Art Competitions - A Good Measuring Stick!

Even though the process of getting a painting juried into an art show is subjective, it is one way to demonstrate your success as an artist.

Getting your artwork into a show  can help you determine how viewers read your work. If your artwork is accepted then someone thought that it was good enough.

In the past, when my work did not get juried into a show, I usually cried as I drove myself home. The sting of rejection was horrible and I wore my heart upon my sleeve! Now, I don't take it personally. I realize that my artwork can still be of a high quality and not make it into a competition. Whether or not your painting gets in a show depends on many factors. Here are some of the criteria that a juror/judge might use:

• Size. Many venues instruct their judge to jury in specific sizes of paintings. Example: maybe a huge amount of tiny paintings were submitted and the juror can only admit a few of them.
• Medium. Some venues tell the juror to accept an equal amount of watercolor, oil and mixed media. If the "call for entries" has only two watercolor paintings submitted along with 300 oil paintings, you can bet that both of the watercolor paintings will get in.
• Style. Let's say that the show is slated to be a contemporary show and your painting is very traditional. Chances of getting your painting into the show are slim. It helps to check out in advance what type of show is being held.

So, do you want to put your work to the test?  Are you tough? One sure way of becoming tough
(I like to call it confident) is to experience both rejection and acceptance.

Why not go for it and see what happens? There is something magical about seeing your framed work displayed under the lights!

Below is a list of local art shows that are held on a regular basis. If you know about them in advance, you can allow yourself a few months to paint something to enter. Now's your chance! Just call and ask the various organizations to send you a form or download the information online and follow the directions. These are the dates that the "call for entry" is due.  The show dates will be a week or two later.

January        Hogle Zoo Annual Art Show
                     contact Jameson Weston 801-584-1739

January         Eccles Community Art Center  (Ogden)
                      Annual Photography Competition
                      801-392-6935

Jan./Feb.      Bountiful/Davis Art Center (BDAC)
                     Statewide Competition
                     801-292-0367

March           Springville Museum of Art (SMA)
                     Annual Spring Salon

                      West Jordan Schorr Gallery "Spring Fling"
                      contact Linda 801-255-6698

                      Taylorsville City Arts Council  Art Show                    

                      Utah Watercolor Society
                      Spring Show
                      www.utwatercolor.net

June              Wasatch Plein Air Painting (Midway, UT)
                      Usually the last part of June through and including July 4th
                      http://www.midwayartassociation.org/

                      Provo Freedom Festival
                      Fine Art Exhibit  801-818-1776

June              Eccles Community Art Center (Ogden)
                      Statewide Competition

July                Utah Watercolor Society
                      Fall Show
                      utwatercolor.net

August           Utah State Fair
                      www.utahstatefairpark.com
                      538-FAIR  (3247)

November     Springville Museum of Art (SMA)
                      Religious/Spiritual Show
                      www.smofa.org
                      801-489-2727

November     American Association of University Women  (AAUW)
                      Annual Show
                      Due to privacy issues no phone number
                      www.aauwutah.org

Create a Sketchbook You Can Be Proud Of

It all starts with the first page.

When someone opens your sketchbook, you want to catch their eye. For me, my title page is the hook. The thing that makes the viewer want to keep going...to look at the rest of my drawings.

The title page of my sketchbook is like the smell of fresh bread wafting from a bakery. It beckons the viewer to enter and sample the goods!

            

                                                Make your title page interesting. Better yet, make it amazing!

Each time you begin drawing in a new sketchbook, turn past the first page (leaving it blank) and begin your sketch on the second page. Later, when you have taken some time to think about how to make your title page special, go back and paint or draw on it.

Usually, my title page is the third or fourth page that I write on, however sometimes it's the last page I complete. It all depends on the inspiration that comes to me. Below is an example of a title page that I painted in small sections over a period of weeks. 

At first I didn't think about making my title pages look special. My artwork was pretty simple.

Then the idea of turning my title page into a visual appetizer came to me, so I jumped on it. 

Now it's a favorite part of my sketchbook. 


There are lots of ways to get creative. You don't have to limit yourself to drawing or painting. You can experiment with multimedia such as photography, stenciling or collage.

Make sure your full name or website name appears somewhere on the title page.  That way if you misplace your sketchbook or lose it altogether (Heaven forbid), the person who finds it can look up your contact information and return it to you.

Of course, filling your sketchbook with drawings and paintings is important too. A title page without a book - is no story at all!  So, get started! Fill up one book then begin another. What should you draw? Draw things that are near and dear to you. Draw your dog, your room, what you ate for lunch. Whatever you want!

The more you practice, the more you will improve!

Tips About Sketching People

 
When is the last time you sat and drew a picture that had people in it?

I see.

You don't do people.

Well, don't be afraid. Jump in and draw. 

Keep a sketchbook in your purse or briefcase and whip it out when you are sitting in the doctor's office or when you are waiting to have the oil in your car changed. 

When I have a spare moment (it happens on occasion), I take out my sketchbook and start drawing.  Not only is it therapeutic, but it's challenging to capture the gesture of people - especially when you only have a few minutes to work.  


Sometimes, when I'm drawing a picture of a person, it's a matter of seconds before they move or shift their body position! When that happens, I simply start again.  I have a page in one of my sketchbooks that has a drawing of a two-year-old. It's really a compilation of six heads in various positions.  He moved around so much that I never had time to sketch the rest of his body.

When I draw, I like to use a sharpie marker. It's cleaner than using graphite (pencil) and because I can't erase my errors, drawing with permanent ink causes me to ignore my mistakes. It's a quick capture.  You are forced to draw continuously and the moment your pen hits the paper, you have a committed mark. No turning back.

Let's talk for a minute about mistakes.

If you look at the above drawings, you will see many mistakes - that's what I used to call them. Now, I don't even think about them...they're just there. For example, look at the boy seated with the laptop computer. You can see the computer through his leg.

Big deal.

Notice the guy seated in the round chair. His head is composed of two perpendicular ovals and a triangle nose. Who cares? Seriously. Sketching is all about the joy of drawing people. 

Take the challenge. 

Sit down somewhere and begin to draw.  Sketching is like everything else. You get better with practice. Here are some handy tips:

• People are made of shapes. First, learn to see them - then draw them. Squares, rectangles, circles, etc.
• See relationships between the shapes.  How far is the triangle from the square? How far is it from the hip to the knee and from the knee to the ankle? Is the length similar?
• Leave out the face. Anonymity has a certain universal appeal.
• Go for the big stuff like legs, arms and torso. Leave out the details.
• Keep a piece of blank paper underneath the page on which you are drawing so that the ink doesn't bleed through.
• Draw on ONE side of your notebook page (not on both sides)
• Practice. Draw anything: objects, landscape or even people.

On occasion people will be aware that I am sketching them. They usually shift their body position and turn away from me. Sometimes they walk over to see my sketch. Once in awhile they say, "It doesn't even look like me." 

You get all kinds of reactions. Try to respond to them politely.

Most folks don't mind if you draw them, but some do. If I am going to render a detailed sketch (one that takes more time than a quick gesture), I usually ask the person for permission before I begin.  Otherwise, be discreet and try not to let them see you staring. If your drawing turns out nicely, you can email the person a copy of it (get their email address). 

Don't be afraid of how your drawing looks and avoid comparing your work to other artists. Each artist has their own style; their own interpretation of what they are seeing.

Here's Picasso...

And Matisse...

You will have your own style too.  It's like a signature - unique and original.

Buy a small sketchbook and a good pen.  Keep them nearby so that when you have some time in your schedule, you can practice drawing people, or for that matter - anything!

Drawing images of people is daunting at first, but it's a learned skill that can be rewarding.

Mostly, sketching is just plain fun!

Why not try it and see what happens?

Workshop For Children!

Yes, indeed.  

I am going to teach a six-session workshop for children.

I'll be teaming up with the Clark Planetarium under the umbrella of Art Access, an organization in Salt Lake City that provides equal opportunities to inclusive arts programming for Utahns with disabilities and those with limited access to the arts. It's part of their program called "Kindred Spirits."

Kindred Spirits Workshop
Designed for children whose chronological and/or cognitive age is 5 to 13, the Kindred Spirits program offers young participants an opportunity to engage creatively in a variety of visual arts projects in an inclusive environment. By integrating children with and without disabilities, Kindred Spirits works to eliminate barriers, empower participants and foster growth.

A Workshop That Appeals to Astronomy Enthusiasts!
Painting Nebulae with Susan Jarvis
Wednesdays, February 5-March 12 from 4:30 to 6:30 pm.

Design and paint your own nebulae using a variety of mediums. Participants, under the instruction of the Clark Planetarium education staff, will explore nebulae – interstellar clouds of dust and gas. Students will create compositions of their own star-forming regions. Under the instruction of the teaching artist, participants will design their own nebulae and paint them. 

To register online, click here.

Artwork created in these Kindred Spirits workshops will be exhibited at The Clark Planetarium in honor of the Planetarium's 10th Anniversary at their location in The Gateway. The exhibit will open on April 4, 2013 and will also contain juried artwork from other youth in the community.

Class Schedule: Every Wednesday from 4:30 to 6:00 PM (see dates above)

Max Enrollment: 7 students  (14 when including their partners, a parent or a sibling).

Fee: $50 - includes all art supplies and snacks (no fee for partner companion).

Location: Art Access Gallery, 230 South 500 West, #125 in Salt Lake City

Contact: Amanda Finlayson 801-328-0703, option #5

Come With Us To Italy!

 

Have you ever wanted to combine your travels in Italy with an adventure in painting and sketching? Well, now is your chance to join us for a two-week art study abroad!

Yep.  we're going!

Join us for a memorable exploration of the Italian countryside through illustrated journaling and watercolor sketching featuring you as the artist.

Let us teach you!

Enjoy an introduction to watercolor techniques and new painting surfaces by team teachers Steven K. Sheffield and Susan N. Jarvis. Make new friends as you paint side-by-side with your fellow artists. Discover your hidden talents and bring home artwork that was painted by you in sunny Italy.

Here are samples of the type of work that you will be learning: 

 

If you want to learn more about this trip, you can click on the "Italy" tab of my website or check out the La Romita website at http://laromita.org. 

 

Illustrated Journal - What's Your Story?

An Illustrated Journal is similar to a diary but it usually has more pictures. Your journal can be a record of your adventures or travels.  You can use various media in an illustrated journal such as collage, sketching, painting, pasting, photos, and much more. It can be a statement about your life experience; what you think or how you feel. It can be public or private.  

It's about self-expression. 

Here's the title page in my new "sepia" journal:

Do you have to be an artist to create an illustrated journal?
No, anyone can make one! Usually the process of creating a visual record unleashes the artist in you. Consider yourself warned!

Last week I ate lunch at Paradise Bakery and thought I'd draw the chairs around me.  It was more complicated than I thought and the biggest chair turned out to be too short and wide...oh well, who is going to know?

Why should you journal?
It's a record where you can visually document your world. Journaling is a way to unwind, a meditation of sorts. It provides a wonderful outlet for your emotions and feelings.  Besides, your posterity will have a chronicle that is not only interesting to read but it will be beautifully illustrated.

What if you mess up?
There is no right way to do it.  No one will judge you, you're not going to receive a grade and there's no contest.  You simply will have an archive of your life as it truly is, mistakes and all.


So, what types of things do you draw into your journal?

Anything you want! 

The other day I gathered various objects from around my studio, placed them under a light source and drew the shadows that they cast. 

Here's a sketch of the skeleton in my studio.  

Her name is Anna...Anna Recksick (ha-ha).

This coat rack is on the wall of my studio where my students and I 

hang our paint smocks and aprons. 

When I make an entry in my journal, it doesn't have to be perfect. I can do a hasty sketch or a more thoughtful and elaborate drawing. You can even glue photographs onto the pages. That's the beauty of an illustrated journal - you can create whatever you want!

 

If you want to see more of my journal images, click on the "Artwork" tab of my website and then click "illustrated Journal" .

So, what are you waiting for? Get yourself a journal and get started!

Which is More Important? Color or Value?

It's almost like the chicken and the egg.

In abstract art, the relationship between color and value is not as important as it is in representational or realistic art.  In non-representational art, the whole idea is to excite the senses and create a visual feast about texture, color, shape and other principles of design. In abstract art, an artist can head in any direction he pleases! Any of the art principles such as color or value can be the priority. It all depends on what you want to emphasize.

In an abstract painting, a ball might look like this:

However, in realistic art, the viewer must take his clues from the values depicted in the painting in order to understand the form of the subject. For example, we believe that the ball below is round because we can see the value changes from the light side to the shadow side. In this case, value is more important.

 In a realistic painting, a ball might look more like this:

Another funny thing about value is that even If you use strange colors in your painting, as long as the values are correct, your representational work will still read accurately. So, in the case of realistic work, I believe that value is more important than color!

When when you are trying to capture the illusion of three dimensions on a two-dimensional canvas, your values must be portrayed accurately. 

A common error for most painters is to put too many details in a painting at the beginning of the block-in process. Another area that can weaken a painting is to select values that are too light for the shadow side or too dark for the light side. When the values get scrambled, the painting becomes confusing for the viewer. 

So, how to you learn to see the values and paint them accurately? 

Here's a great exercise. 

Using the four values below, paint a simple black and white study of your subject. Observe your subject closely. Even though you can see 10 or 12 different shades of gray, try limiting yourself to only these four values.

• white
• light gray
• dark gray
• black

Use your eyelashes as a filter by squinting your eyes.  This will help you to mass together areas of similar value and help you to eliminate unimportant detail.  This is what the ball might look like in this value exercise:

Now apply this concept to your painting.  Before you begin painting with color, try painting using the four values. Remember to simplify! Give it a go and see what happens. 

Of course color and value are both important in your painting - but if you are trying to get a good likeness of a scene, simplify your view and make sure you get your values correct before you paint the details into your painting!