Education

After viewing the OPA’s 28th National Juried Exhibition, albeit, via the internet, I was impressed by the volume and level of talent this organization hosts. Bravo! I am a relatively new member and I imagine many of you have a litany of solo shows on your resume’ and have attended art events that could fill Alladin’s wish list. Whether you have attended a museum exhibit, exhibited in a nationally recognized show such as the OPA, or a local small-town venue, you will notice that each show has its inherent culture and theme.  

Every art opening deserves a thoughtful respect to the presented art and those who represent it. To make an event run magically I am going to offer a couple of observations on what to do, and what not to do at an art event. While I’m sure a few of us may have unintentionally committed a social blunder or two, as I sure know I have, we could all use a little polishing up on our art manners.  So here are a few pointers to make a show shine:

Late is a FOUR Letter Word.  When hosting an art opening, it is best to arrive at an agreed time prior to the opening so that the gallery director can address any final concerns.  This helps build trust and eases the flow of the evening.  Being late also means keeping close to closing time. Don’t linger too long after the show is over. Gallerists have a life too, and may want to retire after a hard day’s work. After all, it is possible the gallery dealers may have been on their feet for nearly twelve hours. 

Dress to impress.  An opening is like a job interview. so wear appropriate attire that matches the occasion. With art being displayed in all types of venues from country craft fairs to big city galleries, take a mental inventory of the venue and dress a notch up so you take the honor over the venue and customer. Don’t wear a painting smock and stocking cap, nor a ballroom gown and crown, unless it’s a dress themed show. If you are arriving straight from the studio or field, take consideration and pack a change of clothing. Some of us are not fashionistas or GQ models, so when in doubt ask a buddy for an honest opinion.

Decibel Discussions.  Speak at a lower volume than the crowd. A show opening is a joyous event and is a celebration of the art. Yes, I admit that I have had loud outbursts of laughter during a show and have had to tone it down, but be conscious of the room’s volume and allow others to have uninterrupted intellectual conversations. That is not to say that others don’t wish to hear what we have to say about the work, but be conscious of your volume.

Negative Notes.  Don’t openly criticize the show unless you are a professional art critic. While attending an event, it is advised to keep any negative opinions to ourselves. As we all know, art is subjective, yet we may react in unforeseen and unexpected ways. That’s great! The art has spoken through the senses, but let’s play nice. Be aware that the artist’s intent put forth took immense effort, so wait to discuss potentially harming and disappointing opinions…in privacy on the way home in the car. Just remember that public criticism is itself a display of competition. Or is it individuality?

The Consumer:  You’ve seen it before, a guest who consumes a large portion of you or the presenting Artist’s attention and time. Let us all be aware that the show is up and there are several curious collectors at the opening who may want to ask exhibiting artist a question or two.  As an art attendee or supporter, we may also unknowingly stand directly in front of a piece while catching up with long-lost friends. Keep in mind that blocking others from taking in the work consumes the guest’s space and time. Move on to view the show and take it in. Also, how many times have you witnessed a close friend or enthusiast cornering the Artist with personal subjects outside of the show at hand? This behavior puts the Artist in an uncomfortable position. If you witness this, please help the Artist by redirecting the guest to allow the Artist to meet other attendees at hand.

Indulge Yourself…in the art and the collectors, but not in the treats. This includes alcohol. The host often supplies and expenses a spread of morsels and wine to share with the guests. There have been times when a full meal is provided and this is very generous of the host, yet be mindful and step away from the silver trays. Perhaps eat a small snack prior to an event, or wait to go out after the event with your new-found art admirers. When it comes to the wine, monitor your intake. I know it is easy to take in a little more than needed, but be careful. Sadly, I have witnessed a gallery owner get drunk and it embarrassed me to no end. Sadly that gallerist did not last long in the business and this is true for us artists as well. Also, when finished with your wine cup or small snack plate, place them in the trash receptacle or table and NOT on art pedestals. This gives the 3D art the respect it deserves and keeps the presentation of the room at it’s best.

No Solicitors Allowed.  Do not promote yourself while attending another artist’s show!  I had once attended a beautiful show and while there, I saw business cards from another artist placed precariously around the gallery. OUCH! This is not a good way to get attention for our art and will tarnish a hard-earned reputation. Neither is it a good time to solicit a portfolio or whip out a cell phone to share some recent work to the gallerist or director. If asked to share, then take the opportunity to set an appointment for another time.

Permission Please.  If you wish to take photos of the art, always ask the artist for permission. A flash may affect the work, and the artist owns the copyright on their creations. Many times I have witnessed admirers snapping close-ups and have imagined that they might print it out for their enjoyment, or even copy the idea. Here is a great moment to address the admirer that not every artist wants their work photographed. Then again, they may have a potential buyer on the other end. Don’t be afraid to ask what their intention is, and perhaps offer up the gallery directors business card to follow through with the image.

There is always more we can do to improve our industry, so I’m hoping that I have cast some light upon a subject that is not often discussed. Whether a small town exhibit or a national solo show, it is my wish that every one of us can adjust and elevate the sense and value of our work by being mindful of our show manners. We are our best representatives and genies of our work.

Mixing skin colors can be challenging. Flesh often contains hints of every color of the rainbow! Plus, it’s easy for skin tones to become “chalky” or “muddy.” In this article, I’ll share information to help you mix realistic, lively flesh colors.

Simplify

When I’m mixing skin colors, I often find it convenient to dip into every color on my palette. To simplify this process, I think of flesh as containing just three types of colors:

1. Reds
2. Yellows
3. “Nudge Colors” (I’ll define this in a second)

I find simplifying like this is an efficient approach to painting any skin color under typical conditions.

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Mix Up Big Piles Of Average Colors

By “average” colors, I mean colors that represent the colors in the subject generally. I know you can see dozens of colors in your subject. But in the beginning, keep things simple and don’t try to match every color you see right away. You can mix more specific colors later with those “nudge colors” I’ll talk about.

At the start, I mix up just 2 big piles of average color–1 average color for the lit side of the head and 1 aververage color for the shadowed side (below, you can see these two colors applied in broad, blocky shapes).

Nudge as Needed

So what is a “nudge color” anyway?

Well, mixing just red and yellow together can produce some pretty intense oranges that may not look natural as flesh colors. For this reason, it’s usually necessary to “nudge” your mixture toward one color or another by mixing in other color(s)— “nudge colors.”

Below are two examples of average color mixtures I often start out with. In both cases, white is used as a nudge color. The white both lightens and cools the original orange color.

Now, although I often start with the above mixtures, I certainly also mix in various other nudge colors as necessary. Sometimes your subject will dictate a nudge toward green in places. Or blue. Or violet. In fact, any other color on your palette is a candidate for a nudge color.

How Do I Know Which Reds, Yellows and Nudge Colors to Use?

Excellent question. My best answer is let your subject be your guide. Choose colors that are appropriate for the values, temperatures and colors in the subject. In the end, observe your subject with care and faithfully paint the colors you see before you. Much more important than any formula is the process of training your eye to observe and paint faithfully.

Now that we’ve explored how to simplify and mix skin colors, let’s take a look at a common difficulty:

Muddy & Chalky Skin Tones

It’s happened to all of us who have ever attempted to paint a portrait…

You’ve been painting that cherub of a child. You’ve been carefully trying to match the colors of that perfect, unblemished skin. You think you’ve nailed those rosy cheeks, that fair flesh, that sandy blonde hair.

But then you stand back from your work and… wow. Those cheeks are definitely rosy… like the red soil of Arizona. That skin is exactly as fair as chalk dust. And that hair is sandy, alright. Just like… well, sand.

If only you had a chart of “skin-tone recipes” written by some Betty Crocker of the art world that would tell you exactly how to whip up big batches of “Satin Skin” and “Ethereal Epidermis” instead of the “mud,” “dirt” and “chalk” currently on your palette.

Fortunately, the cure for “muddy” or “chalky” color is not an unobtainable fantasy. In his book Alla Prima: Everything I Know About Painting, master artist Richard Schmid sheds light on this topic…

“’Muddy color’… is simply a color that is inappropriate in temperature” —Richard Schmid

“Muddy” and “chalky” color is not so much a color issue as it is a temperature issue. So let’s talk temperature…

Temperature Basics

Here is the first thing to understand about temperature: When you’re painting, there is no such thing as “warm” and “cool.” There is only “warm-er” and “cool-er.” It’s relative–a color is only cool-er or warm-er compared to another color.

Therefore, a “muddy” or “chalky” skin tone is a color that is either too cool or too warm compared to the surrounding colors.

Side-Note: A color might also look “muddy” or “chalky” if it’s the wrong value. For example, a shape that’s too dark on a portrait will look like just that–a dark smudge on the face. But given the value is correct, the reason a color looks “muddy” or “chalky” is that it’s either too warm or too cool in comparison to the surrounding colors.

But of course, this information is useless unless you know how to fix a mixture that’s too warm or too cool…

Two Ways You Can Make A Color Warmer Or Cooler

1: By Moving Around the Color Wheel Like a Clock

First, however, here are two important things to know: 1) the red-orange-yellow side of the color wheel is considered “warmer” than the green-blue-violet side, which is considered “cooler.” 2) Most consider either bright yellow or yellow-orange the very warmest color. Blue is considered the coolest color (However, there’s an exception that I’ll mention in a bit…)

Now, imagine you’re traveling around this color wheel like the hand of a clock. The closer you move toward the cooler side, the cooler the color will become. The closer you move toward to the warmer side, the warmer the color will become.

Here are two examples:

Let’s say you’re standing on that very warmest color–a bright yellow-orange. You take one step clockwise toward the green. Now, you’re standing on a yellow that’s tinted with a hint of green. This yellow-green is cooler than the yellow-orange because you’ve moved closer to the cooler side of the color wheel.

This time, start out on violet. Take one step counter-clockwise toward the blue. Now, you’re standing on blue-violet, which is cooler than violet because it’s closer to blue and because you’ve moved further away from the warmer side of the color wheel.

The 2nd way you can make a color warmer or cooler is…

2. By Moving Along Imaginary Spokes of the Color Wheel

Earlier, I said blue is considered the coolest color, but I mentioned there’s an exception…

It’s true that blue is the coolest color of the rainbow. However, for the painter, there is one other color so icy, it gives blue frostbite… pure white.

In this particular color wheel, you’ll notice there is a narrow ring that contains the main colors in their most saturated forms (1)…

The farther you travel away from this ring toward the center of the circle, the more white is added (2).

Adding white will cool any other color… even blue!

Did you find this lesson valuable? Watch me demonstrate these principles on video in my upcoming online course, “Learn to Paint Dynamic Portraits & Figures in Oil.” The course will launch later in 2019, but you can access the first unit for free! To learn more, please visit //ClagueFineArt.com.

I’ve spent a good bit of time breaking down the components of painting in order to become more thoughtful about my work and to help others do the same. To my way of thinking, the intent of the work is the number one consideration in any creative endeavor with the narrative/story next in importance. Yes, drawing, color, shape and all of the aspects of craft are critical for the realist painter but once that skill set is acquired, what do you do with it?
Every song has a narrative, every movie a storyline, every poem a scenario, each novel a plot, every song an emotion, and every picture tells a story. Why should a painting be any different?  The intangible thing that separates the greats from the pretty-goods is rooted in a deep pool of ethos that is mixed into every puddle of color and imbued in every movement of the brush. It’s the foundational idea of a piece that sets the tone for a poignant outcome.
You may be thinking that I’m referring to the Golden era illustrators or the cowboy and Indian paintings that fill every gallery in the west. I’m not, but that’s as good a place to start as any. A quick Google search of “golden era illustration” will give you a balcony seat view of some of the greatest storytellers of the last century; Mead Schaeffer, Howard Pyle, N.C. Wyeth, Dean Cornwell, Jessie Willcox Smith, the list is incredibly long. This, one of the most prolific movements in the narrative arts, housed the masters of story, design, style, and ability.

One of the tricks (beyond a brilliant design) to creating a powerful narrative in a painting is to think like a movie director. After all, a painting is a single-frame movie that speaks to a moment in time, but the outstanding ones hint at the preceding events and those that are yet to come. If you incorporate a figure or figures in your work, you should know them as a writer knows his/her characters. What are they thinking? What is their backstory? Why are they there? What do their expressions, posture, and the placement of the hands, say about them?
Go through a top 100 movie frame by frame, Citizen Kane or The Grand Budapest Hotel come to mind, and look at the construction of each scene. What symbolism does it hold? How is it designed? What are they up to and what’s coming next? That’ll fill your noggin with some new ideas.
I appreciate the skill in a great portrait or a well-executed nude but I, as a viewer, want more. If you’re going to paint a beautiful female nude languishing on a sun-drenched bed, put an easter egg in there to give the discerning eye something to think about, something that hints of events beyond the boundaries of the frame. The viewer wants to be included, let them fill in some of the script. Think like a writer, give them enough but leave room for the imagination. Tap into your inner recesses and tell your story.

A painting doesn’t have to contain pirates or a well-heeled couple in high society to communicate a message. Even a simple still life should hint at a plot line. Who put the stuff on the table? What are the flowers feeling? What’s the relationship between the asparagus and the knife and who drank half the beer placed at a calculated distance from that nibbled on bread? The space between objects is like a pregnant pause in a conversation. It helps to create a compelling plot even if the characters in the play are just vegetables and dinnerware. Assign human characteristics to every piece in your static production. Use your friends and family as a reference for a more compelling dysfunctional still life.
If it’s a landscape, there’s always a story to tell. What is it about this place that you are painting that is important? Who lived there? Or died there? What would a pioneer have felt having seen this place for the first time? What would Thoreau say about this land? How does it feel on your skin? What memory does it spark? What is the message you want to convey about that bustling street scene? Even if it just stays in your head while you are painting, it may not be readily evident, but the lookers-on will feel it.

So, how does it make you feel? If you took 15 minutes before you ever lay brush to the surface to write about your sense of place you’d have a deeper understanding of what you are saying to the viewer because you have defined it for yourself. Your palette, your brushwork, drawing, design, and style all go to the story. Every mark and movement should be in support of the plot line.
Included are a few of my own pieces to show how I weave the narrative into a body of work. It took me a while to find it. The broad theme is that of environmental concern, but each piece has its own sub-plot. Sometimes the story is written before I begin and other times it unfolds as I go. I’ve come to view this series as stories that I tell myself. If other people get them, all the better. More often than not they make up their own. But, at least, I am telling my story.

I recently wrote a blog titled ‘So You Want To Host A Plein Air Event,’ in which I identified the three required components of a successful event: Artists, Organizers, and Buyers.  Similar to a three-legged-stools, without one of these components the stool falls over.  Of the three, Buyers/Collectors is the one most often neglected.  Attracting buyers and developing collectors takes a little more effort; takes a little education, not unlike developing a taste for fine wine or cigars.
Wes Heitzman, a good friend and one of the key organizers of the amazingly successful Bluff Strokes Plein Air Event in Dubuque, IA, wrote an insightful article from the point of view of a Collector.  I think this article will go a long way towards that education and have an eye-opening impact on Organizers, Artists, and future Art Owners alike.

I bought my first piece of art from Steve Steininger, at Dubuque Senior High, during our graduating year of 1967.   Senior had a great art department and some excellent student artists, and my mother had advised me that a good way to start an art collection would be to buy from student artist friends.  “Me Bird” is a woodcut in red and brown tones.  It is a quirky depiction of a man wearing what first appears to be a large helmet, but on further inspection is a large mass of feathers.  Looking very closely, 3 faces of birds reveal themselves hidden among the feathers.  I loved this work for its cleverness, its skill of execution, and that it was the creation of a good friend.  I still remember my teenage pride when I picked it up from the frame shop in a professional-looking wooden frame with high quality, non-reflective glass.  “Me Bird” has accompanied me for 50 years, gracing dorm room walls, and then living rooms, bedrooms, and dens of various abodes through my life.  Today, in my home office, it still elicits fond remembrances and a smile.
I will come back to “Me Bird” in a bit, but here are a few reasons to favor your home with original art.  First, just like you, an original work of art is unique – there are no other versions out there, you will not walk into a friend’s house and see an identical copy, it will be an extension of your unique personality.  Second, an artist producing original works uses better materials than are used in reproductions.  Look closely at a pastel, oil, or watercolor painting – at the layering, the texture, the interaction with the underlying paper or canvas; a reproduction will use cheaper inks and paper and will appear flatter than a work of fine art.  And yes, you will respond to this differently on your wall.  The same goes for a handcrafted pot vs a manufactured one; and though I love pottery, I’ll focus here on things you can hang.   A third consideration is value.
In general, a unique work will hold some level of value, and possibly a chance of significant gain, whereas a mass produced work will have little to no resale value.  It can be rewarding to find individual works or to create a collection with investment value. This requires research, strategy, and networking into a world of professional dealers; but I would like to focus here on adding value to our lives.
A work of art is a conversation; an expression of an experience an artist is having with the world.  When you bring a piece of art into your life, you participate in that conversation.  Roy Haught was an art teacher and also a hunter, camper, and outdoorsman.  His work explores and reflects those interests.  I have a watercolor of Roy’s that depicts a row of conifers along the crest of a hill.  For years, I drove by a similar row of trees on the way to work in Waterloo.  After we hung Roy’s painting in our home, I started seeing those trees when I drove by.  We have a small painting by Ellen Wagener of a pale pastel blue sky above a very low horizon.  I once was driving in western Iowa to the funeral of an aunt, looked out over the fields, and saw that sky – because of Ellen’s directing my perception.  These experiences were profound.  I have many times watched my wife, Barbara, a pastel artist, go into a “zone” as she explores a still life or landscape and translates it to her media.  This experience is shared by artists everywhere as they converse with their world.   When you buy an original artwork for your home you are sharing in their experience and their conversation.
Recent research in neuroscience suggests we have two “systems” of thinking.  System 1 works in background, monitoring the world, capturing impressions, checking for strange or threatening events, and throwing out intuitive judgments and responses.  System 2 is engaged when analysis or self-control are needed.  This research has transformed economic decision theory; but relevant to how we relate to art is what it has revealed in how we store and retrieve memories.  System 1 maintains a vast system of associative memory.  When we encounter a word or image, a ripple of associated ideas, images, and memories is evoked without us even being aware.  These influence and bend our current thoughts.  If you are asked to fill in the blank letters in “S _ _ P” you are likely to write SOUP if you have recently been discussing cooking, SOAP if cleaning.  Words and images you encounter even affect your moods and behaviors; you will walk slower and stoop a little more if you have been discussing aging than if you have been talking about running.  All of this means that when you look at a work of art in your home, a flood of associated memories will enter your mind, affecting your thoughts and your mood without your even being aware.
With that in mind, the act of purchasing an original art is often a personal adventure.  We purchase in interesting galleries, at art fairs and special openings, sometimes even in an artist’s own studio.  We may meet the artist, glimpse how she sees the world, see something a little differently through her eyes.  All of this is evoked in your associative memory every time you look up and see your artwork.  Art you put in your home will continue to enrich your life in a way that mass-produced art from IKEA or Pottery Barn cannot.
“Me Bird” has continued to provide a smile in my life and has been joined by many other pieces.  Each carries its own history and memories.  Each has added joy and richness to my life.  I recently talked to a young friend, Jennifer, who had just bought her first piece of original art.  “Cleo” is a large colored pencil drawing of a hog she and her husband Aaron commissioned from Hana Tysver Velde.  It now hangs in their living room over their couch.  Jennifer’s comments: “We love it because it’s beautiful and well done and it’s unique – no one else has it.  It also has meaning.  For Aaron, it symbolizes his family heritage growing up on a hog farm, and for me, it doubles as a symbol of our life together in Iowa.”  I asked Jennifer how it felt to have a piece of original art in her home.  “Pretty friggin cool!
Some notes on getting started collecting.  I have noticed that one of the biggest impediments people wanting to buy art is self-doubt.  They don’t think they have an eye for quality.  They don’t know what is a fair price.  A little self-education will build confidence.  Here are some thoughts to get started:

• Learn about the arts community in your town/city. What artists are working around you, what are the area art events, what galleries are in the area?  Extend this out to neighboring communities within easy travel distance.
• Get familiar. Walk into galleries and studios, browse, and note what really pops out at you.  Ask about the artists, where they are from, what is interesting about them.
• Attend art openings. Meet some of the artists and get to know their work.  You also get free snacks!
• Go to art fairs and festivals, plein air events. Artists sell their work direct in a fun outdoor market environment.  Talk to them!
• From all of these interactions, develop a feeling of what you like and dislike. Take a chance, buy a piece, hang it, and ask yourself what distinguishes it from that Pottery Barn reproduction.
• Look for opportunities to buy art within your budget. For us, many Christmas gifts have been artworks that we gave each other as a joint gift.