Art Center Information

Helpful Hint: Inspiration~the Spark for Art Motivation

Before retiring and devoting the rest of my energy into art and art promotion, I spent forty years of my life in direct sales, the greater portion of this time was spent in executive sales management. With my love of art, I felt I would make an ideal promoter. I never had any doubt in my talent and I wanted the Art Center Information sight to help promote my family’s and my own art. The sight also attempts to be informative, discussing styles, techniques, genres, and overall training tips. However, I also want to use it to help others promote their art, using the blog to interview and forward information to their sights, helping them to become more visible in the super sphere of the internet.

I’ve held off on the latter until I feel we have enough visitors to the sight to be able to truly help artists and progress art through awareness. We’re not yet there, but we are getting close. I’ve pretty much stayed within the niche of art and photography, not falling prey to gimmicky techniques to building the sight to a mass made up of an uninterested crowd. We have had several artists that sent a comment acknowledging interest in being interviewed on the sight, and we have stored these and will be getting in touch when we are ready.

Having come from a world of sales management and promotion, I find that all the rules of accomplishment are the same, whether it is getting started on a work of art, or selling art work.

In the sales field, people are always talking about motivation, perspiration, innovation, inspiration and any variations of these terms. All are important; however, if not implemented they are just words.

Of the four words, which do you think is the most important? When asked, many people will say perspiration. There is a good reason for this: we have all been taught that perspiration is ninety-nine percent of any accomplishment. Guess what, without the one percent, you can never get to perform the ninety-nine percent.

Think of it like this: You want to start a new painting, or you decide you need to start promoting and selling your art that you’ve already completed. You just don’t feel inspired to accomplish this. It isn’t going to happen until you manage the one-percent to get started.

Inspiration is the starting point. Consider it the starter button to turn on the engine. It is the spark in the carburetor. It is the fuel which furnishes the ninety-nine percent. As long as you remain inspired you will have all it takes to succeed. It all comes down to one thing: HOW BAD DO YOU WANT IT? If you define this question and ingrain it into your heart and soul, it will be the motivation, innovation and perspiration needed to succeed. However, without inspiration, it will never happen. Today is the day. Push the button and get started. There’s a beautiful world out there. Paint it! Sell it!

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Sketching: Where Ideas Come From

Where do ideas for a drawing or painting come from? Is it a glance from a passing individual while shopping at a mall? Was it the way they tilted their head, or had a certain gleam in their eye? Is it the way the sun shines through the near transparent petal of a flower? There may be a thousand things that inspire an artist for their next masterpiece, but it is in the process of sketching where the idea really begins. This is where the composition comes to life, and an artist can be free and let their talent out of the gate.

Keep in mind, a sketch does not have to be correct. An artist can be anywhere to sketch. They don’t have to be in the restrictions of a studio. Instead, they can be in a restaurant drawing on a napkin, or pulled off the side of the road drawing on any scrap of anything found that can receive graphite, ink, pastel, or even paint. Yes, when the inspiration strikes, an artist will reach for whatever art tool is available.

R. D. Burton: "Old Woodie" (2012) — R. D. Burton: “Old Woodie” (2012)

The sketch in the upper left led to the painting of Old Woodie at the right. Actually, there were more than twenty sketches made before I settled on the composition. Since I am attracted to directional lines, symbolism, simplified compositions and a sense of realism, I try several sketches, approaching them as if they were a math problem or puzzle and having a ton of fun in so doing. Sketching for me is a game. It is a means to not only work out my ideas but to get in touch with my imagination…to chase my muse. In a way, this can be the most passionate moment in the creation of a drawing or painting.

In my brother’s painting of Adam and Eve (below), he tells a funny story. He said that for many years as he traveled around Texas painting signs, and when he stopped at restaurants or gas stations or retail stores, people would stop him and ask what his next masterpiece was going to be. They all knew he was a fine artist. He always came back with the same quip: “I’m painting a picture of Adam and Eve…something you’ve never seen before…gon’na be a masterpiece.” It became such a well known and remembered statement, that after the years, the people asked: “You still working on that Adam and Eve painting, Lynn? It better be a masterpiece after all this time.” They would all burst into laughter.

Lynn Burton: "Adam and Eve" - oil on board — Lynn Burton: “Adam and Eve” oil on board

Lynn decided he’d fool everybody and go ahead and paint the picture; although, he never had any intention of doing it when he first started mentioning it.

He began making sketches of ideas, trying all types of compositions, trying to do something different that he’d not seen before. It was at a time when he painted a sign for a tattoo parlor and became interested in some of their art templates that he finally began to get the idea of the composition he thought would work. The templates inspired his muse, and it led to more creative sketches until he arrived at the black and white ink sketch (below) that became the final idea for the painting.

Lynn Burton: Black and White sketch-"Adam and Eve" — Lynn Burton: Black and White sketch-“Adam and Eve”

The thing about sketching, is that it can be finished or unfinished. In the first stages it’s probably loose or somewhat messy. Remember, it’s probably just an embryo of a painting, and it doesn’t have to lead to anything. It may end up being nothing more than doodling.

The work to the left did not come straight from the brain to the end of the tip without some thought and probably a lot of doodling and sketching. I find the composition fascinating; I’m constantly discovering some knew something I failed to see.

What it really comes down to is that sketching is exciting and fun, allowing you to work out all the details of a future work.

When I first began painting, I thought artists didn’t plan, they just reacted to their inspiration. It didn’t take me long to realize that working out the problems with sketches and studies makes the world of difference in a work.

Below is just a handful of sketches that I did for the 18″X24″ graphite drawing Grinding Gears of Time.

100_1941 — Richard D. Burton sketching studies for “Grinding Gears of Time”

To the left is a photograph of me that my wife took while working on one of the many sketches that I made over a six week period.

I made a lot of sketches of hands>>>

Sketching simplifies everything for an artist. It allows them to work out the values for their finished work, what the shapes are and how they work together, solving many possible future problems. It gives them the opportunity to make notes and imagine colors. I sometimes like to sketch with colored pencils, and I always make color studies before attempting to paint a picture.

Richard D. Burton: "Grinding Gears of Time" Graphite on Paper — Richard D. Burton: “Grinding Gears of Time” Graphite on Paper

Posted in art center information, art information, art inspiration, sketch, Uncategorized | Tagged art, art information, artist, drawing, Lynn Burton, painting, Richard D. Burton | Comments Off

Tip: When it Comes to Figure Painting

Richard D. Burton: "Segment of "Woman in the Field" — Richard D. Burton: “Segment of “Woman in the Field”

When it comes to figure painting, I find the approach to be fundamentally the same as a landscape, still life, or any other subject. The common denominator in the approach is a certain sense of naturalness. I attempt to paint ordinary people doing ordinary things and have not (as yet) relied on professional models.

I photograph a lot of people and most are hardly ever used, but I get action and body motion. I also make a habit of “quick” sketching people walking, talking, interacting and doing anything of interest. I believe somewhere in all my files of sketches and photographs I will find a body motion that will always give me exactly what I’m looking for when hit with the desire to create a painting.

There is a situation in which a photograph can save me some time and effort. The appearance of gestures need to be convincing, and in this case a camera is more efficient than the eye. Sometimes a few photographs of an arm or other limbs will help me work out the time consuming details of gesture and foreshortening.

Richard D. Burton: Segment of "The Old Woodie" — Richard D. Burton: Segment of “The Old Woodie”

In the painting, The Old Woodie, the use of an old (really old) black and white photograph helped me a lot in capturing the body of the main character. In the picture, the man is standing in a half turned position as he stares back at the gas pump. His right shoulder is lower than his left since he is holding the nozzle in his left hand and raised, compensating for the offset of the weight.

I used the grid mark method on the photograph to get the picture as accurately as I could. The main difference in the photograph is that I put a Stetson hat on the main character. I also did several studies for the painting from drawing the entire painting in graphite to a great many acrylic color sketches.

Artist, Richard D. Burton making a full size graphite drawing for "The Old Woodie" — Artist, Richard D. Burton making a full size graphite drawing for “The Old Woodie”

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Posted in art, art center information, art information, Figure Painting, Richard D. Burton | Tagged art, art center information, art information, artist, figure painting, painting | Comments Off

Using External Light With Your Artwork

I sometimes use a sunlamp or flashlight with my artwork after I feel the painting is finished, especially when I use watercolor media where I can lift the paint. What I attempt to accomplish is to see what the difference the light will make, especially if it is directional. I try to position the light at the angle the sun (or other source of light) would be hitting the subject of the painting. It has the same effect as if the sun were just coming out and it is possible to see the very great difference light (in your painting) would make. It tells you what to do and gives you a preview of how it will look after you do it.

In the painting, Winter Kindling, I did a lot of lifting of the paint on the brightest areas as well as (more importantly) the darker shaded areas. The images in the negative (shaded) areas were very important to give depth to the painting. I never picked up on the necessity until I played around with different angles of light shining on the painting after I thought it was finished.

Tip: When you lift paint from a given area to go lighter, be sure to darken the tones around it to create a value contrast to emphasize the light area.

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An Artist’s basic Approach

Lynn Burton: Swan Lake Reflection ~Oil on Canvas

We ran into one of our senior member artists, Lynn Burton (brother of CEO, Richard Burton) and asked him about his basic approach to painting. Here is how he answered:

“My approach to a blank canvas consists mostly of two parts. I like to be free and have fun, but I also make sure I’ve done my homework. Usually before I begin, I’ve made several thumbnail sketches, considering value, design, concept, and overall necessities to see if the picture is worth painting at all. I want to see how much detail is necessary to make it somewhat realistic. So, facing the empty canvas, the two parts consist of a wild spontaneous stage to give the illusion of water, trees or whatever, creating a field of texture. This first approach, I’ll have to admit, is my favorite because I can be loose, wild and free.

“The next phase is a little less fun but not less important. In fact, it’s just the opposite. It’s probably the difference between hanging the picture on a gallery wall or up in the storage attic. It is the realistic phase. This is the phase that requires the most planning. In the first stage of the painting, I apply the paint wherever it leads without censoring or holding back. I take no time for thinking but, instead, stay alert and ready to take action wherever necessary for any possibility that arises. Whatever mistakes made in the first stage can easily be corrected, however, not so easily in the second stage. In the realistic stage all the requirements to create an acceptable sense of realism is required.

“After the painting is considered finished, I step back and give it some thought. This step back process for me is a couple of weeks of it hanging on a wall and letting me make sure nothing is really bothering me about it. If there is, I try to figure out what it is and go back into it and fix it.”

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Tips to Finding Freedom in Your Realistic Paintings

Segment of the "Old Woodie" painting by R.D.Burton — Segment of the “Old Woodie” painting by R.D.Burton

If you are a realist painter working freely, with no drawing, without preparing, and having only a slight idea of what composition you are after has a downside to it. What should you add or remove to make the image believable? What about the style, the design, the technique? Let’s admit it, there is a price to pay for freedom, even though being free with your artwork is more fun and enjoyable.

Taking control of your art is sometimes a lot of work. You have to answer questions about drawing, value, design, composition, and more to determine all the elements of a painting first before you get started.

However, after all the work in preparing is complete, the rest pays off in big dividends. It is easy to devise methods that will allow you to still have control of the painting and keep total freedom. Remember, the better you prepare, the faster the paint goes on the canvas.

Research your source material.
Know the facts.
Make careful drawings on your canvas or paper if it is to be a realistic painting.

Lynn Burton: The Red Sunset" (oil on canvas) — Lynn Burton: The Red Sunset” (oil on canvas)

In my article: Seven Steps to a Masterpiece, I discussed the planning stages of a realistic painting. (To view the article, click on the picture to the right and it will take you to the post.)

Some artists believe that a tight drawing will make a tight painting. I, personally, do not agree…necessarily. You can work outwardly, free and loose with the paint, not concerning yourself with the details because you have done the hard work. The rest is fun.

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How Important is Desire in Your Artwork?

For years, I felt that successfully completing a work of art was ninety-nine percent perspiration, that it was my responsibility to hang in there no matter what it took. In other words, determination and hard work. Let’s face it, making a success of even one single painting is nothing but agonizing mental suffering…but then again, as artists, we are so critical of ourselves.

Lynn Burton:Blue Mountain cottage (oil on canvas)

The ingredient is simple. We’ve all heard it; it’s called desire. I’ll put it another way in a question you have to ask yourself passionately when starting a painting. Ask this: “How bad do I want it?” When you think about it, the question is very powerful. Handled properly, it is a driving force.

You have seen the painting you are attempting to paint many times in your mind (in your muse). At some point in your progress, if your painting isn’t quite getting to where your muse sent you, ask again, “how bad do I want it?’ All throughout your progress, ask again: “How bad do I want it?” And again (but even more passionately) ask: “HOW BAD DO I WANT IT?” Again I repeat, It is called desire. It is the fuel that has inspired millions. Ninety-nine percent perspiration dwindles beneath the weight of passion and desire. Perspiration is important, but it is but a shadow in comparison. Let there be no limits to win. If you are a true artist, every painting is a seduction of love. Determine to do battle for your love object if you must. In your mind of minds, in your soul of souls, passionately determine to win at all costs. You will find there will never be a turning back point once you have started…AND THAT MY FRIEND, IS CALLED DESIRE.

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Tip to Find and Direct Your Focal Point of Interest in Your Artwork

An artist that wishing to capture the viewer and control their interest toward the focal point in their painting can take lessons from some of the masters. I discussed this in a blog post about a year ago, and I feel it necessary to repeat some of the content since the post is nearing its extinction point.
There are certain things an artist can do to accomplish this. One is to surround the center of interest with opposite colors, a good utilization of grey’s, value contrasts, and other methods, strategies and techniques. However, it can also be done with the composition itself. I personally like this last method because it keeps me constantly aware when creating my over all painting.

I’ve always been intrigued by the directional art of Grant Wood’s, American Gothic. It really captivates the viewer’s attention, and it was not by mistake; it was totally intentional. When I was young, hardly did I ever go into a house that I didn’t see a copy of this painting hanging on the wall. I believe it was one of the most popular pieces of art in the United States at the time. The genius of the piece is in the composition of the background. It can literally keep the viewer’s eyes locked in to the farmer and his wife.

If you will note, the angle of the roof between the two people in the painting directs your eyes to their faces. To make sure your eyes do not dart around much, the darker color of the porch roof redirects your eyes. Even the vertical window sills keep your eyes centered. If that isn’t enough, the prongs of the pitchfork does the same thing. But even if that’s not enough, and your eyes began to wander down to the darker hues of the clothes, the strong complement of the light colored shirt on the farmer, and the white color on his wife’s blouse brings your eyes back to the face. Then if you happen to notice the red barn (and who couldn’t notice it?), you still can’t concentrate on it for long because the dark shoulder makes your eyes travel back up to his face. To concentrate on the rest of the painting instead of these two “main characters”, the center of interest, you need to block them out with a piece of paper (or whatever). You can’t get away from them.
As I mentioned, Grant Wood’s directing his viewers to keep captivated on the center of interest was planned and intentional. You, as an artist, can give your artwork serious consideration of some of these points, and carefully prepare your art compositions. Consider the work Grant Wood put into planning this great piece of art. It will make for a much more appreciated painting.

The depiction of Grant Wood’s painting, American Gothic, is for viewer’s art information and education only. The image does not represent the value or quality of the work.

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Posted in art, art center information, art information, focal point, Grant Wood, painting | Tagged American Gothic, art, art center information, art information, artist, Grant Wood, painting | Comments Off

Tip: Using the Camera With Your Artwork

The camera is a valuable tool for an artist. It’s a great guide to use when needing realistic facts. Personally, this is the main reason that I use it. However, I have found that photographs are generally useless to mix color compositions. The reason for this is that digital colors are made up of varying mixtures using cyan and magenta; paint pigments can’t pick up the hues as accurately as needed. Back at the studio, I change the photographs to black and white values on the computer, using them as ideas for paintings, preferring nature as my source for color.

Many artists have spent countless hours debating the worth of the camera in art. Some of them are totally opposed for its use. I’ve been told by more than one artist that a camera destroys the creativity of an artist, that an artist should get all the facts at the time with a sketch pad and paint and brush or pencil. As important and rewarding as is the habit of sketching, my suggestion is to always have a camera nearby. With digital cameras today, where you can pop a card into the computer, it makes even more sense; at least, dollars and cents, there is very little expense.

I enjoy sketching, and am seldom without a pad and pencil. This seems to be a family thing. My brother, Lynn, is a sketching freak. He can’t seem to talk without drawing whatever he’s describing. I think he was born with graphite pencils in place of fingers. However, as addicted to sketching as he is, he will always have his camera nearby. I’m glad he does; otherwise, we wouldn’t have near the paintings we do.

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Art Tip: Shape up Your Art and Entertain

Sometimes, it’s angles, sizes, spaces and interesting shapes that make many of our paintings “work” to entertain our audience. Lynn Burton’s untitled painting to the left is a good example of what I mean. Not only did he use all of the above attributes to help the picture along, but to make the painting more interesting, he chose an angel or viewpoint from above (about 30 degrees) that made it that much more interesting. This is a good example of choosing unusual angles and breaking up shapes, not only with the solid building components but the exciting shapes of the shadows, as well.

Sometimes, the utilization of angles and shapes in your painting can be very simplistic, and in its simplistic design is the genius itself. A good example of this is the painting to the right. It is a simple play of rectangular shapes contrasting against the angle of the stairs and handrail. In one sense, the shapes and not the flowers on the stairs make the painting. In its simplicity, the colors work well together but do not captivate the painting. The painting looks like it was easy to do, but as good paintings go, a lot more planning work goes into it than the viewer will ever know.

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Posted in art information, Lynn Burton, painting, Shapes | Tagged angles, art, art information, artist, Lynn Burton, painting, shapes | Comments Off