Tips For The Art Novice

Richard D Burton: Giraffes - Pen and Ink (1968)
Richard D Burton: Giraffes – Pen and Ink (1968)

Artist, Richard D. Burton, spent over forty years in sales management and had little time to participate in art. However, he always intended to concentrate on it after retiring, which he did in the summer of 2010. We caught up with him the other day and asked him if he had any tips for the wannabe artist. Here was his response:

I was always interested in art and was drawing, sketching, studying artists and their works, but was seldom painting. I came from an artist family and knew I would eventually jump back in with a passion, which I have.

Tip: It’s never too late to get started. I often refer to Grandma Moses when I say this. She didn’t seriously get started with her artwork until she was over seventy years old and so affected with arthritis she could no longer hold needles to quilt. She felt holding a brush handle would be easier for her to expand her creative urges. She painted for near three decades.

Segment of Richard D. Burton's "Grinding Gears of Time" (2012)
Segment of Richard D. Burton’s “Grinding Gears of Time” (2012)

 

Tip: Decide what you want to accomplish. (a) Do you want to sell your work, or do you want to do art as a hobby.

Tip: Be motivated and determined. This is harder than it sounds.

Tip: Do not allow yourself to be discouraged. You know your own strengths and weaknesses. Concentrate on your strengths; you’ll educate yourself past your weaknesses.

Tip: Be your own critic. This will help you stay encouraged and positive about your work because you will know what is good or bad before you hear it from someone else (and you will hear it from someone else).

R.D.Burton: Segment of drawing~ "Moses"
R.D.Burton: Segment of Pen and Ink~ “Moses” (1980)

Tip: Practice…practice…practice! Nothing left to be said here.

Tip: Always be a student. There are a tremendous amount of sources from which to learn. There are techniques to consider as well as art styles, not to mention the mastering of the various mediums in which you choose to work. If you’re fortunate enough to take lessons, take them. If you have to do it on your own, do it. Whatever your circumstances, make the best of them. You do not have to have formal education to be an artist. However, you will need to do much self study to make up the difference.

 

 

R. D. Burton Painting: The Red Truck (2012)
R. D. Burton Painting: “The Red Truck”

Remember, no matter what your age or stage of life you’re in, your future in art is determined by your talents, goals and motivation. If you have a definite plan, you’re more likely to succeed. Keep in mind, to do nothing will achieve nothing. If your dreams are on the back burner, it’s time to move them to the front. It’s time to get started and when you do, do it with passion.

 

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Tip to Capture the Moment

Pablo Picasso: A Woman in White
Pablo Picasso: A Woman in White

There are those unaware that Pablo Picasso usually started his paintings with carefully executed and realistic drawings. Later he would paint over the drawings as his study of the subject progressed and deepened. This was not unusual for artists of his time. Many of them, as well as the great masters of the past, drew very realistic sketches and drawings to either over paint or use as a referral for their paintings.

Because of technology, with the onset of computers and cameras, few artists seem to use the word drawing in quite the same manner as in the past; however, they do tend to use it freely. Regrettably, not many of today’s artists study the pencil and chalk studies of the old masters, feeling they no longer apply to the problems of present day art.

Olivia: The Face
Olivia: The Face

However, there are artists that draw simply because they can’t help themselves. Throughout the day they see a scene or a person or something that inspires them and they passionately reach for the sketch pad and pencil or pen. To them, it is something that must be recorded. They might take a few shots (or a hundred) from a camera to also record the inspiration, but the passionate artist will do the sketching as well as take the camera shots. Physically sketching is a statement to their subconscious mind that in here somewhere is a masterpiece, and it will inspire them to paint. The initial action of drawing is the beginning.

graphite study
R.D. Burton: Graphite study for painting

Artists that make detailed drawings or sketches of their future paintings say they do it because it helps them work out many problems that may present itself when trying to paint. Also, many of them are aware of marketing, knowing that two pictures are better than one, and it increases the potential for profit. Just imagine what an original sketch of Picasso would be worth today.

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

 

 

 

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Review The Most Popular Blogpost of The Past Ninety Days

Tracing the Main Subject Onto the Substrate
Tracing the Main Subject Onto the Substrate

When writing a daily blog, it is important to jump back now and then to get some handle on interest from the viewers. This is why we will do a review here of the top blog post selected as the most popular in the past three months. This post was the most selected and read by our viewers (not necessarily written) in the past ninety days.

There have been close to over six thousand nine hundred new viewers in this time period with close to 257 blog posts from which to select. According to our analytics the most popular post is listed below. We briefly review this post here and recommend it for you to select for your benefit, information and entertainment. To go to the blog post, just click on the thumbnail to the right of the information.

 

James Frederick: "Original American" Graphite on Paper
James Frederick: “Original American” Graphite on Paper

Top spot for the past ninety-days is our post entitled: Suggested Drawing Surfaces for Graphite Pencil~ We discussed paper for drawing, just as the name implies. So, why did this sight become the most popular this past quarter?

Perhaps, it is because we showed and discussed the graphite drawings of Texas artist, James Frederick. Or, perhaps it was the anecdote we told of his decision to study art. In this article we said:  James, being the “all American boy,” thought, “H-m-m-m???” and envisioned himself painting beautiful co-ed models. Whoops!…Not to be. Never happened…he spent the whole semester drawing and painting……

For more, click on the picture on the right>>>

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Check out the opportunities that may be of help to any artist from the wannabee to the professional. (At the top of page)

 

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When European Modern Art Came to Australia

Photograph of Australian painter Russell Drysdale (at the National Portrait Gallery) with some canvases, taken by Max Dupain (1945)
Photograph of Australian painter Russell Drysdale (at the National Portrait Gallery) with some canvases, taken by Max Dupain (1945)

Going back to the late eighteenth century, Australia and New Zealand were dominated by European settlers; colonialism was its shaping force. For the most part, they were separated from the world of art until 1939 when the Melbourne Herald organized a major art exhibition including works by the Post-Impressionists such as Cezanne, Gauguin and Van Gogh. Also included in the exhibition were the Cubists such as Picasso, Braque and Leger, Surrealists such as Dali.

Until this time, to see such works artists had to go abroad, or rely on photographs for reference. This was difficult for many and it was complicated for them to paint in a society which perceived Impressionists with caution. However, in the 1950s and 60s a more complex account of Australia came into view in the painting of Sidney Nolan, Albert Tucker, Arthur Boyd  and Russell Drysdale. Although there were Expressionist and Surreal elements in what these artists painted, there was little in Western painting that was similar to it. They gave their pictures a sense of story similar to that of the American painter Ben Shahn.

One of my favorite paintings of this period is The Outstation (1965) by the Australian artist, Russell Drysdale (not shown because of possible use infringement). His art provided an insight into life in the townships of the Australian outback, creating a sort of mythology from monotony. With Drysdale, there is no story as might relate to Ben Shahn’s works. However, in some of his paintings, he depicted outback townships men sat reading newspapers or were standing in streets. In The Outstation an aboriginal fixes the viewer with depthless eyes. When viewing his paintings, one does get the feeling that there is a story within the scenes, unchanging and merciless, almost like a recurring dream.

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Tips For Drawing Realistic Hands

Artist: James Frederick: "The List" (Graphite on paper)
James Frederick “The List” (Graphite on paper)

I’ve always admired James Frederick’s graphite drawing, “The List”. The wrinkles and veins on the weathered hands tells untold narratives about the main character without seeing any other descriptive characteristic. However, when giving tips about the drawing of realistic hands, James told me that when drawing hands, details such as wrinkles and fingernails  should be drawn in at the end, and should be done with care.

When you are drawing or painting hands into your picture, it is important to remember that hands help define a figure’s character almost more than anything else. They can speak pages about a person’s life and age, almost as much as the face.

Many artist’s consider the portrayal of hands problematic, as well as do I. However, as problematic as they may be, there really is no mystery; consider the gesture first. If you concentrate on what the model is doing with the hands, you will notice the hands will fit the action. If the model is relaxed in motion, so will be the hands. If the model is stressed, so will be the hands.

Segment of “Grinding Gears of Time”

 

Tip: Draw the shape of the hand and concentrate on the contour. Plan the size and make sure it is correct in relationship to the rest of the body. Be sure to leave a touch of flesh around the fingernails. Many artist forget this very important step.

 

 

 

 

 

 

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Winner of Newsletter Subscriber Incentive

ART

A random drawing was held from our newsletter subscriber list (you can enter at the upper right side of this page). The large coffee table book ART~2500 Paintings and Sculptures will be sent to G. M. in Kentucky, USA. (We protect the Identity of winners by giving only initials.) We congratulate the winner and will be sending the book as soon as we receive instructions.

We like incentives here at Art Center Information and have had fun giving away some of the prizes. We invite you to subscribe to our newsletter. You will receive one each week for five weeks and after that they will be coming about every two weeks. Our members can unsubscribe at any time and we will not give, sell or lease your e-mail to anyone.

Newsletter Subscriber Incentive
Newsletter Subscriber Incentive

 

 

Our new incentive for our newsletter subscribers will be: The Collins Big Book of Art. This is real favorite of ours at the art center. It covers art information from the Stone Age to the Renaissance, Impressionism to Abstract Expressionism. It will take your hand and step by delightful step walk you through the fascinating world of art – beautiful to browse and easy to understand.

 

 

Newsletter Subscriber Incentive
Newsletter Subscriber Incentive

 

Newsletter Subscriber Incentive
Newsletter Subscriber Incentive

Whether you are an art novice that is just curious or a seasoned artist, you will enjoy the more than 1,000 works of art represented. The Collins Big Book of Art is comprehensive and beautiful.

 

 

artist,you will enjoy the

 

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A Surrealist/Realist Graphite Drawing

Segment of Graphite Drawing - Grinding Gears of Time
Segment of Graphite Drawing – Grinding Gears of Time

Here at Art Center Information, we are already getting questions and comments on Richard D. Burton’s graphite drawing, Grinding Gears of Time. The drawing is still in the “work in progress” stage. One question that keeps cropping up is: “Where did ‘Father Time’ get that large wrist watch. How real is that? It would take a giant to have a wrist large enough to wear a watch like that!

Mr. Burton answers the question thus: It could very easily be a giant’s watch. Remember, this is a realistic surreal drawing. Anyone that has to question this does not realize that an old man floating through an ether of time and space while sitting on a throne planted on planks of wood that are surrounded by gears which are ticking away time, can almost fit into any imaginary scenario.

Unfinished segment of drawing: Grinding Gears of Time
Unfinished segment of drawing: Grinding Gears of Time

For example, on his voyage through time and space, the “old man” may have stopped off at a planet inhabited by giants and took the watch from one he sent into that “dark tunnel” that Hamlet so emotionally discussed in his soliloquy. All I can do is to advise anyone curious about the watch to ask him about it when they meet up with him. Since it is a figment of my imagination now depicted in the drawing, I won’t be asking him about it when I meet up with him. However, I might offer him my Movado watch in an attempt to barter a little more TIME.

We don’t know if this answers any of our reader’s questions, however, we appreciate the opportunity to discuss it with Mr. Burton.

 

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A Revolution in Western Art

Example of Cubism

Pablo Picasso and Georges Braque bounced ideas off each other and enjoyed each others company. However, they knew they were working in new and adventurous territory when together they started the cubist movement.

Art critic Louis Vauxcelles described it when he noted how all the elements of paintings were reduced “to cubes.” Suddenly, Cubism became the name for the movement, and it swept all over the art world.

The painting to the left by Pablo Picasso is a portrait in the cubist style of art dealer Ambroise Vollard. It is a photograph of a photograph and does not portray the actual painting nor its value and is used in this blog for information and educational purposes only. The reason it was selected is because it represents a sample of what is known as Analytical Cubism.

Analytical Cubism: Natural forms broken down, or analyzed, and then rearranged, creating a new vision of the original subject.

In 1912, Synthetic Cubism – an art style showing images created in collage superseded the increasingly abstract Analytical Cubism.

The Cubists overturned the rules governing art and painting by their radical departure with artistic conventions by depicting the world in a completely new way. It may be said that the turned the world of art upon its head.

 

 

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Artist Gives “Father Time” a New Face

Segment of Graphite Drawing
Segment of Graphite Drawing

In the graphite drawing that artist, Richard D. Burton, is working on, a new face on father time is taking shape.

The artist is working from the left side to the right side, and top to bottom of the overall size of the drawing (18″X24″). “Father Time” is in the center of the drawing surrounded by gears of clocks and other time pieces. After making several sketches of the drawing, the artist has finally arrived at a depiction of a face that he feels gives the drawing the overall feeling he wishes to portray. It is quite different from the the original figure he drew back in 1970.

Richard D. Burton: Segment of drawing, "Father Time" (1970)
Richard D. Burton: Segment of drawing, “Father Time” (1970)

 

 

When asked about his fascination with the concept of “Father Time”, Mr. Burton responded thus:

It is not so much a fascination, I always liked the original graphite drawing, but I felt it really didn’t tell the story. I intend to tell a better story this time. “Father Time” is an imaginary figure that really represents the grim reaper. He has no choice but to wield his scythe as time runs out for some lonely soul – supposedly, it is preordained. I tried to draw a face that depicts an almost sternness, but not without an emotion – perhaps loneliness with a quality akin to sadness.

The drawing will have a surreal depiction of the slow grinding gears of time floating in the “ether” of space. “Father Time” will be floating in the same “ether”, seated on a throne of sorts, and seemingly aware (by the look on his face) that the time pieces are showing to be near midnight. At the base, the throne will be on a foundation of wood planks with the fallen leaves of autumn scattered haphazardly upon it.

Photo of leaves on deck
Photo of leaves on deck

The idea of the leaves at the base of the picture is new. It came to me yesterday when I went out onto my back deck to take a photograph. I always intended to have the base of the drawing to be wooden planks with the intent to use the deck for a reference. When I saw the leaves scattered about from a windstorm the night before, I could hardly contain my excitement. Why hadn’t I thought of it? Of course! One more depiction of time. What better representation of time than falling leaves, the gentle warning to all of us in our senior years that we truly are in the autumn of our lives.

My first thought was how complicated could I make the picture and get away with it? The surrealistic gears of time around the main focus could be confusing enough, but to add several more shapes at the bottom of the drawing might really confuse it. Okay, so it might not be “in keeping” with basic art theory, but I love a challenge…even if it is against theory. Autumn leaves it will be!

 

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Tip to Recapture Art Inspiration

Tracing the Main Subject Onto the Substrate
Tracing the Main Subject Onto the Substrate

All artists have temporary mental blocks. Old ideas lead nowhere, while new ones are impossible to find. There seems to be a lack of enthusiasm, a forgotten feeling of what makes art exciting.

Does any of this sound familiar? Remember, No artist is free from dry periods. The idea that we, as artists, are sitting around in our studio waiting to be inspired by some magical muse with some great new idea is a myth.

Since art is a mostly hands-on profession, inspiration comes from doing. This includes maintaining discipline, living by a standard that drawing or painting for a certain time everyday, whether acceptable or not, but just doing it, will lead to other interesting ideas and concepts.

When old ideas seem to lead nowhere and new ones are hard to find, try doing whatever feels good. Remember, the magical word here is “do.” Take action, and make something happen. To do nothing indulges a “dry” period and may lead to your quitting work altogether. What a tragedy that would be. The world would be without all your magnificent future works of art.

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