Research Assessment 9
My mentor and I decided to challenge ourselves. Mrs. Jahanyfard suggested we work on art for one hour each day; the goal was to practice consistency. We could do just about anything to do with art, but I focused mostly on sketches and a painting. This challenge helped me keep track of my mission statement, my goal for the year. The consistency required to do something like this encouraged and forced me to stay motivated even when I was not motivated. It is exactly what I need. Moreover, it also has exposed me to various issues my recent artwork has; it has driven me to re-prioritise what I want to focus on with my art.
I noticed that there are various areas where my artwork is lacking. Mainly in regards to lighting and variety; I have been avoiding both. The sketches I made during the first day illustrated my failure to focus on contrast. It is the backbone of art; everything builds off lighting. Therefore, I should begin focusing more one it. On the fourth day I found that I enjoyed painting the background architecture of my house. To create believable perspective and forms, lighting is required. So, I believe if I were to begin focusing more on artworks that depict architecture, I will be able to gain some more practice in that area. Most of my work has been of close up photos of dogs, and it has been helpful. Painting those art pieces has allowed me to develop my style into something I am incredibly proud of, but now it is time for me to begin focusing elsewhere. It is not as if my style is perfect; it is competent. For that reason, moving on to addressing a weakness will be greatly beneficial.
Another area that needs addressing is my ability to draw people. I learned in the latter half of my sketches how little practice of drawing and painting people I have had recently. That has kept me from improving, and I even believe my skills have degraded in that regard. I should put more time into practicing drawing people, especially faces; it is difficult to do so. However, as I learned last year, the only way to better myself in art is to keep practicing.
Of course, for the aforementioned reasons, I should definitely begin re-prioritising and revisiting areas which I have neglected this year. That, I believe, will be a great way to improve and better myself. My grandparents asked me to paint their house while I was visiting them this summer. Doing so will help me develop the lacking skills in lighting, so I will begin practicing in my sketches to create an art piece like that. For the other issue, in regards to how I draw people, I will try painting more people in my AP artworks. The main subject is of dogs, but nothing should stop me from painting dogs and people. I ought to also keep trying to draw or paint for an hour each day. It has been undoubtedly beneficial in allowing me to see my weaknesses, but also in establishing a way for me to keep following my mission statement.
Truly, this challenge has been unbelievably motivating. For the last few weeks I have been feeling almost lost. I have lacked a purpose, a goal of sorts. This experience has encouraged me to find a new goal and to keep striving for improvement. Moreover, creating artwork is incredibly fulfilling, not to mention comforting. It feels like a break; something to even look forwards to. Painting is also calming because it allows me to clear my mind and reflect on where to go next. In this case, it is telling me to re-prioritise my areas of focus.
The Drawing Mindset
Research Assessment 8
Subject: Comparing how I Draw to how I Paint
A major component of painting has always been drawing. I mean, Van Gogh said it himself, “Drawing is the root of everything, and the time spent on that is actually all profit.” However, I have not mentioned it very often. One of my main goals this year has been to paint consistently, but I feel as though I should rephrase that. In reality, I have also been drawing a great amount, and, recently, I decided to reflect on what drawing can teach me.
In the last few weeks I decided to dedicate my time to drawing more. My reasoning was that it would take less time, and it is something I had neglected for a while. So, I set to work. While doing so, I noticed the ease in which I drew. I thought I would be rusty; I had forgotten that before I can paint anything I usually draw a sketch. These sketches have allowed me to keep practicing the skill without even noticing it. This made the process much easier to go back to.
The fact that I hardly even considered it a task surprised me. That is what I want painting to be like for me: more of a habit than a necessity. Recognizing that I seemed to have already accomplished part of my goal with drawing encouraged me to reflect on how I was pursuing drawing, and the differences between my mindset in both mediums.
Drawing is something I consider more crude and unfinished. I only tend to draw when I sketch, so this idea of something seemingly rougher than painting was ingrained in my head. I believe this less serious view of it allows me to be more creative and free with drawing. I noticed this in my most recent drawings; they are relatively different in style. Compared to my paintings, that float around the same style, this is revolutionary. I may be able to transform painting into something more natural, which will encourage more risk-taking and creativity. To do this I need to change my mindset about painting.
I have been far too cautious with my paintings. It is difficult to point out why this is the case, but, as long as I change my habit, the reason for the issue hardly matters. What I believe the best thing for me to do will be to paint in my own time. I can reuse old pieces to explore new methods of painting. There is no need to finish any of the pieces, so it will not be as much of a hassle. This process will encourage me to see painting as something less rigid, but, rather, as a hobby. It will also be beneficial towards my original work. The more constant practice and risks will allow for more innovation and experimentation. This is what the original work is about, for me: improvement and practice; by focusing on these ideas when I paint, I will surely create more purposeful art pieces. If anything, I feel more motivated to draw as well. I had forgotten how much enjoyment I get from it. Drawing feels mot just easier, but also more peaceful. I get to create whatever I want regardless of the results; that really takes a great deal of pressure away from me. Doing the same with painting will encourage a similar mindset, which I believe will greatly benefit me.
Research Assessment 7
Subject: Lessons from Loving Vincent
Works Cited (MLA 8 citation[s])
Kobiela, Dorota and Hugh Welchman, directors. Loving Vincent. Loving Vincent, BreakThru Productions, 22 Sept. 2017.
About a week ago, I watched a film I had been looking forwards to for a while. It entirely made with paintings. It is about Vincent Van Gogh’s life, but mainly the impact of his death. In every frame was a painting made by a team of artists made with Van Gogh’s distinct style. It was an utterly magnificent. I sat in awe throughout the movie; I could not keep my eyes from it. This immersive experience was enhanced by the lessons this film expressed.
Of course, on its own, the movie is beautiful; it serves its purpose well. However, it showcases more than that. The film proved these two seemingly incompatible mediums work well together. If someone is passionate enough about something, they will find a way to make it work. Ms. Vernon, my mentor from last year, used to say this, and she was right. The artists alone show this; they pursued their passion and found a way to make it work. They prove that it is possible to incorporate more traditional painting in the movie industry. In doing so, they have gained a great deal of promotion from the movie itself and will hopefully profit from the paintings they made for the film. The power of innovation is astounding; it can create success in the most incredible ways. This film encourages me to pursue my passion regardless of the circumstances because, in doing so, I can find creative ways to achieve my goals. A mindset focused on innovation, will undoubtedly prove advantageous. With it, I can further develop myself and continue pursuing this path.
These great artists have also taught me a great deal about expressionist painting. Achieving it has always been my goal.. The artists, through emulation of Van Gogh’s work, illustrate clearly what I can do to create better paintings in this style. The faces alone were inspiring. They were not entirely realistic, but still managed to express every sort of emotion. The variety of colors used to create these portraits were awe inspiring. There seemed to be hundreds of shades of red, green, blue, purple, and yellow in each painting. The skies also contained what felt like an infinite amount of blues and greens. I have realized that I am missing countless colors that I could include in my paintings. The beauty of these paintings motivates me to attempt to seek to incorporate all these techniques when I paint in this style.
Van Gogh’s style is impressive, but the lessons in his life prove to be even more meaningful to me. When faced all sorts of adversity, regardless of what anyone said or did, he followed his passion. Van Gogh painted for almost a decade; only one of his paintings was sold during his lifetime. One, one painting. This, however, did not stop him. Van Gogh moved forward against the current. He may have arguably drowned, yet, over a century later, his paintings stand as some of the best this world has to offer. He may have died, but his passion survived. It is not success that matters, but fulfillment, happiness. Van Gogh has shown me, that as long as I find happiness in painting I should pursue it. He has become an inspiration. Even my quote for the year (from Van Gogh) reflects this: “If you hear a voice within you say 'you cannot paint,' then by all means paint, and that voice will be silenced.”
Seeing this inspires me to create a set of paintings, for my original work or final product inspired by Van Gogh. I could paint in a similar setting and environment, and in doing so could develop more of my own style. Emulating his expressionism will allow me to delve deeper into the art world, and it will encourage me to further pursue growth. This movie and consequently Van Gogh both have taught me how to paint better portraits, how to better my expressionism, and, most importantly, that nothing can stand in the way of my passion besides, well, me.
Research Assessment 6
Subject: Painting in a new Style
I have a loose style when I paint. I value that almost fluid or blurry look some paintings may have. In a way, my pieces resemble expressionism, but not completely. My brush strokes are not as obvious or as varied in color as expressionist paintings tend to be. This style of painting is a sort of goal for me. That is why I have dedicated one of my most recent paintings to creating something resembling expressionism; that is not all, though, I decided to also dabble in fauvism. These kind of paintings have colors that are unrealistic and usually complementary. Most fauvist artists use bold and simple colors to create a complex image. I thought exploring both these techniques in one painting would be a great learning experience; not just because they are similar to one another, but also because they allow me to continue searching for new ways to paint.
Stepping out of my comfort zone is the best way to improve, so most of my year will be dedicated to exploring new ways to paint. I have already painted something with my hands; for that reason, I decided to try something less drastic this time. Although the way I am painting is not completely different from how I usually paint,- it feels more like an extension to how I paint- the combination of expressionism and fauvism is different enough to prompt a change in how I tackle the painting.
I painted my dog, Lucky, in a close-up photo. I changed the original brown and white fur to red and yellow, and the red bricks and blue-white floor to purple and blue. Of course, I added many different colors to create these simplified colors, but for the most part the background became a spectrum of cool colors and the foreground became one of warm colors. Painting in the fauvist style felt odd. The colors did not seem right; it was not real. Still, I felt the painting was more complex because of that. The joyous warm colors contrasted with the dreary eyes of dog in the photo. Dogs are usually synonymous with happiness, like the warm colors, but this one clearly is not. This juxtaposition of messages implied by the dog and the color adds a bit more detail and meaning behind the painting. I have always seen colors as a way to manipulate paintings; I never before thought of them as a way to create a message to the viewer.
My first layer had all the colors and values established, so in that sense, it was fauvist. However, it was not expressionist; it looked like one of my usual paintings. I needed to add the obvious and varying colorful strokes most of these paintings usually have. Not only would that create the texture of the fur, but also add the illusion of blending from far away. I adore that look: simple and bright colors brushed around one another. What looks like a black shadow from far away is actually a mixture of brown, purple, and blue brush strokes. Painting like this embraces the fact that the piece is a painting while creating something that resembles realism. Admittedly, I was not able to create that perfectly in my artwork, but it was close. The colors clearly vary and the strokes are present.
I am overjoyed with the result. It is different from what I usually do; it is much more bright and expressive. It looks more purposeful and complex. Clearly, this attempt at something different, like before, was extremely useful for my development. These new techniques have taught me that I love the fauvist look, and that I have the ability to create expressionist paintings. Once again, stepping out of my comfort zone has allowed me to take another step on my journey to find a unique style, my style and technique. Unlike before though, I have learned that I do not need to take drastic actions to find new creative ways to paint. Both the aforementioned styles look similar already to what I usually do, so this was not a stretch. Nevertheless, it was useful.
This experience has been motivating. I feel encouraged to keep trying out different and new techniques. One aspect of this exploration of art styles is that I feel more inspired to paint more often than before. In fact, I want to paint more often because of how intriguing exploration can be. Another aspect of this experience is that idea that this allows me to improve myself has been validated again. I want to keep trying new techniques in order to develop and mold myself as a painter. Continuing this will undoubtedly be useful. I believe this idea could be useful in my original work. My inclination is to report on how painting in these different ways impact the way I paint. Already I know that painting with my hands has reinforced the idea that I value detail less than value and shape, and I know that painting with a mixture of expressionism and fauvism has motivated me to focus more on how each brush stroke differs from the other. This already makes me more conscious of how I paint; if I report it, I could more effectively find new ways to develop and improve.
Research Assessment 5
Subject: Doing Something Different
Works Cited (MLA 8 citation[s])
Rosa Nanini, Luiz Fernando. Sketches. 2017, Frisco, TX.
An important goal of mine this year had been to step out of my comfort zone. I want to make painting something I cannot live without; I want it to be my source of motivation and consolation. To do this, I have to make painting and drawing my habits, which is what I have been attempting to do. Although the progression may not be as quick as I would like, there is improvement. I am beginning to paint more consistently and skillfully. One thing I have started to do is sketch. It is something that was recommended to me whenever I went to Dallas’ Portfolio night, but it is also something I have not done in a great deal of time.
The last time I sketched out of my own volition was in the beginning of middle school when I first began drawing. I have always just assumed I do not have enough time for it, but, as usual, I was wrong. There is more than enough time to sketch; all I need to do is find it. My sketches are different from before, though. Besides being better in quality, they are more observational. I usually make my art off pictures I or my family has taken, but rarely do I draw or paint something in front of me. It has always seemed rather difficult to do; it takes time and planning. I mean, there is no way I can expect someone to sit still while I paint for an hour, and it would be far too inconvenient to bring all my art utensil somewhere other than my house. Sketching, however, is much more convenient. All I need are a few pencils and a sketchbook.
Sketching from observation is incredibly enjoyable; although, I sometimes feel creepy while doing it. I have sketched quite a few drawings over the past month, and have noticed marked improvement between each sketch. I find that sketching keeps me from losing some of my muscle memory over time, and it inspires me with new ideas constantly, while also encouraging me to look into the world with an artistic eye. I am beginning to see shapes, not things; value, not light; lines, not shadow.
This different outlook into what I see in the world is marvelous. It keeps me engaged, focused on my surroundings, and fosters creativity. I find it invaluable; I want to keep doing it, even if I tire from it every now and again. This fits well into what I have been doing, and promotes constant drawing. I feel deeply motivated to keep sketching. Not just for the aforementioned benefits of it, but also for its ability to promote risk-taking. Sketching is just what I have been looking for: a method to step out of my comfort zone.
I will definitely be sketching in the future. It seems like the best tool to make me begin making painting a major part of my life. With it I may make painting a habit, find new and creative ways to create art, and improve my skills. I want to use this tool to its full potential in order to promote my growth as an artist, so that is what I will motivate myself to do.
Research Assessment 4
Subject: Painting Differently
Works Cited (MLA 8 citation[s])
Rosa Nanini, Luiz Fernando. Painting with my Hands. 2017, Frisco, TX.
In a previous assessment I wrote about trying new techniques, stepping out of my comfort zone. I decided to do just that in my latest painting. It is not complete, but I have done enough to gain a grasp of the technique and my feelings about it. The idea was to paint a painting entirely with my hands; because it is difficult to create detail with my hands, I decided to paint something larger than usual, which is also not something I am used to.
It is difficult to describe how rewarding the experience was. I painted a hand on cardboard with my hands, which, in reality, is not something unique. However, it was something different for me, and that was the goal of the exercise.. Not only was it extremely enjoyable, but it also seems to fit well into my style. Hard, straight, polished lines are not easy to make with one’s hands, so the painting tends to look more fluid in a way that almost resembles expressionism. The painting reminds me of the sketchy drawings I am incredibly fond of; it also looks similar to most of my paintings in that sense. I have never been the person to paint in a, well, polished way, so this technique seems to work well with me.
To find something that fits me this well is reassuring and motivating. There is an infinite amount of styles, techniques, mediums, and subjects I could explore; to think the first technique I delved into was not only extremely enjoyable, but also resembles something I have an inclination towards is amazing. I am excited, to say the least, to explore more and to continue to step out of my comfort zone because it is clearly something I am meant to do. I am a student; I am supposed to try new things in order to learn. I am meant to find my own style and technique. Stepping out of my comfort zone is the best way to do that.
I feel as though I am walking a path towards an ultimate destination, which seems to be a discovery of myself and my passion. All the knowledge I gain seems to propel me forwards. I consistently learn more about myself and my passion for painting. This experience, in a way, validates the article I read about Helen Frankenthaler's exploration of new styles of painting. Stepping out of my comfort zone will allow me to grow as a painter and I plan to continue doing so.
This idea of exploration could be a theme for my original work. Maybe I could make something different, something I usually would avoid. It would allow me learn something new about painting and myself. Maybe I could try abstract; I have always strayed away from abstract. I struggle to see the meaning in that kind work, and I have never made something abstract that is truly meaningful. At the very least, I know I will try to do something unique. I will continue exploring new methods of painting and see where that leads me. Hopefully, I will find something that is truly different, but also enjoyable.
Research Assessment 3
Subject: How an artist brings a painting to life
Works Cited (MLA 8 citation[s])
Zinsser, William. "Two men and a portrait: one wondered how an artist brings paint to life. The other showed him." Smithsonian, Apr. 2007, p. 98+. Science In Context. Accessed 22 Sept. 2017.
Finding the right article is difficult; I have been attempting to learn more about painting, but I consistently find articles about artists’ lives, not their paintings. This article, however, was different. It was written to teach me something, not to share a story with me.
The article follows the narrator as he describes his experience of being painted by a cousin. Zinsser describes the long process of painting by sharing what his cousin taught him. The article describes the thought behind each painting the artists makes; it showcases the importance of purpose in art. The painter himself mentions that someone becomes a painter once they know how to paint their thoughts. I have always known that purpose is important, but I had never thought of it as the backbone of a painting. Purpose guides the painter and allows him to focus on what expresses that purpose. Observational details matter little because they do not express anything; it is the painter’s job to find aspects of his or her subject that expresses the purpose of the painting. This is achieved early on through the broad composition that should capture the purpose. Later as the artists begins to finalize and polish his work he must choose whatever details exemplify his goal. By working this way, the artist clearly showcases the meaning behind his work.
This knowledge is invaluable. I have always leaned towards observational painting because it is easier. I have never known how to implement purpose; this article, in a way, details specific steps I should take in order to achieve this goal. I feel as though, with this knowledge, I am able to create better artwork and actually express something through painting, as any painter should. Most of the articles and most artists I have talked to, that mention purpose, always stress the importance of purpose. I am positive I can formulate a plan to use this article as a stepping stone into creating meaning in my work. Admittedly that has been a large goal of mine, so it is reassuring to think that I might actually accomplish it.
Here is my plan: I know my purpose does not have to convey something philosophical or intellectual, but it should portray something with meaning. Once I establish meaning I should think of a way to portray that meaning, be it through form, composition, contrast, or a combination of these and other principles of art. Having a general plan will allow me to focus on one aspect of the painting at a time, which is exactly what I did with my One Hundred Apples without noticing. Focusing on one aspect at a time should make it easier to commit more time into my work; it will also provide me with a better foundation in which to build a more complex painting.
I am honestly surprised by how helpful the article was. It did not teach me revolutionary knowledge, but it made what I already should know clearer to see. The article allowed me to more clearly visualize what I want to create and the process I should go about creating it. I am confident can better my artwork and work ethic not because this article has given me a formula for better artwork, but because it showed me that I have not been as involved with my paintings as I can be. By focusing on smaller, simpler, aspects of the painting I can devote more to it. As I mentioned earlier, it is what I did with my one hundred paintings, and it is what I plan to more actively do in my future projects.
Research Assessment 2
Subject: Helen Frankenthaler’s exhibition at the Clark Art Institute
Works Cited (MLA 8 citation[s])
Princenthal, Nancy. "Rules Set Fearlessly Aside." New York Times, 1 Sept. 2017, p. C13(L). Science In Context. Accessed 14 Sept. 2017.
Although I enjoy painting and consider myself fairly knowledgeable on the subject, I still struggle to understand meaning behind painters’ work. In an effort to address this issue, I have decided to study different painters and their paintings. I originally intended to study Richard Diebenkorn because I was intrigued by his shape-focused artwork Ms. Vernon introduced to me last spring. While searching for valuable documents, however, I stumbled on this article detailing a paradoxical painter that caught my eye. Understanding abstract has never been an easy task for me, so I thought looking into an artist who worked with just that would be useful. Admittedly, there are many abstract painters; my reasoning for studying Helen Frankenthaler was the author’s mention of how Frankenthal abstract painting seemed to portray realistic, or naturalistic- as the author puts it- subject matters.
Everything about Frankenthal seems contradictory. How does someone paint realistic subjects through abstract painting? Why did she decide to do this? Frankenthal seems to have valued risk-taking above everything when it came to painting; maybe because risks can result in inspiring creativity. The author claims Frankenthal did not believe in any rules; in fact, she disregarded various norms of painting. Her paintings were not intended to have any subject matters, but still managed to display, ever so slightly, the outdoors environment in which she painted. It seems impossible, yet a quick search a Frankenthal paintings defend the author’s claims.
I was caught by one of the paintings I saw, “Redshift”. The all-red painting, in the small google window seemed to show a dark horizon line. Two people- one close (on the left) and another far (on the right)- seem to be looking down, but they are not. Well, they are not even people, just a few blotches of paint. I do not know how she did it or why, but I instantly realized something. The painting intrigued me, an abstract painting; usually that is not the case. At first glance it seems to display contradictory emotions. The deep reds look passionate, but also eerie. They almost seem to haunt the people-blotches I saw earlier.
Frankenthal’s risk-taking seems to have paid off. Not only did she grow to become a successful artists, but also painted images I have never seen before. Each seems to portray some form of contradiction; they all intrigue me. Of course, I cannot be certain, but I feel as though I am beginning to understand and analyze paintings. It is undeniably motivating. Over time, this career is becoming more approachable. I now know, the rules attributed to painting are not set in stone; they are merely guidelines to understanding others’ painting. Maybe an art school is not meant to teach me how to paint, but, instead, meant to guide me into developing myself into a painter. Maybe I should begin looking at all my teacher’s lessons as guidelines, and not rules. Maybe I should begin taking more risks; not because Frankenthal did it, but because it could allow me to discover something unique, as Frankenthal did. In fact, that is what I will do.
I have no doubt, this perspective centered on risk-taking will benefit me. I have already begun stepping out of my comfort zone by painting more; taking more risks seems like the next logical step. I am excited to see where ambition can take me. I am a student after all, learning should be my primary goal. I should have no fear. Failure is inevitable, but it is not debilitating, it is motivating. In my art class I will soon be able to paint whatever I would like; it will be the perfect opportunity to begin taking some more risks.
This article has been invaluable in motivating me. Not only has it allowed me to see my analytical growth, but has also motivated me to grow as a painter. There is absolutely no doubt I will use this motivation. Only, a few questions do arise. What will I paint, in other words, what will be my risks, and how will I work towards taking these risks? I have always wondered what a painting of mine would look like if I painted it without contacts or glasses. That will be my first risk, a sort of blind painting. Ms. Vernon always stressed the importance of painting shapes over detail, and painting like this could allow me to see shapes more clearly. This could be a great way to follow her advice and grow as a painter.
Painting: An Actual Job
Research Assessment 1
Subject: Painting as a Career
Works Cited (MLA 8 citation[s])
“Crafts and Fine Arts: Occupational Outlook.” U.S. Bureau of Labor Statistics, U.S. Department of Labor, 17 Dec. 2015. Accessed 8 Sept. 2017.
It is a new year, and quite a while has passed since I have looked deeply into the prospects of a career in painting, so, despite being in ISM II and studying the same topic, I decided it would be a good idea give myself a refresher of the career. To my surprise, the U.S. Bureau of Labor Statistics had an article over Craft and Fine Artists; to me, it is another reason to consider painting as an actual career. Although I already knew a large portion of what was said in the article, there was quite a bit I did not know.
Most of the article explained the usual: painting is a difficult career in which an artists has to pour themselves into their work, and may still have to work a second job. Success in art is derived from an artist’s reputation and dedication; if they are able to build a brand and a consistent clientele they will create a sustainable salary. Painters can build their reputations by participating in local shows, galleries, and exhibitions. They develop their skills through practice, apprenticeship programs, a college education, visiting museums, and from other artists’ advice.
Although a college education is not necessary, it allows a painter grow and prepares them to the brutal realities of the job. I remember my mentor suggested I seek out a Masters Degree. Despite the fact that I already knew this, reading over it helps me ground myself. It is important to think of the realities of being a painter and not just my ideal vision of the future. Refreshing myself in this knowledge also allows me to better prepare myself as I move forwards in this second year of ISM. However, I must admit, there was quite a bit of knowledge I lacked on the subject.
I learned that the median pay for an artist is $48,780 per year. I will be frank, that is more than I expected. Although, I do not know how reliable that number is because the incredibly wealthy artists ought to have affected the calculations. I also found that the economy has a large impact in an artist’s success; a thriving economy allows people to spend their money on paintings, but in a struggling economy less people are able to buy paintings. Nevertheless, museums and collectors are always looking for paintings, so even in a recession, a painter may find success. All this new information is encouraging; it compels me to believe success is possible regardless of the situation. The most important lesson I was taught, however, is that a most paintings are not commissioned
To succeed in painting an artist does not need to only paint commissioned paintings. Hold on. I had to take a moment to soak that information in. To me, this is incredibly heartwarming. To succeed as a painter I do not need to paint what others tell me; instead, I need to paint what I want. My success is derived from my creativity and dedication not my style of painting. This may be similar to the previous information, but it is even more impactful because it means I can succeed no matter what occurs.
I thought reading this would discourage me, but it had the opposite effect on me. I feel encouraged, even motivated. Yeah, it is insanely challenging to live as a painter; that does not matter, though, because I can overcome these challenges. Even if I have to work another job, I can and will find success if I put my mind to it. Passion and dedication are the only things that can limit me, but why would they? I already am passionate about the subject and that will only grow. In the other hand, my dedication will be my main focus this year; I already want to improve it, so this only reinforces my goals.
My first instinct, as I began reading the article, was that it was not useful to me. Most of the knowledge was not new; it did not seem to impact me. However, most of the knowledge did reinforce my plans. It must mean I am following the right path.
With this knowledge, I find that my pains have not changed. In fact, I have only been invigorated. If anything, my attempts to make painting a habit will be even more passionate; I will continue to continuously paint in order to make painting a habit. It is the best way to consistently paint and improve, which, I just learned, are both invaluable to my success. I feel especially motivated to paint an art piece every eleven days. Not only do I want to, but I need to in order to thrive in this future career.
Research Assessment #10
Date: March 3, 2017
Subject: Finishing a Painting
"When Is a Painting Finished?" American Decades Primary Sources, edited by Cynthia Rose, vol. 9: 1980-1989, Gale, 2004, pp. 36-41. Gale Virtual Reference Library,
Assessment: Research Assessment #10
Whenever I paint something there always comes a point where I feel the painting is “finished”. I feel that way not because the painting is complete, but because I cannot paint it any longer. A painting eventually loses the allure it once had and it becomes dry. However, usually I am painting for school, and by the time I grow sick of a painting I still have a week or so to paint it. At that point the painting loses its value to me. I continue painting because I have to and not because I want to.
Nevertheless, there are rare cases when the deadline comes before the allure of the painting is gone. It has happened before and it is happening again. Painting one hundred paintings in ten days forces me to leave paintings “unfinished” in order to “complete” the whole piece. It is an uncomfortable feeling. I want to keep painting, but I simply have to move on. This feeling led me to research how other artists decide when to finish a painting.
The article I found introduced me to various philosophies of painting and it taught me about how I should go about “finishing” a painting. For instance, I learned sometimes I need to move on in spite of my feelings. It allows me to think on what to improve and how to do so. In a way, letting go frees me to pursue other aspects of art, and it allows me to continue developing my skills as an artist. I can always change something later. The hiatus also allows me to reflect on a painting; if something needs to be changed, I will be bothered to do so even after putting a painting down.
This information is valuable in the sense that it helps me feel more confident in moving when painting the one hundred paintings. This, undoubtedly, greatly benefits my final product because it will give me confidence. The purpose of painting one hundred paintings is to see if I have what it takes to become a painter; by embracing that I can better create those paintings because the focus will be on developing myself, not to make a perfect painting.
Before this point my idea of a finished painting was one worked on for many hours with much deliberate thought, and I still believe so. Now, however, I also believe a painting made in a spontaneous flash of inspiration can also be considered a “finished” painting. What I have realized that a painting is finished when a painter has exhausted his passion, or rather, obsession for it. I now know that when painting I should focus on how to express my passion for what I am doing. I cannot paint for the sake of painting; that is not what painters stand for.
I plan to apply this way of thinking to my final product. For one, any paintings I create from now on will be made with an emphasis on something I am passionate about and my documentary will include my thoughts about why my paintings express my passion and my exploration of painting. I will not only discuss the process of painting, but also my motivations, feelings, and goals when painting. I believe that will enhance my documentary greatly by giving it more depth. Most of all, I feel encouraged. Knowing that to create well made art I need to focus on my passions gives me comfort. If I choose to follow this career I will not be painting to sell artwork, but for my own reasons. This also allows me to focus on honing my skills as a painter instead of making a “perfect painting”. I feel encouraged to be more flexible in how I paint; focusing on myself and my emotions instead of the paintings themselves motivates me to embrace improvement.
I am unsure if I will ever paint like this again, but I will definitely continue painting in series. Doing so will allow me to emphasise on my passions, which I plan to also do either way. Only one question arises: is painting in this way truly profitable? If I am only painting whenever I feel passionate, then will I ever showcase any artwork. Maybe showcasing artwork I am satisfied is enough, but I am not sure, yet, if working in passion will create better artwork. That is why I plan to do so, it will serve as an experiment, much like this whole year, and I hope it will challenge me to keep pursuing my passions. I am sure, that by looking into this, I will develop as an artist, which is exactly what I hope to accomplish.