So you wanna be a pro?
 

People often ask me what they can do to turn "pro" and make a decent living doing portraits...and here's what I usually answer...

BEGIN with a minimum of 1000 hours of solid painting/portrait practice (40 hrs per week x 6 months = aprox. 1000 hours). Take longer if you need to, but log in at least this many hours of focused work.

Just for perspective on this subject, the woman who cuts my hair is a Beauty School graduate. In New Hampshire, a beautician is required to log in 1000 hours of practice time just to get a basic licence to give a shampoo! Why should we do less?

I see so many "wannabe artists" who are unwilling to spend the necessary hours at the easel but somehow "magically" expect to get "good at painting."

C'mon guys, this is hard work...rewarding (and fun) for sure...but hard work.

Timely Advice
 

Karin,

I think you have the most pertinent and timely advice I've heard in a long time. I, personally, look for your entries in this forum and print them for my studio reading time. Thanks for all that!

I also agree that this is portrait painting is a craft as well as an art. It has to be practiced and honed constantly. Even with every shadow and value in perfect harmony in your painting, if you don't get the likeness no one will buy your work.

Karin, thank you for the good advice. I've been lurking in the background reading the posts for a couple months now and decided it would be a good idea to register so I can communicate too.

I am an amateur wanting to go professional. My husband, grown children, and extended family are supportive of this. Some of my friends aren't...... How do you deal with people who don't take you seriously, and even try to discourage you? I think the reason these friends are trying to discourage us is that we're planning on moving away for four years so I can attend an atelier. Our motivation for moving is to be able to give 100% of my attention to learning, which would be very difficult to do here. I would appreciate any insight on dealing with this. Thanks.

Good for you Debra! Sounds like some BIG and wonderful changes are coming up in your life soon.

Until recently, most of my time and energy was spent as a single mom trying to keep my "kids in cookies" (so to speak) and serious "art" wasn't a possibility until 1995. At this time I had an opportunity to focus my time and attention elsewhere...and I began to follow my passionate life-long dream to paint...and never looked back.

Because my path in life abruptly shifted I lost some "friends" along the way. And it hurt. Looking back, I realize that my "real" friends were those who wished me well and cared enough about me to be emotionally supportive (even if they could not understand what I was doing and why).

As far as anybody taking me "seriously", probably nobody did (even my family) until I got good enough to get their attention. It's kind of sad, but I really think that we women artists (most especially older women - "housewife and mommy" types) are not taken seriously.

With women artists in general, I think that our relationships - children and family - tend to be our main focus. Only after these things are taken care of, we can begin to plan other things for ourselves...

Good luck Debra - I guarantee that you're going to meet some wonderful people in this profession and I trust that it will more than make up for your losses! Please stay in touch...

Thanks, Karin, for the kind encouragement. It's nice to know I'm not the only one who's gone through this. And you made it through! I think that the "abrupt shift" is what's getting to my friends. To me and my family it doesn't seem abrupt, because they've seen me working over the years, but it's something I've kept pretty quiet about outside my family until recently. I am one of those "housewife and mommy types" you mentioned, and to make the stereotype even worse I've been a homeschool mom for the past 15 years or so. No wonder some of my friends think I'm crazy. I'm so glad my husband doesn't!!

I'm working on a portrait of my grandson that I should be able to finish in a week or so and I'd like your opinion on it. I'll post it when I'm done - if I can figure out how to do it. My disc drive isn't working right now and I may have to do it from my husband's computer, which could be a problem. Thanks again.

Karin, I agree completely about the hours necessary in order to be a serious artist. I am flabbergasted at the number of people I talk to every day who think artists are born being able to paint! Even talented intelligent people like my husband are suprised when they take 1 course in painting, and wonder why they arn't good yet. I like to think I have a little talent, and I am amazed at the struggles I've had over the last 25 years. I'm also a successful hairdresser, and I can tell you from personal experience, it doesn't even come close to being as hard. Getting my B.F.A only helped me to put in those hours you were talking about. Being a good artist is a continuous education!

One Man's confession
 

I apologize on behalf of all Male Artists (well at least myself) ;)

I must confess that as a Man and a Artist I sacrificed being a better father and husband for the sake of my Art. And I am guilty of the very thing Karin brought up of not taking women Artists seriously (many times without thinking about it). Because I could not understand at the time their commitment to family and relationships over their art.

Well I am older and wiser now and I thank my wife for putting up with me over the years it's amazing I am still married when I think about what a pain I was. (And still can be)

But one thing has changed I no longer discount anyone based on gender, age or their experience. I also learned that without my family to share it with, success in my Art would be a hollow one. And I now try to make time for family and my wife.
As for Women Artists I have been bested by more then a few to know I was a fool to ever discount their work or their commitment to their craft. Sure, at times all of us fall trap to Venus vs. Mars and find a thing about the opposite sex that befuddles us. Many times Men and Women do see priorities differently but a Artist is a Artist Man or Women.

And in the end we all face the same problems and joys in Art and life. So here is to all the women Artists out there don't let anyone or anything hold you back.

PS just so my guy friends don't think I've turned completely soft I still find myself enjoying the view much more painting with women then men. I may be a more sensitive man but I am still a Man after all ;)

My new life
 

Karin,

I too, have been a single mom for the past 22 years. I put my creative needs on the shelf for those years until this past year. I started painting again as a hobby, and much to my surprise, my love for and talent for art had been growing and thriving in my heart while I was busy doing what needed to be done. When I paint, my heart soars, time flies and I have this feeling of connection with my spirit that I've never had before.

I've been painting angels, in an "old Masters" type setting among other things. I read in your web pages about talent not being enough, that technique is also required, and that is what I'm after. Lessons!!!. But I have to be practical. I'm nearing 50, and live and work in Orlando, Fl. which isn't exactly the most cultural city in the world.

Where would you send a wanna be....like me, to learn what you have mastered. You are the "Ideal" of what I'm trying to achieve.

My budget was stretched when I bought my first 12 tubes of paint and brushes. Did I mention that the 22 year old daughter is now majoring in Bio-chemistry and in Med school!

I'd love to hear any and all suggestions from all of you.

Thanks

ReNae

Dear ReNae,

Since I spent most of my life not painting, I was also in a real rush to catch up...and here's what I did when I got the chance:

I copied the Old Masters (please, NOT anyone living today!)- day in and day out for about 2 years.

If you hang out with the likes of Titian, Ingres, Rubens, Veronese, Frans Hals, Vermeer, etc. it sort of soaks in and you're bound to learn some very important lessons. They are, after all, the very BEST painters (and their being dead didn't disqualify them as my greatest teachers either).

Not only did I copy their paintings, I began by copying their drawings. I have posted info. at length about these things elsewhere on this forum.

If I can learn to paint, anybody can. Good luck!

Karin,

thank you I haven't made any copies as yet, but have used some of the old masters work for ideas. I like to paint these scenes that just come out of my head, there usually is no real model, especially the faces of my angels, they just seam to happen.

I will take your advise and begin to copy some of the works in a book my daughter bought me titled "Techniques of the Great Masters". One piece of advise that I'm trying to follow is....don't be afraid to waste paint. just keep painting.

Thanks again.

ReNae

I began to seriously draw with the Old Masters in 1994. I never painted a portrait or worked in oils before 1995. But by 1997, I had won first prize at an ASOPA competition for (my first) original oil portrait. So many people ask me "how I learned to paint" so quickly....I tell 'em, but they don't really hear me. So I keep repeating it...

If you SERIOUSLY wish to become a pro, I urge you to set yourself a course of study....copy (exactly) the Old Masters in all literalness, leaving nothing out and putting nothing in.

Primarily, drawing (and painting) is a CRAFT that must be mastered. Drawing (and painting) is all about light and its manipulation. Copying the "big boys" will help you build a vast store of well-organized and useful information at a much deeper level than "reading" or "talking" about it.

"Making things up" is a natural step that comes only AFTER you have mastered the tools of expression.

Luckily, Angels were the subject matter of much beautiful artwork during the Italian Renaissance. Please do not limit yourself to one paltry book...ever. AT THE VERY LEAST go to the public library and brouse through many books...or go online to a place that sells posters and purchase one by an Old Master that appeals to you. (I'll look up the URL for you if you need me to...let me know).

Do not expect that making a "serious copy" of an old masterwork to be a breeze. It could take many weeks (or months) of hard work to do one and thus learn what that particular work has to teach you.

I know that it is difficult to muster the self-discipline to study in isolation. The results always come more slowly than you wish...but they do come in direct proportion to the time and effort you are willing to put in.

It would be wonderful to be able to find a living teacher, but don't hold your breath...there is a shortage.

Wow Karin! I had no idea that you had only started painting oil portraits in the last 7 years! I highly admire your work and I love the style that you use. I had always assumed that you had been doing this for a lot longer. I just decided last summer that I would like to try my hand at it and have been quite surprised by a talent I didn't think I had. I've always loved to draw, but only have dabbled in painting. I know it will take a lot of work, but I really enjoy it. So far my biggest obstacle is trying to pay for the supplies to build up a decent portfolio. (I'm currently supporting my husband and 9 month old daughter working full-time in retail.) I hope that I can find the time and money soon to try painting the Old Masters' paintings. I really want to succeed as I know that I will enjoy making a living at it and be able to stay at home with my husband (who is working on becoming an author) and my daughter (who is a great model for me- especially when she's asleep ;) ).

I do take your comments to heart, because your paintings truely awe me and I hope to inspire such feelings in others someday. Have I gushed enough yet? LOL

Susan

Susan, please be careful with toxic materials around your baby. Many oils and mediums can be lethal. Right now I am experimenting with the non-toxic Genesis paints (see other posts on this subject).

Meanwhile, good old charcoal, chalks, and pencils of all varities are cheap and available. Basically painting is just drawing with a brush. You will never waste your time by drawing...

Good luck and enjoy yourself!

The right routine?
 

Karin,

I appreciate your advice a lot and plan to take it. I have a year and a half until I finish my current studies, after which I plan to attend an atelier-style art school, and I've been looking for advice on how to best prepare myself in the interim.

So, here's the routine I've outlined for myself based on your advice and that of others whose advice I respect, and i wonder if you'd have any corrections or suggestions.....

I'm starting with drawing (I draw at a fair level, but nowhere near where I'd like to be)...

Copying each old master drawing 5 times, 2 exact tracings, and 3 exact (yeah, right) freehand drawings. I'll supplement this with drawing from life (my wife has agreed to pose for me....yipee free model!) probably one from-life drawing between the tracing and freehand copies for a break. I've done a coujple of copies already and it seems I learn more if I make several copies.

I'll also work/read through 2 figure drawing/anatomy books for a little while per day.

After I see marked improvement in my drawing, I'll start a similar regimen for painting practice (or should I start with painting right away?). I only wish I had more time to devote as I'm taking a full slate of classes and have a job as well.


Any comments or advice on improving this system are greatly appreciated.

Nathan

I'd delay on the Oil Painting for now. If you are new at painting, it will eat a lot of your time and attention just to learn to handle the paint. If you eventually attend an atelier, I suggest that you wait on painting and simply learn whatever the method is that they teach you... It is much easier to learn something if you don't have to unlearn all of your bad habits first.

Considering your busy schedule, drawing sounds like your best bet for now.

I don't know how long it takes for you to do an Old Master copy, but it sounds like you are breaking the speed limit. :D May I suggest that you trace the drawing....and transfer it onto a quality drawing paper. Then in careful freehand do whatever is necessary to make your copy look exactly like the original (duplicate the proportion of the image to the paper size, match the colors, duplicate shading, etc.) :o This isn't THAT easy and you may find that once is enough.

Please post a copy of an original that you are working from along with your completed copy and ask for a critique.
When you draw from life, be sure to illuiminate the model with a single source of light.
What anatomy/figure drawing books are you using? Some are certainly better than others....
Meanwhile, carry a sketchbook with you and draw, draw, draw...anything and everything when you can take a breather.

Good luck!

Karin,

Another question I forgot to ask.....when you're talking about O. M. drawings, do you mean any one, or are you talking more about finished drawings? I've been indiscriminate thus far and have copied anything I liked. Some have been studies where it looks like composition, etc. weren't of too much concern.

I've done some looking and as far as drawing is concerned they pretty much all teach sight-size at first. I've given up on trying to reconstruct the method on my own as there is virtually nothing available on it, and like you said, I didn't want to develop bad habits. I'll certainly wait on the painting.

Actually it takes me a long, long time to draw anything. I do find that the third copy goes much faster than the first one, though. It's a great idea to do the transfer....something I'd never thought of. All the copies I've done so far have been freehand, small (9x12 at most), and of simple drawings with the intent to reproduce the tones and shapes, but not to re-create the drawing line-for-line the way you suggest. That being the case, I'm not sure I should post anthing I've done so far, but will post the next one. Should I put it in the critique forum?

The two I'm using based on recommendations are Harold Speed's "The Practice and Science of Drawing", which is written in a style that I like and has been very informative so far, and G. B. Bridgman's "Complete Guide to Drawing from Life", which contains extensive information on anatomy, proportion, perspective, etc. and is all about the figure. I know nothing about the best way to learn this stuff, so I've just gone with the advice of people whose work I admire and/or have experience teaching.

Will do!

Once again, thank you very much for taking the time to help me out.

Nathan

Nathan,

The sight-size methodology is indeed in common use in teaching venues such as ateliers, where it provides at least a couple of advantages. If what the student is drawing is exactly the same size as what he or she is looking at (that is, as seen from where the student is standing), it is much easier to see whether the drawing is accurate, because you're able to quickly look back and forth between the subject and the easel and soon your eye becomes trained to see, primarily, the differences between the two, which then can be eliminated (which in turn, of course, leaves you with an accurate drawing). The other main advantage is that when the instructor critiques the drawing, he's got an "absolute" reference in front of him in nature, just as you do, and he's looking at and for the same qualities and measurements you are. (That is, for example, there's no quibbling about whether your "oversize" or "miniature" drawing is correctly proportioned to the subject's measurements.)

About the only book I've seen with some discussion and illustrations concerning sight-size work was written by a Richard Lack student, Kurt Anderson, "Realistic Oil Painting Techniques", which unfortunately is out of print, though a few used copies are available at Amazon and no doubt elsewhere (for reference, the original price was $28). With so many people craving just this kind of instruction, I'm surprised that the publisher, North Light Books, let this 1995 publication go out of print.

One hazard of the method becomes immediately apparent as soon as you're in a situation (such as a workshop) in which you can't place your easel where you need it in order to create the size drawing you want. Suddenly all the plumb lines have to be "in your head" instead of in front of your eyes (which actually is a good thing -- a great thing, and it's what you're working toward -- but if all your training has been otherwise, it can be disconcerting to have to make the quantum leap in a workshop hurry). Also, if you want to do near life-size renderings using sight-size methodology, the easel has to be sitting right next to the portrait subject, which can be rather awkward.

In any event, I'd be glad to write up a description of the sight-size set-up for you if you'd like. It would get rather lengthy, so I won't post it here for now. (A first for me!!)

Steven

As far as O.M. drawings go, I'm suggesting that you choose any drawing that you like. But also choose according to that which you wish to learn (i.e., Ingres sensitivity of line, Michelangelo's anatomical renderings, Veronese's composition, Leonardo's halftones....whatever....).

Good composition is certainly an important component of great art and repeated exposure to it will help the principles sink into every fiber of your being. Being around great art (OM's) is sort of like having the good fortune to grow up listening to good classical music...you're bound to recognize and have a greater appreciation than one who has just been introduced....

Frankly, I never heard of the sight-size method until recently...I trained my eye and hand by copying. I doubt if you can develop a bad habit drawing anything and everything without learning the sight-size method first.

When I suggest that you copy, I do want you to reproduce the tones and shapes and not be a slave to re-creating the drawing line-for-line. I am suggesting that you trace for proper proportion, anatomy, etc.

If you post, I think that it should be in the Critique section, but be sure to say that it is meant to be a copy and also post the original. I don't know Harold Speed's book, but loved G. B. Bridgman's "Complete Guide to Drawing from Life".

Good luck!

"Originality"
 

When someone is beginning to seriously undertake the study of drawing and painting, "originality" is not particularly emphasized during the learning of basic techniques.

Copies of Old Master paintings and drawings are therefore exercises, just as this had always been the general practice for apprentices in the painting studios of the past.

Nevertheless, I believe that it would be helpful for others to view the kind of study that is necessary to achieve the painting and drawing techniques which are meant to allow for unhampered self-expression later on.

After my last post, I fear that if Nathan posted a "copy" in the "Critique" section, he might get criticized for not being "original" by those who were clueless as to the powerful learning value of a copy...

Does anyone agree that a new section be created on this forum...."Copies" ("Learning Tools," "Basics," or somesuch) might make sense as a method of viewing/learning basic technique here?

Cynthia?????

Steven Sweeney wrote: Steven, I would be interested in that too, as I'm sure many others would be.

Debra

I've been looking all over the internet and libraries, etc. for months and found only a short, sketchy description in an online studio manual, and a mention or two on a website, so it's kind of exciting for me to read your offer to explain it.

I'd greatly appreciate it if you could do the write-up when you have time. If it's too lengthy to post, you can paste it into an email and send it to me at [email protected] (or attach it as a file if it's easier for you). Again, many thanks.

Thank you for clarifying those points. It's good news as that's what I'd been doing, but really just for fun before, not seriously. I'll get on with the actual drawing now that I have a few good books of large O.M. reproductions.

Many thanks to Karin, Steven, Virgil, etc. for your generosity. I've got no way to return the favor unless you need help with math homework or solving theoretical physics problems.....if it ever happens don't hesitate to send me an email!

Nathan

Nathan,

I prefer that any write-up of this nature be posted in the forum so all can benefit from it.

Thanks

Karin,
I like your idea for a new section as you stated in your last post:

"Does anyone agree that a new section be created on this forum...."Copies" ("Learning Tools," "Basics," or somesuch) might make sense as a method of viewing/learning basic technique here?"

I think many on S.O.G. would benefit from such an ongoing discussion. It would also enhance learning if we could post efforts for critique. This section could function nicely as a kind of centralized repository for learning techniques and tools. People could be referred to it when issues come up in other threads. There are many who can contribute knowledge and so many who want to learn. Of course, the Critique section does perform this function too and perhaps Cynthia feels that is adequate, which it may be.

Personally, I would love to see copies of old masters works, especially oil paintings.

-Margaret

My question re the suggestion of a new section...where does it leave off and the Paints, Mediums, Techniques & Composition section begin. How would one clearly define this new section so posters knew with certainy the correct place to post...comments?

Karin wrote:

Indeed, as one atelier director writes in his brochure, speaking of required studies in charcoal drawing and black-and-white painting of plaster cast models, "[t]his cast work is not creative and is not meant to be, except in the sense that the student finds ways to master the problems of shape, value, and form." (italics mine)

How about a new section called simply, "Copies"? (and it would be clear that nothing in this section would be original).

I do think of the "Critique" section as containing only original works and any copy posted in this section doesn't work for me.

Heck...I'll even post one of my copies sometime. I have a ton of 'em (and some of the early ones are really awful...proof, I suppose, that eventually I learned something by doing this) :D

Sight-size method
 

There is a discussion of using the sight-size method on page 84 of Roberta Carter Clark's North Light book, "How to Paint Living Portraits". Clark calls it "the 'Looking Spot'" but I think she's describing the sight-size method as referred to in this post. It's not a long discussion, but at least the book is still in print (I think!)

As far as copying two-dimensional work is concerned, I often get better accuracy and speed if I turn the source material upside down. I wonder, though, if this is a good "learning experience" when it comes to learning from the masters. Any thoughts on this?

Sight-Size Method
 

Having been asked to try to explain

Linda,

I draw upside down too! (when I get too dizzy, I turn sideways..)

But seriously, I use the 'drawing on the right side of the brain' methodology. Betty Edwards has been invaluable to me in seeing shapes, rather than body parts. I find using this technique the most helpful, along with sight drawing. However, if pressed for time, I do a quick projection, and check the drawing with my brush throughout the process of blocking in. It all works.

I still think keeping a sketchbook handy in my bag has been the smartest habit I've started as a painter.

Great post, Steven.

LINDA...Sometimes this is what it takes to active your "right" brain. After all, you are training your eye to "see" and this is a legitimate method if it works for you.

Another helpful way to "see" something with a "fresh eye" is to turn your back to the easel and view your work (reversed) in a mirror.

The last method is to turn your work to the wall and don't peek at it (sometimes for a week or two). When you finally "see" it again your "fresh eye" will often be able to quickly resolve the problem.

STEVEN...Thank you for the information. Would you consider starting a new post and repeat your "sigh-size" material in it? I fear that all your hard work will be buried to most of us in this unrelated thread.

As most of you know, I'm not a painter. However, when I managed a portrait painter, there were many times when I had to make an aesthetic decisions. It might have been the color balance between different photos of a finished painting. Or, it could have been the choice between two or more photos for the basic reference material for a painting.

I found I often could make decisions to a point, but when I got down to the last two or three choices, it became more difficult. So, I used the following technique. I would prop the photos up somewhere in my work area and then decide to forget they were there and just go about my business. At some point, usually during that day, the view of the photos would catch me by surprise and I would get a spontaneous attraction to one or the other that would break the tie. It was the "being caught off guard" aspect and the immediate spontaneous impression that worked for me. In my case, if I had turned them over and not looked and then consciously turned them over and looked, I would have been using the same evaluation mechanism as before. Sometimes that would work, but when all else failed, the being caught by surprise technique always saved the day.

I do the same thing when choosing paint colors for my walls...I'll paint a few patches of different colors and then let myself be caught off guard by the colors over a period of days.

Though I realize evaluating a painting isn't a matter of viewing and choosing between two things side by side, but perhaps there's something worthwhile here for painters. What do you think?

Another trick I have found..
 

When painting from a photo and I just can't "see" what the problem is anymore, is to take a picture of the painting. I scan the original photo with the picture of the painting and make them the same size and place them side by side and print them out. It is amazing to me how suddenly, it is very clear what is off.

Wow, thanks a lot for posting that Steven. It's plenty to get started. I can see how it's supposed to work, and how you've got to be really careful and accurate with the measurments. I'll maybe have time to try it out later in the week.

Nathan

Cynthia, I think that your idea is valid and does indeed apply to painting.

Mary, I do this a lot. I will usually take a photo of the painting when it is maybe 90% done. For some reason I will be able to see problems in a 4x6 photo that never seemed evident on the canvas.

Sight Size method
 

Steven,

Thank you so much for your post. Yesterday I was trying to teach this principle to some of my students, but I don't think I was getting through to them. I feel it is one of the more difficult concepts to teach. Your last post gave me some very good ideas on how to explain the Sight Size method to them. I've heard of marking a model's position with tape, but never the artist. What a good little trick. Thank you so much for all your good advice.

Posters
 

Karin,

Hi, earlier in this thread you mentioned purchasing posters of old masters to copy. That is just what I need! I thought the website was images.google.com but those aren't posters for sale. I remember your posting the address a few months ago (?) because I spent some time on that site looking at the posters. But I can't seem to find the site. Would you mind posting a site that sells posters?

Thank you,
Joan

For starters, this is worth repeating....the most comprehensive image search tool on the web is: http://images.google.com

But for ordering prints of artworks, I suggest that you check out the following:

AllPosters.com

Printmaster Inc.

Barewalls.com

AllAboutArt.com

Art.com

PosterGallery.com

ArtPrintCollection.com

Web Gallery of Art

Art Renewal Center

Meanwhile, many Museums carry posters of the masterworks in their collections...so be sure to check out museum shops too.

Posters
 

Karin,

That should keep me busy! I live in Houston and a trip to the Museum of Fine Arts, Houston is a great idea.

Many thanks for your help, as always.

Joan

Here's another thing I do when I want to copy a picture that I have seen in one of my books...I remove the page with a razor blade. (I don't tell many people THAT because it is a "no no" for a lot of bibliophiles.)

It is nearly impossible to work with a book next to your easel...and yes, you've messed up the book, but the lesson you'll learn by copying can be well worth it!

I check out used bookstores looking for books with good prints in them....and alas, accurate reproduction in printing is very hard to come by...

This is a wonderful resource for bargain Art Books - Edward Hamiton (and the shipping is inexpensive): http://www.edwardrhamilton.com/

Hamilton has a book listed right now "Van Dyck Drawings" with 370 illustrations (107 in color) for $54.95 (reg. price $95). It sounds like a pretty cheap bunch of "drawing lessons" to me....