someone else at the same time! Take a look at your calendar right now. When is your best opportunity for offering a workshop, an evening of critiques, a one-day class, or a public demonstration? Mark it on the calendar today; set your price (or maybe it’s free); determine the when and where; and get the word out on social media right now. Once you have committed to sharing your talents to others, you will not be caught backing out on that resolution for sure! Trust me, you will benefit just as much or more as those you teach.

Collaborate with others. What is something you have been wanting to try? Skydiving? Maybe something a little less scary. Perhaps there is an art exhibition in which you would like to take part, a fundraiser in which you have considered participating, a competition you seem to miss due to procrastination every year, a workshop you have always wanted to take, or an art trip you have been meaning to plan. Who would you like to do that with you? Who can encourage you and commit to the same idea? Call up a friend or two or send them an email right now. They may just been needing a little encouragement too. So get the ball rolling and find someone else who might want to share in an experience with you and make it happen.
See. There you go. Three resolutions all wrapped up with a bow and ready to celebrate. And you didn’t have to leave your chair or eat a celery stick.

My Favorite Thing – Lori Putnam

Lori Putnam · Jul 27, 2015 · 1 Comment

Solvent Free Gel by Gamblin Artist Colors is one of my very favorite things. It is odorless, CLEAR, and thick enough to hold a good heavy paint stroke. It loads well on the brush and I love the way the paint feels when I lay it on the canvas. It is particularly great when using brushes that can support a lot of paint, like extra-long filberts. I began using it while painting in Plein air events to speed the drying time of my paint. Soon I was hooked and use it in my studio work now as well.

www.loriputnam.com

Career Building Advice for Any Level

Lori Putnam · Mar 30, 2015 · 17 Comments

First of all I would like to start out by making it very clear, there is absolutely nothing wrong with being an artist who chooses NOT to turn making art into a “career.” It in no way makes them less of an artist; it only means they are not going to rely on their art to live. If you are one of those artists and you make art solely for the joy, congratulations!

Beginning-Mid-Level Career Artists

Entering exhibitions and competitions:
For the rest of us, building a career is, at the very least, time-consuming. It can also be super degrading and, at times, expensive. Someone told me once to expect a good resumé item to come in at no less than a grand. That was many years ago. I suspect by now, it costs much more than that. By this I mean the expenses incurred with membership fees, entry fees, crating fees, shipping fees, travel to the event (if you are fortunate enough to be able to attend), return shipping fees if the painting or paintings do not sell, etc. can add up quickly. At this point, you are up to several thousand dollars, and this does not take into account the time, supplies, framing, oh, and lest we forget, painting the award-winning painting!
Okay. So many of you already know this part. But for anyone just entering the world of competitions, it may be tough news. Yet, entering competitions is one way to begin to build a good resumé and career. Quite frankly, it is also one of the least expensive ways to start. [Note: yes, you will be rejected from time to time and want to give up. Don’t. I say this with all honesty and humility. Pouting, making accusations, and posting your failure all over social media will get you nowhere. Try again. It is true that the very piece that did NOT get into one event, may win the top prize in another. You must learn to leave your ego out of this and continue to seek these opportunities.]
Networking:
Another way to help your career along, is to attend conventions and events that are meaningful to you. For example, you have already taken the step to belong to OPA. If you can take one trip this year, why not try to go the conference? I remember my first one. My $1200 painting was hanging next to David Leffel’s $100,000 painting. I could have tucked my tail and retreated; instead I felt a sense of “WOW. Here I am! Next to these amazing painters.” Research conferences, conventions, and other networking opportunities and set a goal to make it happen.
Sometimes even more difficult than going to an event, is to leave your ego or shyness at home. As artists, many of us are introverts. I am no exception. This can manifest itself in one of two ways: arrogance or timidity. Fight both. A few public speaking, improv, or acting classes, professional coaching, or counsel, followed by rehearsing and preparing what you might say and can get you through a lot. You will not die. You will make connections and friends that will have an effect on your career for years to come. I met Quang Ho at my first OPA conference. He, in turn, has mentored me and become one of my dearest friends. We are now working together on projects. Whether you mean to or not, the people with whom you connect can help build your career. This is in no way using their goodness. It is just a product of it. Chances are you will in turn help their careers as well.

Mid-Level-Upper-Level Career Artists

First of all, you should STILL be doing those things listed above. Now, you will add…

Marketing and Advertising:
Go ahead and say it with me… marketing. See, it isn’t an ugly word at all. Some people cringe when they hear it, but the truth is that you produce a product. It is one that is near and dear to your soul, but it is still a product to the mere mortals (buyers) of the world, and it has to be marketed. No one is going to accidentally stumble onto your front porch looking for a great piece of art.
Marketing can mean a lot of things. For instance, if you are putting your work on facebook, twitter, pinterest, blog, or any other social media, you are marketing. You are just choosing the free route which doesn’t seem quite as icky somehow. The question is, are you making those efforts on a whim or do you have a plan? Look into the insights of what works and what does not, which types of posts are getting the best response, and what subjects your followers most want to hear about. Follow the advice of experts to make “free” marketing work for you.
There will come a time, mid-level career, that you may find it a good idea to up your game with some paid marketing. You need to know that you are ready for such a leap. One of the best ways to determine that, is to answer these simple questions:
1. Do I paint regularly and produce a steady stream of work?
2. Is my work consistent in style? (We will keep growing, but your work should look like YOURS, not your instructor’s
3. Can I commit to at least a year of paid advertising?
Paid advertising can be in the form of print ads or banner ads in publications, direct mail, or whatever. The hard truth is that it will cost some money to do these things. This is money you don’t have, after all, because you are an artist building a career. But like a lot of things, consistency will prove that it will pay for itself over time.
When I began print advertising in a meaningful way (by that I mean, not just once here or there to get editorial coverage), I was absolutely in no position financially to do it. You’re thinking, yeah, but you weren’t as broke as I am. Yes. I was. The point is, I did it anyway and lived on faith and water for a very long time. Only you know your responsibilities and can make this decision. After about 8 months of consistently advertising, I noticed things changing. collectors, gallery owners, event organizers, and other artists, do not always distinguish between paid ads and editorial content. This is great news! As your ads show up every month, the lines become more and more blurred. All people really remember, is that your name is in the magazines “all the time.” Name recognition builds clout. Clout builds career.

You-Think-You’ve-Made-It Level Artists

All of the above and then some:
Sorry to tell you this, but the stakes are even higher for you now. There are still important exhibitions in which you will want your work. They may be on the museum-level and/or high-end-private-collector-level. It is also a fair idea to be a leader by continuing to exhibit as Masters of those core groups and organizations that helped “make” your career in the first place.
This seems more important than ever. While the demands are greater on you, so is your responsibility. Look to the artists who still do this. They are revered. The others who allowed ego to make decisions for them are getting lost in the pile. If you are at the top of the heap, congratulations. You are now one of the artists whose name may show up in the history books. For you, public appearances, lectures, community involvement, and mentoring will solidify this, and you may well be remembered for many generations to come. You will leave a legacy behind and your children and grandchildren will reap many benefits!
As for conventions, mailings, and advertising, you should still do those. (Remember, someone else is eager to take your place if you do not.) They are just directed differently now. Now you are doing this because it keeps your name fresh among the newer converts to this business, the go-getter types who are making the calls, getting the high-dollar collectors who are talking about your sales. The museum directors, the top 1% of collectors who want to visit your private studio, and buy your books that are now worth several hundred dollars, are watching and guess what, they get magazine subscriptions too. They watch TedTalks and CBS Sunday Morning. Your name has to stay on the tip of their tongues. Now that you can offer only a few pieces on the market each year and have some guaranteed collectors ready to buy, your calling is a higher one. Use it for good.
A Few Other Quick tips:
Snail mail – Send handwritten notes to would-be workshop attendees and art buyers. People love a personal touch.
Become an expert – on a topic at which you are passionate. People will come to you for lectures and answers.
Get your art seen – If you are at “museum exhibition” level, great. If you are not but you paint lovely dog portraits, ask your veterinarian if you can hang your work there. Put ego aside and just do it. It’s a start.
Start a blog (or wipe the dust off of that old one you started) – Don’t make it all about You, You, You. Be giving and sharing of your information.
Support your friends – Going to art openings for your friends is a great way to learn how things work, meet others in the business, and maybe even find a great gallery. Just remember, it is THEIR night. Do not approach a gallery owner during someone else’s moment to shine.
Email – Begin an email campaign. Start your list of people with a few or hundreds, but start it. (By the way, NEVER add anyone to your list without permission.) Then, email people on the list in a very personabe way. Sure, send them announcements about all of your great trips and accomplishments, but also send them stories and helpful tips and links (like one to that last blog post you finally got around to doing).
Social media – Free. Use it. Don’t abuse it. You do not want to shove your news down everyone’s throat, but remember that most things must be posted more than once, in different groups, and at different times of the day. If you feel you are already doing too much of this, enlist someone else to “brag” on your behalf and tag you.
Volunteer for an Organization – So much good can come from being part of an art organization. By default, your name is in front of people all of the time. There are many great artists in positions in organizations but there are also many who are, perhaps, not as great yet. If your name is in a publication as a leader in an organization, the assumption is that you are a professional, good at what you do, and everyone should know and respect you.
Set goals – and I should add, WRITE THEM DOWN. Goals keep you on track. These should certainly be artistic goals, but you should also write career goals. Make them just beyond what you think you can actually reach in a specific period of time. On April Fool’s Day in 2005, I became a full-time painter. I gave myself many goals. One of them was for where I wanted to be in 10 years. Happy anniversary to me! But I didn’t stop making goals all along the way. Things change; your goals change. Write them all down. Make them happen. If you don’t realize a goal in the specified time frame, reevaluate what you did or what you might have done differently or even if the goal was totally unattainable in the first place. Example: Paint en plein air on the Mars.
More realistic goal: meet a real astronaut who, by the way, happens to also be an artist. (Seriously, look up Alan Bean. Send him a note and tell him I asked you to. He will get a kick out of it).

So what are you waiting for? No matter where you are in building your career, I have given you something to do. Go do it!

The Art of Gradation

Lori Putnam · Jan 19, 2015 · 5 Comments

One of the more overlooked technical devices in creating a painting with sophisticated interest, is gradation. Although it is easy to think of gradation in terms of color or value, by extending your gradation vocabulary in all aspects of the work you can add interest, excitement, passive and active passages, elicit specific responses from viewers of the art, and produce paintings that invoke mood, time, and feeling in a more calculated way.
COLOR AND VALUE
Before we look at more advanced ideas, let’s look at a few common examples of using gradated color and/or value in the landscape. If you paint landscapes, you may have been taught to apply gradation of lighter to darker or warmer to cooler in a large expansive sky. Not being one to fall back on formulas, I suggest my students begin to recognize when this truly happens in nature, at what times of day and with which specific colors and values rather than automatically reverting to this concept in every single case. Sometimes the sky may also gradate from warm to cool (or vice versa) as it spans from left to right rather than from horizon to Zenith. Learning which of these devices to use to convey a specific idea can strengthen your landscapes and keep them from all looking the same.

Gradation of color and value can also be useful when painting other subjects. In a still life, for example, you might use a gradation in the background from left to right and from top to bottom. Notice in this quick head sketch how color gradates and alternates from warm to cool to warm to cool to warm to cool as it wraps around the form of the form.

Christine in Thoughtc — Christina in Thought sketch demonstrating three gradations of warm to cool

Still another way to think of using gradation with color, is by varying the amount of color intensity from very neutral to extremely chromatic. Notice here, from left to right, we experience neutral, chroma, less chroma, neutral. See how the most intense chroma is where I want you to linger the longest when you look at the painting. I use this same type of gradation many times in the landscape to move the viewer’s eye around the painting, lend atmospheric perspective, and add interest.

Satsuma Oranges uses the most intense chroma in the reflected light at the bottom of the second orange, and gradates slowly more neutral both left and right from there.

SHAPE, LINE, EDGE, and TEXTURE
Now, let’s take a look at gradation and how it can be useful in reference to other technical aspects of painting.

CastelSant'Angelo — Castel Sant’Angelo is an example of large and small shapes, strokes, line, and edge variation

When it comes to shapes, gradation suggests a hierarchy of importance in the different areas of the piece. Some areas of this piece are still very simple, large masses; similar in color and/or value, allowing the viewer’s eye to have “rest.” Other areas have been broken down into smaller and smaller shapes which draw you in and make you want to explore each shape’s meaning. Rather than describing, or detailing, every aspect of the painting in the same manner, leaving some areas quiet, others more exciting, and still others greatly defined can add interest to your work.
In this same painting, notice how the edges are gradated. See how they are much sharper and harder in the most important parts of the painting, and gradually become lost and soft as they radiate away from them.

Down to the Sea, implores gradation of color, neutral, value, edges, line, shape, texture, and thickness of paint.

A pleasing aesthetic and one which I use often, is the use of paint-thickness gradation. This painting shows us how some areas of paint are applied as thin washes. Still others seem to have one or two additional “coats” of paint. As the painting is completed, paint gradually gets thicker and thicker until final areas are closer to impasto. By using this type of gradation, we can gain texture and depth in a piece. The same is true here using gradation of line. Notice there are wide legato-like strokes as well as staccato-like, tiny accents. These two devices alone can increase impact in your work.

Practice seeing and using gradation as many ways as you can. Then edit and use the types that work best for your subject. This sort of experimentation brings a load of learning at the easel and buzz and excitement to your next exhibition.

Taking Flight: Tips for the Winged-Artist

Lori Putnam · Jun 3, 2013 · 5 Comments

Putnam -PanelPaks Canvas — PanelPaks, labeled with size. The small stack goes in my carry-on.

“How do you pack when you are taking a trip to Europe?” I get asked that a lot. My first thought is always, “The same way I pack for (readers, insert your favorite U.S. painting destination here.) I’m not sure what it is about going over a big body of water that seems so daunting. Maybe it is scary because you are worried you will over pack and have to lug your stuff through train stations, bus stations, and airports with which you are unfamiliar. The solution?

Tip of the day

Always pack like you are flying to Europe, even when you are traveling by car. You will get better at packing light and will appreciate it even when you are driving to your local beach or mountain range.

Essential Tips For Traveling with Oil Paint

Here are a few more tips for the winged-artist, no matter where you are going:
Pack less than you need
You already know this one and still, you don’t listen to yourself do you? Pack no more than 2 bags: One bag will hold most of your clothing and a small bag of paint. The other bag will hold most of your paint gear and a second small bag of paint. You may also pack an optional carry-on, just remember that now you have to be able to maneuver with 3 items. It helps if your carry-on tethers to your luggage easily or is a back-pack style.
Invest in a luggage scale
For $15 you can purchase small luggage scale which could save you hundreds of hours of worry or hundreds of dollars. Remember to PACK the luggage scale. You will need it when you return to weigh all of those wonderful souvenirs you bought.
Use your paint back pack as your carry-on
In addition to your make-up and jewels, items to be included in your carry on luggage (should you opt to have that added piece) are things that would very difficult or expensive to replace such as your easel (needs to be a compact style for this. I will be posting soon on my latest equipment find!); your brush roll with brushes (be sure to remove palette knives); and 1 or 2 PanelPaks with clean panels (just enough to hold you over until they locate your checked luggage if it is stuck somewhere in transit). Also pack business cards, event and travel contacts, schedule, maps, tickets, and other information in your carry on luggage for easy retrieval upon arrival.
Pack your voltage converter
Pack your voltage converter for whatever country you are visiting, camera, charger, memory cards, and other expensive electronics like computers and iPads in your carry-on (or do without them for a week… even better!)
Do not expand your luggage
Whether or not you are the typical souvenir-buying-tourist, likely you have experienced that things just don’t fit right when you pack to come home. You always wish you had a little more room for some reason. If you flew to your destination without expanding the extra expando-zipper on your suitcase, you will be able to do that now and have plenty of room for your stuff to fit. Just don’t forget to weigh it!

Details on traveling with oil paint and art supplies

In your checked luggage you will obviously need clothing (my list is shown below) and your REMAINING PAINT GEAR. Here are specifics on how to prepare supplies and make sure your oil paints and gear are packed carefully.
Paint
Carefully wrap each tube of paint with bubble wrap and label the outside with the color name. Tubes often punch holes in other tubes if you do not do this. What mess when you squeeze really hard and all the paint comes out of a tiny hole into the palm of your hand.
The length of travel determines how many tubes of paint I will need. For a week-long trip, I will pack 1-large tube of each color PLUS an additional tube of white AND 2-small tubes of each color. Then I place the tubes in thick zip-lock bags; the large tubes in one and the additional large white and small tubes in the other.
Next, I place a sheet of paper in each of the zip-lock bags that reads:

ARTISTS’ PIGMENT ENCLOSED.
The US Department of Transportation defines “flammable liquids” as those with a flash point 140 degrees F or below. Artist grade oil colors are based on vegetable oil with a flash point at or above 450 degrees F. THEY ARE NOT HAZARDOUS.
If you need to confirm this, please contact TSA at 866-289-9673 or their Hazardous Materials Research Center at 800-467-4922.

To contact this traveler, dial (ADD YOUR PHONE NUMBER HERE).

I used to always include the MSDS (Manufacturer’s Safety Data Sheets) with the tubes, but have not done that in a long time. These can usually be found on the manufacturer’s web site or on artist supply web sites.
I put one bag of paint in EACH pieces of checked luggage. This is a safe-guard just in case one gets lost or confiscated, I will at least have enough to get me by a few days until I can purchase more. By the way, knock on wood, I have NEVER had a single tube of paint be taken from me.
If asked, never refer to your paints as paints. Refer to them as “artists’ pigments”.
Panels
4 or 5 for each day x 7 days = 28 to 30 panels. Put half of your panels in one bag and the other half in the other.
Wet Panel Carriers
I suggest bringing wet panel carriers for carrying wet paintings. I have 2 PanelPaks in each of the sizes I like to paint. These are thin and lightweight. Each PanelPak will accommodate 2, wet canvases that are the same size. Be sure to throw in some extra bands in case you lose or break one. When assembling PanelPaks with new, clean, panels, place the canvas side out. This will help you easily identify which ones have useable panels in them and which ones already have beautiful works of art safely tucked toward the inside.
Other Gear

Back-pack (can double as your carry-on luggage, or used to provide extra padding in the top of your suitcase)
Plein air umbrella
Rain poncho or jacket
Flashlight and clip-on book lights (for painting nocturnes)
Utility tool and cork screw (seriously, cork screw is on my list)
Painting hat
Palette knives (remember NOT to have these in your carry on luggage)
Sketchpad and pencils
Empty, seal-able, OMS container* and small zip-lock bag
Small roll of wide, transparent tape
Mediums which are allowed by law (see manufacturer’s specifications)*

Collapsible cooler (makes great padding for potentially breakable toiletries. Use frozen bottles of water and have cold drinks and snacks all day.
*DO NOT take mineral spirits on flights. You can get them at your destination. Your first stop, after your glass of (readers, insert favorite beverage name here), should be (in order of preference) a local art store, hobby shop, or home restoration store to purchase Odorless Mineral Spirits, White Spirits, or Turpentine and other mediums. In a pinch, use the local olive oil instead of OMS. Just don’t confuse which bottle is for your back pack and which is for your dinner!
When you get to your destination, buy paper towels, baby wipes, sunscreen, bug spray, snacks, and water and save your grocery sacks for trash.
Frames
If it is a plein air festival, you will also be required to frame your work. Here are two possible options:

Pack a small box of framing gear which includes hanging wire, strap hangers and screws, point driver, wire cutters, and screw driver. Have frames drop shipped to the location from your supplier.
Pre-wire frames for horizontal hanging (you can always change them if you paint vertically). Ship frames, point driver, wire cutters, and screw driver to your location.

Whatever method you choose, pack extra promotional materials (business cards, workshop brochures, copies of your bio, etc.) to have on hand or affix to the back of your painting.
If I am teaching a workshop, I add ‘Workshop Booklets, 1 per student,’ to this list.
Suggested Clothing
Pack 3-days’ change of clothing and washing powder. Here is a copy of my personal packing list:

Painting clothes (shorts, jeans, tees, layers) for 3 days. Check the weather reports for the region and pack accordingly. No matter what picture you have of a place in your mind, there is no reason to show up in Carmel in a bikini if it is only going to be 62º for the high.
Under-garments (Okay… so my list actually says bras and panties… substitute boxers or briefs if appropriate.)
Barrettes and hair ties (obviously, optional)
Belt
Hiking shoes, tennis shoes, or boots (as geography demands) and socks; sandals if appropriate
Sleepwear
Dress clothes, jewelry, and nice shoes if needed (for opening receptions, networking dinners)
Prescriptions and over-the-counter remedies such as Advil
Lotion, make-up, deodorant, toothbrush and toothpaste, razor, hair products, and soap (assuming you are not staying in a luxury spa hotel that supplies these for you).
Laundry detergent (dry or dissoluble sheet type) and Murphy’s Oil Soap (for removing oil paint from clothing).

"Where The Wild Things Are" by Lori Putnam - 12" x 16" — “Where The Wild Things Are” by Lori Putnam – 12″ x 16″

Once I arrive at my destination, I squeeze paint on my palette and pack my back. I’m ready to paint at a moment’s notice.
You will probably question a few of the items I use (like the transparent tape and small zip-lock listed). Visit my blog at www.loriputnampaints.blogspot.com for information on that.
I’m certain there are lots of other great ideas out there. This is just what works for me. It’s become routine now. Hopefully it will help you too.