Oil Painting

Tampa Paintout

Oil Painters of America · Mar 10, 2014 · 6 Comments

paintout1 — **Row 1** *Nathan Seay, David Kent, Kathy Baird.* **Row 2** *Elizabeth Jennis, Katie Cundiff.* **Row 3** *Susie Covert, Kerry Vosler*

Artists came from a one hundred mile radius to attend the Santaella Studios for the ARTS first OPA Paint Out, hosted by, OPA Member Kerry Vosler. This historic neighborhood is over one hundred years old and is undergoing a time of revitalization. The resident artists of the Santaella had been looking for an event which would connect the artists to the community and draw attention to its rare beauty. The artists loved painting on the streets of West Tampa and the locals loved having them there. Many of them had never seen plein air painters on location before. We caught the attention of the local West Tampa Chamber, restaurants, and even our Florida State Representative: District 62, Janet Cruz. This is a perfect example of how artists can bring whole communities of people together.
Once artists were greeted at the Santaella with fresh hot coffee, restaurant guides and maps they hit the streets. Katie and Susie camped out all day on colorful Main Street. At lunch break they had Iconic Cuban Sandwiches, Cuban coffee & flan for dessert and Katie ordered a holiday pig. Elizabeth found, one of many cool Cigar Factories, with a tower and palm trees. The Cigar Factory Foreman would climb the tower to watch for their ships coming up the Hillsborough River, flying the Cigar Factory Flag.

They would then send the horses and carriage to collect the tobacco. Kathy painted the local life of a man painting his fence and porch. David captured the lovely old colorful bungalows both morning and afternoon. Nathan painted a well known street corner in the morning and broke to teach two students from the Vosler Young Artists’ Studio, Sophia and Kate, how to draw buildings. He did a afternoon painting of the long green house. Many arts patrons came from near and far to watch our artists at work. Paintings were sold and the artists were inspired. Eddie provided live music all afternoon throughout the wine and cheese reception at the end of the day. Robert Sargent Photography took our final photo of us with our wet paintings.
Next year we have an even bigger event planned. Now that we have made friends with our local community we will do a paint out in early Spring of 2015. This event will include a live wet paint auction at the end of the day for Art Collectors at the Santaella Studios for the ARTS.

Participants

Artists
Susie Covert
Katie Cundiff
Kavid Kent
Kathy Baird
Elizabeth Jennis
Nathan Seay
Kerry Vosler
Sophia
Kate

Music
Eddie Deville

Assestants
James Vosler
Scott Vosler

Packing Paintings for Galleries & Shows

Susan Blackwood OPA · Mar 3, 2014 · 2 Comments

Packing Paintings for Galleries & Shows

By Susan Blackwood

Here is an excellent way to pack your paintings for shipping. It is reusable, relatively inexpensive and extremely sturdy. Your galleries will love it and so will OPA and other shows. No matter how you pack, please do not use “popcorn” packing material. Galleries and shows do not like it at all.

Here are the Materials that you will need:

Plastic sheet or a large plastic bag to wrap the painting.
Corrugated cardboard – can be purchased or you can use cardboard from large boxes like mattress boxes and appliance boxes ( free at stores ).
Construction Styrofoam (comes in various thicknesses from 1″ to 2½” – the larger the painting the thicker the Styrofoam (purchase from lumbar yards).
Plastic super strength packing tape.
Reinforced brown paper packing tape (optional).
Water and sponge for wetting the brown packing tape.
Knife with a thin long blade.
Measuring tape.
Long steel ruler or straight edge for marking, cutting and scoring lines.
Marker for making lines.
Screwdriver for scoring lines.

Step 1: Wrap the painting in plastic.
This protects the frame’s finish from rubbing off while it is in transit. It also keeps packing particles off of the painting.

Step 2: Measure the outer dimension of the frame.
In this example a 24″ x 30″ painting with a 4″ frame width makes the outer dimensions 32″ x 38″. Now add to that dimension the width of the Styrofoam that you are using. In this example we are using 2 inch Styrofoam. Therefore, make the bottom Styrofoam layer measurement 2 inches bigger on each side than the outside measurement of the frame. The measurement is now 36″ x 42″.
Mark your lines (36″x 42″) on the Styrofoam with a marker.
Step 3: Next using the long bladed knife cut the Styrofoam.

Step 4: Center the painting onto the Styrofoam.

Step 5: Cut strips to fit all around the frame. Be sure the strips are the depth of the frame.

Step 6: Mark and cut another piece of styrofoam to the same size as the bottom piece,
(36″ x 24″ in our example), tape the layers together. You have just created a sturdy interior package for your painting, but it needs an outside layer of cardboard before you ship it.

To encase your Styrofoam package you have the following options:
Option 1: Slide the Styrofoam package into an existing cardboard box (if you have one); cut down the box to fit or fill in the gaps with bubble wrap.

Option 2: Making a cardboard “skin” for the Styrofoam package.
Step 7: Making the bottom of the cardboard skin.
Mark the cardboard the size of the Styrofoam package adding the height of the Styrofoam package on each side.
For example our Styrofoam package measures 6 inches deep. So we added 6 inches to each side of the outside measurement making our cardboard piece 48 x 54.

Step 8: Score (denting cardboard but not cutting it) the lines with the side of a screwdriver so the cardboard folds on the lines.

Step 9: Fold the sides up.

Step 10: Using the knife cut one line only in each corner.

Step 11: Position the Styrofoam package into the center of the cardboard.
Put the name of the painting, the size and your name on the side and top of the Styrofoam for easy identification.

Step 12: Bring the sides up, folding the wings around the corner.
Tape the corners.

Step 13: Making the top of the cardboard box:
Repeat steps 7 through 10, measuring the outside of the newly constructed cardboard box. Cut the new piece of cardboard about 1/8^th inch larger on each side. Measure the height of the cardboard box and add 1/8^th inch to it. Draw lines, score, and cut one line in each corner.

Step 14: Place the cardboard box upside down in the center of the cardboard.

Step 15: Bring the sides up, folding the wings around the corner.
Tape the corners.

Step 16: Secure the sides with plastic packing tape.

Step 17: Reinforce the corners and open edges of the box with brown paper reinforced packing tape.

Step 18: Turn the cardboard box over. Put the title of the painting, size and your name on the side and the top, along with your return address. This makes it easier for a show/gallery to find your box in their storage and get your painting back to you safely in the correct box.

Once you get the hang of it, you should be able to build this packing system in an hour or less. When your gallery/show returns this box, you will be able to reuse it over and over again.

A Venetian Methods Oil Painter

Susan E Budash · Feb 25, 2014 · 1 Comment

As a visual artist I’ve created images in Silkscreen, Intaglio, Lithography, Mixed Media, Watercolor, Acrylics and Oils and in a variety of methods, primarily Direct Painting (Alla Prima) and genre, but I always felt drawn to the visual degree of depth and luminosity present within the magnificent oil painting created by Master Artisans of the Renaissance to the Romantic Periods. The knowledge in creating paintings with similar attributes always eluded me. Little did I know that in order to achieve this luminous depth I had to learn an entirely new method in oil painting and with pigments with which I’d never been familiar with. Regardless of my persistent inquiries, the answers I sought would not be forthcoming for decades and when I learned in 1999 that the key word in opening this ancient volume of knowledge would lie with the word, Indirect Oil Painting.

My first introduction to creating art began at the age of nine and with an emphasis on drawing from life, as well as copying from books featuring paintings in major museums. My instructor, the late Jack Simmerling, a Chicago watercolorist, who gained acclaim for his renderings of historical Chicago landmark architecture, stressed the importance in developing one’s drawing skills. “If you can meet the challenges in perspective, value, composition and spatial relationships, then your paintings will be successful.” His words have lived with me for all 50 plus years I’ve been painting.

In so much that I have enjoyed and successfully rendered paintings created in the painterly Direct, Alla Prima Painting Methods, I have felt this method never fully met what I have been hoping to achieve in my paintings. And unfortunately, Virgil Elliott’s book, Traditional Oil Painting, wasn’t released until 2007, so with my PC I independently researched and was introduced to Eastern and Western European Flemish oil painting artists, who generously shared their knowledge and expertise, along with links to museum conservationists, who further enlightened me to the beneficial and not so beneficial pigments and mediums available. Putting this knowledge into hands-on practice led me through some humorous and not so humorous trial and errors, one of which I will share in the course of this blog. Unbeknownst to me at the onset was that not all oil painting from Renaissance to the 19th Century was created in the Flemish Methods, but that there was a second school within Indirect Painting known as the Venetian School and their methods differed in several ways from that of Flemish artists. The Venetian Method, believed to have been initiated by Giorgione, Titian and other Venetian oil painters, introduced creating their drawings on a mid-tone ground and then followed with an opaque gray layer, known as a Grisaille, creating a gray pallet with Lead-Based White paint, also known as Stack White. When I learned about the artist’s use of Lead White in their pallet, I knew instinctively that Lead White was a key component in their achieving the luminosity within their paintings.

Without a demonstration of the Venetian Methods, initiated with the grisaille, tints and scumbles, I had ventured into uncharted territory and therein I learned by my hits and misses. One such early “miss”, which I share with all my student’s is the humorous and decidedly nonsensical approach in removing the first several excessively oily glazed layers. The pigmented glazes were collecting in patches and not forming a thin layer over the composition. My frustration peaked when I couldn’t remove the under-layers of previously dried oily pigments with a solvent. My solution, purchase Formby’s Finisher Remover. After applying a thin layer of Formby’s, to my relief it removed the upper layers of glazes, but it didn’t stop there, it continued to eat away the grisaille, the under drawing and culminated in eating a hole right through my Belgian linen! I learned the Fat Over Lean premise is one fell swoop!

Since those early self-taught days in painting in Venetian methods, I am by no means 100% spot on, but I am continuing to learn with each still-life or figurative painting I create. This process is not for those who wish to witness immediate results, as a painting can take months to complete. At any one time, I have a dozen or more paintings in various states of completion, thus allowing the natural course of glazes setting-up. Of equal importance is learning which pigments are opaque, semi opaque and scumble worthy and which are considered lean and those that are fat. What and when is critical in the application of pigments.

This educational journey has been so rewarding and while I always loved oil painting, nothing has brought me more satisfaction and joy than painting in the Venetian Methods, especially when it comes time when I can begin the color layer. I call it, “Turning on the Lights” thus witnessing the luminous glow reveal itself in the painting’s final stages.

On Growing As a Painter

M Kathryn Massey OPA · Feb 10, 2014 · 15 Comments

It’s never too late to be who you might have been.
—George Eliot

Book Cover — Excerpted from: “Beyond Paint: A Guide to Conceptual Painting,” by M Kathryn Massey, OPA, DPS, AA

By now you understand the act of painting is considered, intentional and best undertaken with a concept each time you go to the easel. Many of us were lead to believe that painting is only about such things as self-expression, lucrative portrait commissions, copying exactly what is seen on the model stand, or selling painting after painting in a gallery. These are the goals of some painters; some painters measure their success and self worth by these kinds of benchmarks. It is not my place to argue for or against these personal goals.
This final chapter will speak to maturing as a painter. It won’t address gallery sales, winning show awards, how much of your teacher’s work is seen in your final paintings; or, how accurately you copy the minutiae of a subject. To my way of thinking, these do very little for your growth as a painter.
How do we grow as painters?

First, I can say, it’s a solitary path. What do I mean? I mean, we are alone in our work as painters. It’s a private journey, that can’t escape its source from within. The source is who we are. We must be mindful to this fact. It is where we find ourselves at any given time. This is the beginning of our work to grow as painters.
Painting is undertaken in isolation–with thoughts, feelings, memories, impulses, history and present day all contributing to our response in paint. No real work of creativity is achieved in a vacuum. So in that sense, we are not unique. We all have a history that went before us. We can’t escape who we are completely.
And yet, our very growth as a person and painter depends on knowing our limits, our strengths; and perhaps, setting aside much of our subjective interests for the good of the work. This speaks to letting the art come through us as much as by us in its final form.
Are there practical habits that can help us grow?
This may be the best place to begin. What can you do to mature as a painter in a practical sense?
Practice drawing from a live model as often as you can- weekly if possible. Test out your mettle by using charcoal, pen and wash, watercolors or paint. Stretch yourself and challenge yourself to sit in front of the model — find one or two things you want to improve upon in each session. Use the session to practice, to see, to understand what is before you and then, make art from that. Don’t just do what you know. Do more. Try more. Do what you don’t know how to do. This is practicing and stretching yourself. It isn’t enough to do what you know. You must do what you don’t know but want to do.

Go back and study old drawings and paintings you have worked on. See where you went wrong and note what is still working. The hallmark of Art is that it has the past, present and future all contained within. Therefore, it is outside the context of linear time. Your work can have this feature. This means it will be viewed as vital, compelling and “good” long after you are gone. Note where this is happening in your work and internalize it rather than guess at it when you next go to the easel.
Study the Old Masters. Understand their work, like yours, was created in the context of a culture and time. This doesn’t mean you must be time bound, or culture bound. This means you can’t escape your life and all of its constraints. Learn to lean beyond those constraints to create work that is outside any pinned down moment.
Having said this……
Is it not your goal or purpose to recreate the work of the Old Masters, any one philosophy or school; or, recreate the work of your teacher. These are benchmarks in your progress. To be Original, you must be Authentic, meaning your own. This takes time. Do your own work and not the work of any one teacher or school. If a teacher expects you to paint like them, run!!! They do you a disservice to copy their work no matter how original. They rob you of your own development and exacting voice that is yours alone. Remember, you must develop your own language through paint.

This means you must hear your own voice through paint and the act of painting. You must, in being authentic, find your own way. Yes, it’s good to walk with a teacher for a while, but eventually, you walk the path alone gathering information old and new.
The act of maturing as a painter is, at times uncomfortable, and like walking a tightrope– without a net. Indeed, it must be so. If you are not discontent at some moment, you are not ready to go on. To grow, you must find moments and periods of real discontentment. These will catapult you to the next moments of discovery. It isn’t easy. It takes time.
Time. Learning to paint is not a linear process. It isn’t done by rote, by memorization of this or that. Each time you are at the easel, you must begin again. Fresh. You are different. You are new. The work will be also. Pay attention to the changes inside. These are what affect change outside. This is what your work becomes. Pay attention to your habits, your thoughts and feelings as you watch the painting unfold. Watch the painting….. It will show you what it needs and want to stretch with you. Let it be so.

Questions. These are what make us stronger in our work. It isn’t enough to have an answer. You must be thinking about the next question. Painting is an organic process. You must begin again each time you paint. What worked in one painting may be completely wrong for the next. There is no end to the beginning…….cool, huh?
Sit with painters who are farther along than you are. If you admire there work, try and paint with them. It’s always a grand idea to paint with someone who is a bit beyond where you are. This helps you stretch and grow.
Painting, like dance, singing, or playing an instrument takes practice. You can’t paint once or twice a year in a workshop and expect to become a good painter. It’s just not possible. As with other art disciplines, you must practice over and over to understand yourself and the work. It can’t only be read about. Nor can it be absorbed through only looking at artwork in museums or galleries. It must be practiced and many choices made. Remember: there are no mistakes. Only better choices. You must make some bad choices to get to the better choices. It must be so. It’s difficult work. If you look at your choices as mistakes, your mindset is limited and closed.
Choices mean and have possibilities.
There are some painters who will disagree with this next statement. Paint from life. Is it “wrong” to copy photos? I don’t know if anything is wrong. But, you won’t learn as much by copying photos if you ‘re interested in learning to paint. I would add–painting from life is a richer, more rewarding experience.

Also a limitation to learning: projecting images such as a portrait onto the wall and tracing it onto a canvas. No one understands this as learning. Can you make money? I suppose. But is it learning? I don’t think it is. You have to do the work and put in the hours to become a confident painter. This is within you and does not live outside you. Know this. Painting comes from within.
This all points to one central idea: painting is bringing forth that which is in you; and, as you develop and sensitize yourself to painting from within, you develop more and more to the person and painter you are meant to be. Painting comes from the inside, the inner world. It does not originate in the outer world. If a critic, teacher or another painter criticizes your direction, only you know in your heart and mind’s eye if you are doing the real work that is yours. You must let these comments roll off your back. They are irrelevant to your sensibilities, your authority and your own unique sense of being a painter. Said another way, the private world, your private world is subject to being criticized publicly. You must believe in yourself and look for no validation about what it is you want to say through the language you develop. When you can do this, you will be working from a place of confidence that the work is your own and your voice is being heard. You are growing as a painter.
A word about being understood by others: throughout history, we know of painters who have used such a private language, that little of the world was able to hear or access that language. This might be said of those who caste off all reference to the past to create art void of any historical reference, context or understanding. Here’s an example, not to pick on Jackson Pollock. He dripped paint on a canvas lying on the floor. House paint. This was his contribution to the world of art; to smash any reference to narrative, time, or history by excluding these features in his work. I find his language so limited it borders on incoherent and babble—for me. Of course, it is only my opinion about surface art of this kind. There are those who would disagree. Pollock’s language and efforts were so private, I am left without any real connection to him or to his work. This is the danger in developing highly subjective language— or creating work that is shocking or offensive. No one may understand the work, or if so offensive to humanity, no one will care.

Dancing with the angels – Part 2

Mr. John Pototschnik · Jan 27, 2014 · 1 Comment

Twelve professional artists talk about being “in the zone”, what it means, what it’s like, and how to get there.

There are lots of words for it…”in the grove”, “singularly focused”, “in tune”, “wired in”, “centered”, “on a roll”, and “in the moment”. Some have described it as “going with the flow”.
It is said of Michelangelo, that while he worked on the painting for the Sistine Chapel, he became so focused on the job at hand that he went for days without eating or sleeping until he almost passed out.
That does seem to express the sentiments of some of our twelve artists as they discuss painting “in the zone”…not that any of them have actually passed out…but you get the idea.
I am pleased once again to bring you six more very accomplished artists who will continue our discussion of painting “in the zone”…is it real, what’s it like, how do you get there, and what’s the result? When it happens, it’s like “dancing with the angels”.
Thanks to this week’s participants, as we present Part 2.

Karen Blackwood:
Classically trained, Karen Blackwood initially painted portraits and figurative works before the landscape became her constant muse. While her work gravitates toward the light and atmosphere in the landscape, her artistic pursuit is to convey an emotional response to the solitary beauty of nature and to achieve that perfect state of being that sometimes comes from painting it.. She is represented by Susan Powell in Madison, CT. She’s a member of Oil Painters of America and the Society of American Marine Artists.

Roger Dale Brown:
Roger believes that studying and painting from life is essential to being a good artist. He spends hours painting on location to enhance his ability to see the nuances of a scene, a day, or an object. He considers this one of the elements necessary to create a successful painting both on location and in the studio. Roger captures the emotion of the scene, by drawing on his knowledge and his dedication to art. He promotes art education in many ways, believing that passing along information is an obligation to generations of new artists.

John Cook:
From still life to portraits, landscapes to architecture…and his native-Texas western imagery, nothing is too small or too large for John to attempt as is demonstrated in his diverse range of subject matter. Trips to London, Paris, Bruges, Venice, Rome, Florence, Portofino, St.Marguerite, San Francisco, and New York have inspired many of Cook’s paintings. In 2012, Cook’s 11th annual one-man show was held at the Southwest Gallery in Dallas.

Kathleen Dunphy:
Kathleen’s rapid success in the competitive art world was predicted when American Artist Magazine recognized her as one of the TopTen Emerging Artists in 1998. In the ensuing years, she has earned an impressive and growing reputation with galleries and collectors. A Signature Member of several important art organizations, most recently she has been honored with Signature Membership in the prestigious Plein Air Painters of America. She is one of those rare people who have true passion, dedication, and a gift for transposing nature’s beauty to the canvas.

Daniel Gerhartz:
The powerful and evocative beauty of Gerhartz’s paintings embrace a range of subjects, most prominently the female figure in either a pastoral setting or an intimate interior. He is at his best with subjects from everyday life, genre subjects, sacred-idyllic landscapes or figures in quiet repose, meditation or contemplative isolation. “My desire as an artist is that the images I paint would point to the Creator, and not to me, the conveyor. J.S. Bach said it well as he signed his work, ‘Soli Deo Gloria’, To God alone is the glory”.

James Gurney:
Gurney is the author and illustrator of the New York Times bestselling Dinotopia book series. Solo exhibitions of his artwork have been presented at the Smithsonian Institution, the Norman Rockwell Museum, and the Norton Museum of Art. He’s recently been named a “Grand Master” by Spectrum Fantastic Arts and a “Living Master” by the Art Renewal Center. His most recent book, Color and Light: A Guide for the Realist Painter (2010) was Amazon’s #1 bestselling book on painting for over 52 weeks and is based on his daily blog: gurneyjourney.blogspot.com

We’ve all heard the phrase “in the zone”, what does that mean to you?

Gurney_Dalleos-huge — James Gurney – Dalleo’s Deli – 9″x 12″ – Oil

Blackwood:“The object, which is back of every true work of art, is the attainment of a state of being, a state of high functioning, a more than ordinary moment of existence.” –
Robert Henri. “In the zone” is that perfect state of being I strive to be in while painting, It’s a state of letting the spirit within lead, working from the subconscious mind. Every movement and thought flows effortlessly.
Brown:Being in the “zone” to me means being in a more visceral region of my mind. Being made in God’s image, humans are inherently creative in one thing or another. When an artist creates, we go to a place in our subconscious that taps into the knowledge intuitively, and our emotions instinctively.
Cook:Things are “clicking” when I’m painting productively. Not that it is an easy process, but I know somehow what looks “right”, when the preceding brush stroke, or knife application is placed. I “explain” to myself often audibly, what temperature the next color should be, and what pigment, or mixture is wanted, or what correction is needed in drawing, and so on…Of course the drawing must be correct, and the composition must be worth continuing. Color, whether intense or muted, or purposefully unbalanced, should remain harmonious. The balance of simple patterns vs the complicated textures are becoming obvious to me, due to many paths down that road for the design to be “on”. Must mention correct values. I could go on…I shall…Then the treatment of edges seems to fall in place. I can seem to understand which need to be “lost”, and those that need to show straightness and obvious clarity. I do have much more fun watching an oil sketch fall in place without thinking much, something with a real flair happening quickly…within 45 minutes to an hour and a half.
Dunphy:Being in the zone means being able to paint without tremendous effort, much like hitting my stride when I’m running or nordic skiing. All extraneous thoughts from other parts of my life turn off and I’m solely focused on the task at hand. It’s finding that rhythm when my mind, body, and creative energy are all in sync.
Gerhartz:When the conditions are right and I am accurately translating what my eyes see in terms of the abstract nature of light, shadow, shape, edge and color.
Gurney:Having my conscious mind take the back seat, and letting intuition take over.
If you believe in such a phenomenon, what techniques do you use to get there?

Blog - KB - Winter_Reflections 24x18 — Karen Blackwood – Winter Reflections – 24″x 18″ – Oil

Blackwood:To help me get “in the zone” or at the least, a higher level of focus, I try to approach my subject with great feeling. Taking the time to contemplate before brush touches canvas helps me to let go and paint from a more intuitive place, allowing the information to “flow” through me. In the studio, listening to music and looking through books of a master artist’s work can stir my soul and subconscious, which allows flow to happen. I have been known to listen to the same CD to an insanely repetitive degree. If it works for a particular piece I’m working on, I tend to want to keep that mood throughout.
Brown:It is important that I have an atmosphere that is conducive to painting. In my studio I have surrounded myself with inspirational things and music. This comfortable space helps me remove the “world” from my mind, so I can be more sensitive to the scene I am painting. Also, I problem solve; I imagine being in the scene, or on location again; I assign words to describe the scene; and finally I visualize the finished painting. By approaching a painting this way, it helps me bridge the two elements of painting, the science of painting and the intuitive aspect of painting. When I have a solid image in my mind, I can start painting. All of this helps de-clutter and prepare my mind to paint so it’s easier to sink into that nice warm comfortable place…and create…
Cook:Don’t know how to “get there”. I can’t force anything to get there. In fact last year, because of some very stressful conditions, I was definitely out of the zone for a least six months. I struggled with drawing especially, and consequently painting anything worth showing anyone for that period…well, I won’t linger on this. Tough year.
Dunphy: It’s easiest for me to get in the zone when I’m outside plein air painting. It seems like that direct communion with my subject matter helps me to more easily ignore that background chatter of non-art-related thoughts. I still can get in the zone in the studio but it happens with more effort. I’ve found that certain music helps set the tone – classical baroque music, Italian opera arias, and most especially Gregorian chants.
Gerhartz:Putting myself in the position to be successful, (working from life, distractions minimized, enough rest, approach the subject humbly, and squint!)
Gurney:Ironically, I’ve got to think consciously to get to the intuitive state, and just practice a lot.
When in the “zone”, are you more conscious and aware of what you’re doing…or less so?

Blog - KD -magic-hour, 15x30 — Kathleen Dunphy – Magic Hour – 15″x 30″ – Oil

Blackwood:When I’m in the “zone”, I am more highly in tune to what I’m painting but less self-conscious of my process. It’s a more intuitive state where the painting seems to paint itself. I lose all sense of time, at least until my husband or daughter calls out for food!
Brown:Even though my space is important at the beginning of a painting, once I am in the “zone” I am less conscious of my surrounding, or of time, and more in tune with my creative process. I would say I am less conscious when in the “zone”. Since I worked through the foundational decisions and possible problems with my painting early on, the decisions and process of painting are easier. This doesn’t mean it’s a “walk in the park” for there can still be struggles, and sometimes I still have to wrestle that thing down, but I am less likely to get frustrated and angry. I stay calm and the painting proceeds at a nice pace and rhythm.
Cook:Definitely aware of what I’m doing, as described in the first answer, but not laboring mentally or emotionally.
Dunphy:Both – I’m more aware of the idea and feeling that I’m painting and less aware of the technical aspect of it.
Gerhartz:Not necessarily aware of it. More aware when I am not in it.
Gurney:I’m inside the painting, not thinking of my immediate surroundings.
Are your best ideas and work a result of being “zoned in” or does it make any difference?

Blog - DG - Dawn from Within - 60x60 — Daniel Gerhartz – Dawn from Within – 60″x 60″ – Oil

Blackwood:I am personally more fulfilled when I am “zoned in”. It is invigorating, joyous and feels like a state of being more fully awake. Because the subconscious is flowing more freely, I think there is a deeper level revealed in the work for those able to read it, making it more successful for me.
Brown:All of my planned ideas and crucial decisions about a painting come prior to the “zone”. Once the decisions are made, and I have a clear image of my painting, I am free to de-clutter my mind, and go into the “zone”. The advantage of this process for me, is when I am in the “zone”, my right brain is in control. This opens up the opportunity for some fantastic ideas to arise during the painting. I can realize them and take advantage of these opportunities.
Cook:Can’t answer that my best ideas come “in the zone”, but my best canvases definitely do.
Dunphy:Yes, by far my best work comes when I’m in the zone. It causes a conflict for me because I can only be in the zone when I don’t have the distraction of other people around, even other artist friends. I enjoy the camaraderie of painting with others and need that human interaction, but I end up having to view those paintings days more as “mental health” days instead of times when I get serious work done.
Gerhartz:I believe all artist work is best when focus is concentrated and precise. I believe my best works have almost painted themselves.
Gurney:The two modes switch back and forth for best results, like two different creative characters: The idea man and the refiner.
Is it possible for a “zoned in” person to produce work beyond their normal ability or level of understanding?

Blog - JC - Out to Pasture 30x40 — John Cook – Out to Pasture – 30″x 40″ – Oil

Blackwood:Being “in the zone” is an active, high state of functioning that can propel me to another level. Provided I have acquired the necessary skills, the excitement brought on by a challenge above my current level of understanding awakens my spirit and allows me to reach the higher state within that my conscious self sometimes blocks.
Brown:For me, the only way this whole process works is to study and build my understanding of the fundamentals of painting, understanding what I see and my ability to see as an artist. I have to train myself to see the subtleties of a scene and to understand perspective, atmosphere, quality of light, shade, value and edge. You can’t paint what you don’t know. We are given talent, but passion is the driving force that will develop it. Without putting in the work the emotional part of art has nothing to draw from. Since being in the zone is being more visceral, I don’t think I can paint beyond my ability, but it does make it easier to work from the knowledge that I have collected over the years and it makes me more intuitive with my decisions and not over think and second guess myself.
Cook:Any piece that exceeds my normal ability is a gift from God. Should that happen, I believe I would continue doing even greater things, with a dedicated work ethic. Love this! There are some pieces in the past that stand out as hard to “match the magic”. I wouldn’t continue if I thought it might not happen again.
Dunphy:Without a doubt. I call those works gifts that are given to me in order to let me know I’m on the right track and encourage me to keep going.
Gerhartz:Yes
Gurney:To me, intuition is conscious understanding made automatic. Rarely do I get major leaps of intuition that take me beyond my conscious awareness of solutions.
When “in the zone”, are you aware of it?

Blog - RDB - Old Hickory, 22x28 — Roger Dale Brown – Old Hickory – 22″x 28″ – Oil

Blackwood:I think on some level I am aware that I am “in the zone”. Everything feels so right. When I’m out of it, I still have that lingering “high” that makes me look forward to painting again. It is an addiction, isn’t it?
Brown:I am aware I can go to the “zone”, but I don’t always know that I am there, until someone or something interrupts me.
Cook:Definitely aware when I’m “in it”, however, being in it one day doesn’t necessarily carry over to the next session. Hate this!
Dunphy:Not right away. Usually some time will have passed where I realize I’m in a great rhythm and not struggling so much. Then I try not to think about it to much in order not to jinx myself out of it!
Gerhartz:Not always, the more I think about being “in the zone” the more I can be assured I am not in it.
Gurney:Yes, and I try to abet the mood by means of music or sound effects.

Special thanks to each of the distinguished artists participating in this enlightening discussion. Your comments have been greatly appreciated.

For those that have not read Part 1, I invite you to do so. It also features six elite artists: Kenn Backhaus, Joni Falk, David Gray, Marc Hanson, C.W. Mundy, and Romona Youngquist. It’s also very good. Just click here and continue reading. Thanks.

Oil Painting

Packing Paintings for Galleries & Shows

By Susan Blackwood

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