Art forms

Waves

Creation of art takes many forms and I've often dabbled in most forms. Jewelry is one of those things that I like to play with and I've been creating some organic shapes in various wires lately. I don't start out with a pattern or idea as each piece is unique and no two are alike, even with earrings which are similar, but not identical.

Here is a pair of earrings created in steel and copper with sterling silver ear wires. All pieces are handmade. The photo was taken in artificial light and doesn't do them justice. They have a much brighter sheen in reality. The length of the earrings is approximately 2 inches, not including the ear wire.

There is something satisfying about creating your own work and knowing that it is unique. I make these available in small quantities to others who are interested in owning a unique, natural product. More designs, including organic materials such as natural stones and sea glass, are being developed and will be available in the near future.

Prices are reasonable for these earrings at just $10.00. Shipping within Canada is $2.00, the USA is $3.00 and $4.50 for international delivery. I believe that part of making art is to share it and use it. Making it inaccessible through pricing defeats that purpose. Pricing of course reflects materials used and semiprecious stones, when used, are more expensive than natural local stone. Packaging for these pieces will be recycled where possible in degradable materials, but beautiful as well. There is always beauty in simplicity.

Tonight I watched a news story about a huge piece of ice the size of the city of Montreal shearing loose in the Arctic. Global warming is a reality, as is our use of natural resources to make unnatural products. While sounding a bit like Revelations here, I believe there will come a time when these resources won't be available. Power and fuel will be scarce as food is in some parts of the world now and we will wonder what we've done to the world.

Advertising and farm life

Value Study - Tripod
copyright Jeanette Jobson

Comfy?

Tripod, the cat who should be out guarding the barn against predators assumes his usual level of vigilance on any available lap.

Lately I've had a few requests from companies asking to put paid advertising on my blog. I find this a little surprising as my blog doesn't generate high traffic, averaging 60 -70 people a day. I know very little about advertising and its impact so I won't even begin to speculate on the reasons why my blog was selected. Perhaps luck of the draw or perhaps there was a specific genre of blogs that were being researched.

I haven't succumbed to the lure of paid advertising for my blog but it made me wonder...So why are advertisers targeting blogs?

Robin Good in Online Advertising Strategies: Why Is Best To Invest In Blogs Rather Than On Large Traffic Sites

1. Your message is more visible.

2. Your message has greater viral potential (there are more referrers and linkers among bloggers)

3. Your message is more relevant by being highly contextual to the content of the blog you have selected (more niche equals more selling power)

4. Your message stands out more (no flooding of ads or genres)

5. Your message is less prone to go unnoticed (by displaying it in many blogs vs. displaying it only on one site)

I have however, agreed for Antidull to use one of my images in the next issue of their online magazine in return for a text link to their sponsor. Am I selling out? No, I don' t think so. I'm just gaining exposure in the least invasive way for myself and my blog readers. A large part of art is in sharing your view of the world with others. This is one way of doing it.

Today a mink was found in the barn (again) and it had killed four Khaki Campbell ducks and attacked most of the others before it was found and shot. I know animals are acting on instinct, but I sure do hate mink. Coyotes aren't high on my list either...

I guess I can only be happy that it didn't find its way upstairs in the barn to the 100 week old chicks under heat lamps there. Yes, we did have Easter chicks - the real thing - purely by accident. The feed store had ordered half a box of day old chicks for a children's Easter display, but had been sent 3 boxes instead. They were looking for a home for the chicks at the end of the day and were selling them at a very reduced rate. Well, you know the rest. These are broiler chicks which are designated for the food market.

Repeats

Easter Bunny II
Charcoal on Mi-Tientes 9 x 12
copyright Jeanette Jobson

I like my forays into oil but dry media always calls me back. Especially in the wee hours of the morning when sleep evades me. The little ceramic rabbit was still sitting on the table so at 5am, I drew it again.

Its an interesting process to draw the same subject over and over. Each time I see new things or notice subtle changes in light and shadow that I didn't notice before. Yes, the lighting has changed, but the subtleties are always there. I may try it again in coloured pencil next. Creating white using everything but white is such fun to do.

I'm enjoying using charcoal on toned paper and I must haul out some other hand made coloured papers in my art cupboard and see how they perform. I will also buy some other toned papers for charcoal when I get a chance. I'll be in Toronto and Ottawa in May and hope to do some stocking up then.

Naming a piece of art

Easter Bunny
4 x 6 Oils on panel
copyright Jeanette Jobson

"Titles do not give a just idea of things; were it otherwise, the work would be superfluous."

-- Gustave Courbet

I've played around with some oil paints today with varying results. Oils are something I used a lot of years ago and have tried my hand at a few times recently. I love the texture and smell of turps, but I still need lots of practice. I was buoyed by the sale in November of one of my first oils in 20 years but haven't done a lot with it since.

This little piece is inspired bya ceramic rabbit found at the supermarket today. I liked the round shape and the simplicity of it, as well it will make up part of centrepiece for the Easter table tomorrow.

Then naming it... Sometimes titles for art come easily and almost name themselves, as it did with this piece. The subject, the season, it all fell into place without effort. Sometimes its very difficult to come up with a suitable title. So how do you choose a title for a piece of art and what weight does a title hold with keep the viewer's attention or buyer to reach for their wallet?

Some artists choose from a variety of methods of naming their art piece. Here are a few that I've come across.

1. Use a name found on a paint chip. This can have some merit, as designers spent months coming up with paint lines and titles for them. I don't know the merit in 'borrowing' the names of even if copyright could come into play on that one, but I know the names of paint become more and more interesting over time.

2. For landscapes, use the name of the place. This can cause some argument as the buyer may insist on knowing the exact place and whether it is there in their knowledge or not. Buyers also like to create their own story around a scene and putting a geographic name to the piece may spoil their illusion.

3. Use a single word for each art piece. This can become part of your style and make people remember you. Its rare to run out of single words, but you may have to spend some time creating the story around the title.

4. Generic titles are difficult to catalogue and not good for marketing your work. Not may people will search online or in a catalogue for Work # 563 or Abstract 728.

5. The Influence of Titles On How Paintings Are Seen. The title of a drawing has significant impact on the face it presents and the viewer's perception of it.

Bastard Paintings by Michael Corbin

Robert Genn's article on naming a drawing.

I do title my drawings and paintings. Partially it is the connection with the subject of the piece, or what I interpret as an action of the subject. Sometimes, the colour plays a role in it and sometimes the piece has a name almost before I begin to draw.

I believe that the name of a piece is part of its appeal and interest. It can pull in a viewer and give them direction or set the stage for thoughts around the words that make up the title.

How do you name your art pieces? Do you name them or are they generic pieces?

Wet or dry?

Northern lights over Flatrock
copyright Jeanette Jobson

About once or twice a year, we see the Northern Lights (Aurora Borealis). Its not the spectacular light show that is seen further north, but it is amazing as shades of red and green ripple across the night sky. I tried taking a photo of it but I hadn't used a tripod so the result isn't that impressive. However, it does give you an idea of what it looks like.

The local art association is holding a one day spring exhibition and sale of work on March 30th and I'm trying to decide what I'll put it, framing etc. and all the usual flurry that goes beforehand. I'm getting a bit better at preparing in advance, but there is usually something going wrong the night before or morning of the exhibition.

I have been lucky with the exhibitions I have participated in this year and have sold pieces or had interest for commissions out of them. My love is graphite and I find there is a niche market for that medium that is a bit tricky to access. There is the thought by many that pencil drawings aren't in the same league as paintings. In the same way, there is a thought that relegates all forms of painting as amateurish unless it is oils. I so wish subjects and mediums could be appreciated for their own appeal and not compared to other types. There is such snob appeal in art, it frustrates me a lot at times.

My other love is coloured pencil and that is a relatively new medium. While growing in strength through public exposure and acceptance, there are still quarters who look on CP as a medium for children or amateurs. All we can keep doing is educating people about art and the various supports and mediums available and showing them how they can be used.

Tradition is difficult to change and there will always be the 'painting over dry media' camp and vice versa. My point is that neither are superior or inferior than the other. Simply different.

I like dry media for convenience of use. There's little set up or clean up, they're portable, reasonably priced and they provide me with challenges to achieve the same values and colour ranges as other media do.

Which camp are you in? Wet or dry?

Bath time

I was cataloguing some files tonight on another computer and came across this little video clip of Blizzard, the orphan gosling that I became surrogate mother to a couple of years ago. This was his first introduction to water. I put the dish of water in front of the fire so he wouldn't get cold. Yes, I know, I know...

I did complete a portrait including Blizzard a couple of months ago. I had done the original drawing in my Moleskine then redrew it on regular paper as I liked the composition.

Tea vendors

Tea merchant

coloured pencil & pen
copyright Jeanette Jobson

Have you noticed how everyone these days has to have a cup of coffee in their hand in the morning in public? Where did this come from? Don't we have the equipment at home to make coffee and don't we have coffee makers at work? Why do people have to stop between home and work and buy coffee?

The coffee then is too hot to drink in the car so you need to wait 20 minutes to even take a sip without losing the lining of your mouth. By which time you're at work or wherever you're going and then you have to balance the hot coffee cup, your purse, laptop, mail and whatever else you're carrying and open the door without dropping anything or spilling coffee all over yourself. And people do this why???

It seems there are coffee vendors all over the world and this image of a tea merchant in New Delhi is no different than the Starbucks or Tim Hortons of the western world. Except that there isn't a drive through, which is a good thing!

In May 2007 India's Supreme Court banned street sellers from cooking food on the pavements of New Delhi to clean up India's chaotic capital.

The ban will hit at the heart of daily customs of thousands of eaters in the capital, where breakfasts and lunches like pan-fried parathas and samosas cooked in vats of hot oil are served on the streets to hungry customers.

One exception will be made for the quintessential Indian tea vendors, although the court says they must now serve their drinks in disposable glasses and cups.

Here, there are similar problems with Tim Hortons franchises which are so busy in the morning that they cause traffic congestion from backed up queues at the drive throughs. Most places sell more things than just coffee. You can eat three meals a day there as well as the usual snacks so even drive throughs aren't speedy.

I have a problem with drive throughs. They're not 'green'. Its another waste of resources as you sit and let your car idle as you wait in line. And the physical act of parking and walking to the shop is hardly a hardship as its no more than 5o feet at most in many car parks - and quicker than the drive through.

I adore coffee and make it at home and at work, but I rarely stop along the way or turn up at meetings and work, cup in hand. I just don't understand the rationale for being unable to wait til you get to your destination to get coffee or tea. Or is it simply another trend?

Paper

Beached boat

Black and white charcoal on mi-tientes 9 x 12
copyright Jeanette Jobson

I have too much on my mind and couldn't sleep last night, so I was up at 3am drawing and this beached boat is the result.

I'm trying to use up a pad of Canson mi-tientes paper which I really don't like much. I can't bear to throw things away, so I'm using the smooth side and am running out of darker colours which I prefer. There are strange yellows and oranges in this pad of paper which I've never considered using as backgrounds, but they may produce interesting results. I'll have to experiment with some warmer subject matter.

What do you do with paper you've bought and dislike? Is it kept in the back of a drawer to languish or do you persevere just to use it? I still have some paper that I haven't used yet sitting in my art cupboard. Perhaps those of us who want to get rid of what we don't want or try out new supports need to organize a paper swap!

I haven't used the coloured Canal papers yet, but have recently had a few ideas for it. I also bought a sheet of Yupo watercolour paper some time ago. I've heard good and bad reviews of Yupo, but I guess I'll have to try it myself to find out what its like.

I may have some time to do that tomorrow as we're in the midst of a powerful snowstorm right now with winds up to 120km and up to 60cm of snow expected by tomorrow. After which a day of freezing rain is forecast. Not fun. Because freezing rain in that quantity brings down powerlines. Keep your fingers crossed.

Popcorn and snow

Popcorn Trio

Graphite, Canson paper 8 x 4
copyright Jeanette Jobson

More snow! And more due tomorrow!! I'm moving. Anyone who lives in a more temperate climate and who would like to adopt an artist for a few months, let me know. I can cook, clean and knit as well...

I struggled through unplowed roads today to teach my drawing class and of course, everyone called in to say the weather would prevent them from attending. So I did some shopping at Costco which was blissfully empty for a change then came home. This afternoon I made my winter treat - popcorn. I love the salty taste and crisp yet soft texture of the popped kernels. In the leftovers of the bowl I rescued a few of the expanded kernels to try my hand at drawing them.

It was quite enjoyable. Popped corn has a very sculptural look to it that goes unnoticed as you eat handfuls. Drawing anything and everything, as always, provides an opportunity for close scrutiny and lets me really understand the folds and angles.

And, just in case you've ever wondered, here is an explanation of why corn pops - or more the elements that need to be present to make it pop. The explanation of how the white part of the corn is created could be a little offputting...

The gelatinized starch granules do not explode, but expand into thin, jelly-like bubbles. Neighboring bubbles fuse together and solidify, forming a three-dimensional network much like a sink full of soapsuds. This is the white fluffy solid we eat.

Still life - food

Garlic, artichoke hearts & capers
copyright Jeanette Jobson

I made the mistake of going to the stores today. I needed a new microwave as my other has about as much power in it as a mouse's biceps. Of course, I didn't consider that its a week before Easter and people were hauling off loads of chocolate as if it were going out of style. That, coupled with the fact that yet another snow storm is due tomorrow, turned normally sane people into insane people.

I never understand that hoarding obsession that overtakes people at the thought of a holiday or impending house arrest due to a storm. Its only a day. ONE DAY! But people stock up as if its the end of the world.

In the end I got my microwave, despite jostling crowds and no staff assistance, to get the monster box into a trolley and then into the car. So now I'm playing with food again. I had a couple of jars and the sun was coming through the window so I experimented with reflections and colours. I'll see how they translate into drawing soon.

And yes, you see into my tastes - literally - in food, but not necessarily eaten at the same time.

Spring

Cherry Spring
6 x 6 Canson
copyright Jeanette Jobson

I so often work in monotone and as a rule I love it. But I craved some colour. Perhaps it was the snow day yesterday that flattened my vision of spring for another few weeks but sparked my need to put something bright on paper.

This is a 6 x 6 piece done in coloured pencil on Canson paper. The cherry is my throwback to realizm and the background - well I'm not sure quite what the background is or even if it is finished yet. The background has an abstract feel to it, which is far removed from what I usually do. But the colours pop and create my own version of spring.

Baby portraits

Kiora

graphite, Canson paper 11 x 14
copyright Jeanette Jobson

I've had this start of a portrait of Kiora, my grand daughter, on my drawing board for a couple of months. So last night and tonight I decided it was time to see if I can make a go of it.

Ninety percent of my portraits are done freehand, with the other 10% being gridded if they are complex or commissions where I know an exact likeness is very important. This was freehand and I'm not 100% sure about the eyes just yet. Kiora had just woken up from a nap in the car seat and was staring balefully at the photographer with a serious look.

I still need more practice on drawing babies and she's a good way to get this in. It also forms a lasting memory of passing time in her life. This portrait commemorates her first birthday which was in January.

Comfort zone

At my life class last night I was able to draw instead of monitor and instruct as needed, so it felt good to get back into it again. I am always itching to draw at the classes when I teach. Its ingrained.

I was determined to come to grips with broader sweeps of charcoal as well as a more detailed sketch of the model's face. I resorted to pencil for my face study. Graphite is my comfort zone and I distinctly relax when I use it. Its like sinking into a comfortable chair. I know what it does and what to expect from it. I know the same from charcoal, but I tend to use it in a tighter way on a smaller scale.

Going large, 18 x 24, let me experiment and puts me outside my comfort zone. Its always good to be stretched outside that zone and see what comes of it. Sometimes its good, sometimes the results are less than wonderful.

As always we start out with one minute gesture drawings. They're never my favourite, but like broccoli, you have to do it cause its good for you. I tackled some 20 minute poses in charcoal, using the side of it to achieve shading without a lot of line.

Finally, I rewarded myself with the last 20 minute pose in graphite. I wish I'd had longer with the face, but there's always another time.

Older artists

Office interior
Graphite, Canson sketchbook
copyright Jeanette Jobson

"Age gives you the freedom to do some things you've never done before. Great work can come at any stage of your life." (Will Barnet)

There are a number of individuals who have discovered or rediscovered art at 50 plus - including myself. The benefits of aging upon creation are interesting. Having lived longer means that you have been exposed to more life experiences, both visual and emotional and this can impact how you translate concepts into visual form.

How does your work change as your get older? Or does it? Do physical frailties affect artistic practices? Is your style recognizable over time?

Photoshop Recreates Aging Impressionists' Eye on the World

There are also some interesting articles and projects specifically for and about older artists which give a greater insight into the joys and challenges of being an older artist and can be translated into any population anywhere in the world I believe.

The Sotheby’s Institute of Art in New York released a 210-page report on December 3, 2007 titled Above Ground: Information on Artists III: Special Focus New York City Aging Artists.

Claiming to be the first-ever study to examine the lives of elderly artists in New York, the report is based on information gathered from 213 New York-area artists, ages 62-97 (146 of these were professional artists), on everything ranging from health insurance and legacy planning to identity, satisfaction and professionalism.

Dale Copeland is creating a 2009 calendar created from 12 images selected from artists aged 65 and older worldwide. Offer up your work and your bio and your image may be chosen.

Robert Genn's article in The Painter's Keys: The Aging Artist

Sue Smith's blog - The Ancient Artist

Random Thoughts of an Aging Artist

The National Center for Creative Aging

Aging through the Eyes of an Artist

Visual Artists Research Unit - Artists are ill-prepared for getting old


Books
Aging, Creativity and Art: A Positive Perspective on Late-Life Development (The Springer Series in Adult Development and Aging) by Martin Lindauer explores the relationship between aging and creativity among artists .

Aging Artfully by Amy Gorman.

The book challenges stereotypical perceptions and expectations, and documents that old age can be gratifying and filled with creative expression

Supply source

Matt
charcoal, conte, pen & ink
copyright Jeanette Jobson

I justify my stash of art supplies by the fact that I live on an island and have problems accessing some of what may be basic art supplies to others who may find them in an easy trip to a local art store. Yes, I can find the basics here and the variety is growing, but then I read about or see other types of paper, paints, pens, etc. online or when I travel and I realize that there is a void in my supply source locally.

I use mail order a lot to get art supplies, both in Canada and the USA or when I travel, I do my homework beforehand to make sure I know where the best art supply stores are and ensure that I'm within easy distance of getting to them.

There are challenges in shopping online. I can't soak up the atmosphere of the store. I can't browse and touch and see the supplies. I can't touch the paper to feel its weight. I have to trust the colour on my monitor not my eyes when choosing paints, coloured pencils or pastels. I have no impulse purchases, no bargain bins, I don't see the 'specials'.

With the Canadian/US dollar being pretty much on par now, I can can cross border shop more easily, but savings are often negated by shipping, duties, and brokerage fees. However, the USA often has supplies that I just can't access in Canada. Or not at a price I want to pay in Canada. So I usually do some American shopping a couple of times a year and suck up the fees that go along with it just to enable myself to access a wider variety of supplies.

I have a number of art supply stores that I mail order from and the list could be endless if I had the time to track them all down. But I wonder where are the REALLY good ones? Where are those little backstreet gems that you whisper about to others as you don't want to spread the word too far in case the exclusivity you've created becomes the norm?

Its time to share what you know with others.

• Where is the art supply store that you frequent locally?
• What is your online source for art supplies?
• What makes them unique and what keeps you going back?
• Do you have a wish list of art supply stores anywhere in the world that you'd like to explore?

I have some of the sources that I use on my Squidoo lens, but that will be growing as I find more and explore their possibilities.

Sketches

Cabo San Lucas

black and white charcoal on mi-tientes
copyright Jeanette Jobson

I've been practicing a lot with charcoal lately on tinted paper. I like the extremes of darks and white highlights that let the paper do most of the work and save time. I wanted to let the heat of the scene come across in this image. The orange paper and the highlighted sheen on the face seem to do that without a lot of effort on my part.

I'm in the midst of reviewing parts of my art life and trying to rearrange life to give myself more time to create. I'm slowly making progress but haven't gotten to grips with anything meaningful in terms of a drawing or painting in awhile. I have some ideas floating around, but they don't seem to settle for long and I end up doing sketches like the one above.

While I get frustrated at lack of time, sometimes deadlines are the incentive that move me forward and make me produce. Seems there's no happy medium at the moment.

Insomnia

Storm clouds
Charcoal on mi-tientes
copyright Jeanette Jobson

Insomnia seems to be present a lot lately and it has both benefits and drawbacks. In the predawn hours I can achieve a lot once I get some coffee and my head clears a little. The disadvantage comes later in the day when fatigue sets in early.

This is the result of this morning's early rise. I quite enjoy drawing with charcoal lately. The tinted paper fills the midtone nicely and allows me to create contrast with lights and darks.

Its been awhile since I've tried drawing clouds and the filtered light drew me to this. On my drive to work in the early morning, I often see these rays of light hitting the surface of the ocean and always wish I'd had my camera with me or the chance to pull over away from the traffic to take a photo and capture that fleeting moment.

Teaching observation

In life class my instruction is loose and relaxed. I go from easel to easel, encouraging, guiding and instructing less experienced individuals on how to construct the figure in front of them, but so much of that instruction is teaching the person how to observe.

I use a sketch pad and show angles of limbs and body contours, how to measure and judge proportion, using intersecting body parts as markers and invisible lines to measure angles. Each time, I find it interesting to see how much people really don't' see when they look at the subject. When a correction is pointed out, it becomes apparent and they can refine their drawing, while I try to remember what I observed in my very early days of drawing.

I'm sure I was the same. I didn't see the subtle changes of value representing shadow or the slight curve of the torso, the angle of the leg, how it intersected with the foot or calf of the other leg and so on.

After 30 years or more of drawing, I can capture lines fairly well, but if I did not practice daily, that skill would slow and limit my ability to draw effectively. Some individuals who attend life class don't do any drawing between classes. Something that I am trying very hard to change!

There are a few commonalities in those learning to draw the human figure.

1. There is little knowledge of human anatomy and proportion. Facial features are not symmetrical or in proportion. Torsos and limbs are either lengthened or shortened and generally not in proportion to the rest of the figure.
2. There is a habit of getting caught up in detail and forgetting the global view, especially in very short poses.
3. The habits of childhood are still ingrained in the adult and they flow forward into the drawing. Whether 16 or 60, the 10 year old's drawing still prevails until practice and ability grows.
4. The ability to observe the reality of the subject and translate that accurately onto paper is not suffciently developed and it can be a source of frustration for the individual.
5. Overall shape of hands and feet are challenging to draw and many individuals don't know how to block in overall shapes then refine the digits. (my mantra to them is 'think mittens and socks!'

Victor
charcoal on newsprint
copyright Jeanette Jobson

I didn't manage much drawing on Monday night, due to my attention being with those drawing. These are a few very quick sketches done mostly to demonstrate a line or form to another person.

Visual art is a way of seeing and expressing that thing seen in a manner not given to everyone. That statement could be misconstrued as prideful, but anyone engaged in painting as a profession knows that isn't true. (Ed Pointer)

Cat scan

Tabby cat

2.5 x 3.5 coloured pencil on Stonehenge
copyright Jeanette Jobson

I have played with tiny drawings lately and am thinking of a small group of three or four in the same type of frames to exhibit at a show coming up at the end of March. These small drawings have impact in a frame that reflects their colour and gives impact to the piece. I'll be using a barn board frame in an almost khaki colour that is fairly deep, almost like a shadowbox in some ways for this piece. I just need a little mat to go around it and it will be complete.

The scan, as always, is disgusting and I'll take a photo if I ever arrive home or am at home in the hours of daylight. Work seems to capture most of my time lately and meetings are relentless an at all hours.

I did teach the life class last night, and didn't manage much more than a few lines in between doing the rounds of easels to help others. Next week, I'll be back on the other side of the easel and I can relax again!

Concentration

Sketches - kids drawing class
copyright Jeanette Jobson

Sketches - kids drawing class
copyright Jeanette Jobson

I love seeing the concentration on some of the kids faces when they're engrossed in the drawing process. That little tip of the tongue poking out from between clamped lips is the flagship for concentration. I don't know quite why that happens in some individuals when really concentrating. Its more prevalent in children than in adults and is an unconscious movement.

While the class draws, I take the opportunity to do a few quick sketches and their concentration usually lets me get away with it unnoticed. Spontaneous expressions and natural poses make for good sketches.