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Being forever dissatisfied and unsure is more commonplace and probably better for the art. Before we get you on the couch, here are a few thoughts:. In abandonment there is knowledge. On the other hand, if you accept that desire is the greatest thing in the world, there is always a possibility you can turn lead into gold. Casting your eyes around at your orphans, the workable ones rise in your vision and become more desirable to your hands. At any time, beginning or finishing, you also need to know your span of concentration. I try to get a rough idea of the approximate work periods, problematical passages and potential joy zones ahead.

Divide unfinished work into three categories — possible, borderline and impossible. Relegate the latter to somewhere off the premises, to be revisited much later as reusable canvases or as re-primed gifts to the needy. Fear of failure and fear of success are two of them. At 68 years of age he has several degrees, a Wiki mind, and the concentration span of a gnat.

Some people are like that. Question is, do you need to be another one of them? Robert speaks! Take a listen at Artists Helping Artists. Recently, I had an accident injuring my left shoulder such that during recouping I was not able to do a big part of my usual creative process — I embellish wood-turned objects. Fortunately I had accumulated a couple of boxes of unfinished works.

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While the creative mind continues to run, especially when the mind is otherwise idle, the unfinished works became my canvases to continue and even perfect some rusty skill sets. My enthusiasm for the piece will carry me through all sorts of creative problems. Another technique is to take my three preferences, then work each in a hour rotation. When one is complete, add the next one on the list. I just have to get a handle on what fascinates me at the moment of choosing — where can I expand and express myself most.

The art of making circles in needlepoint is an art in itself. These are masterful works of that art. From the V. I usually finish one painting at a time, but the other day, when attempting to clean up my studio, I discovered in the closet a little painting I had started back in from a sketch I had done during a concert of the Arkansas Symphony Orchestra. It was just a sketchy 9 by inch underpainting on linen. What a painting! It would have killed it had you painted it completely, I really loved it this way.

I like that you left some of the sketchy underpainting showing through. The painting is so much more interesting than had you brought it all to the same level. Your center of attention really stands out now. Very nice! A treasure lost and found again with just enough touch up preserving the original fervor. When I look back at my unfinished pile, I am looking with my older eyes and hopefully increased knowledge gained from daily painting. Often only a small change here and there will make it work.

It was worth the wait! This is fascinating. Another question — How do you recommend an artist charge for commission projects? Is it reasonable to charge more than a similar piece heading to a gallery? If so, why and can you give a guide as to how much? RG note Thanks, Claire. One need only look at the current sex ratios at art schools, workshops, seminars, art clubs and guilds.

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Our subscription list is a good guide too. Women may be individualists, but they network. Regarding commissions: In my case I charge the same as the gallery price for the same size. I agree, commissions can be disorienting and interfere with the natural flow of your work, but they can also be useful in taking you to places you might not otherwise go. Very early in my career a dealer educated me on how to describe the dimensions of a piece of art work.

This was a valuable part of my education. Height by width was the established way to describe the dimensions of a painting. What drives me nuts is a portfolio of work described mostly by width x height descriptors mixed in with height x width in a random sort of fashion. I seem to be seeing this far too often in the art world. Have the rules changed or is it now accepted as normal to describe the dimensions of a painting in a random mix of height by width measurements? In the US we list height first width second.

H x W is USA standard, but then we in the USA are still using inches and feet and fractions, and ounces, and we call freezing 32 degrees unlike the rest of the world. We are special. Why is it that we still seem to be hooked on the pseudo romantic myth of the artist as tortured by insecurity and dissatisfaction soul? I, for one, am blessed with a sense that my best work is always what I am doing right now. RG note Thanks, Sheila. This has nothing to do with being tortured or pseudo-romantic.

It has to do with the difficult task of always trying to advance your quality. Being easily satisfied and accepting lower standards is one of the scourges of our times. One-at-a-time thinking by John F. I am one of those who work on one painting at a time. I am happy with most finishes, and deliriously so with some. My wife will confirm this with a smile. Over the course of a half dozen or so completions, I can see where I could do better or, as I prefer to see it, can now do better.

Or a hundred and twenty. My style, always realism, is migrating to stylization, towards abstract interpretation where I see the opportunity. I like that direction, and wonder how far I can go. This is an adventure. I love what we do. The day before I die, I want a painting half finished on the easel. The day I die, I want to yearn to finish it. Though I have several paintings going at a time, I love your thoughts. This is exactly how I feel about painting … striving to do the best I can on that given day. Each day they should evolve. An artist thinking this way does not retire, but does as you said, ends life with a half-finished painting on the easel.

Discouragement sets in by Freda Alschuler, Martigny, Switzerland. Not sure, though, whether this has broken the spell! Just joking. You have given me so much inspiration and motivation from your letters. Thank you so much. Over the years I have had lots of ups and downs with sales and trying to get into galleries and snobby artist associations, so I just plucked up some courage to trying to sell and it has worked, which also was very hard. I live in Switzerland where, believe me, it is very difficult to not only be an artist but to get into galleries.

I have gone on my own way, and right now am fed up with trying, so I approached a restaurant with the same wallpaper as in my latest works of art, and am now exhibiting there, and in their Bistro in London. It is all on my website. No reactions to this. I have been teaching watercolour for 20 years at art schools and have taken people on workshops to lovely spots in Europe and even through teaching, there have been no sales. The workshops by the way are very reasonable so I am not overcharging anyone and giving so much.

At 64 I was told by the school where I was working as a watercolour instructor that it was their policy and time to retire. This was quite a blow to my morale and I find it difficult now to even teach again. I feel like just giving up everything, but as you know this is impossible. It is in my blood. RG note Thanks, Freda. And thanks to everyone who wrote in after that BlogRadio interview.

A few people thought I was out to lunch. Some evolved artists do completely without it. You do beautiful work. If you stop the rest of us lose out. Find the energy of it in your body, and flip it over into creative juice. Freda, the time has come to paint for the pure joy of painting! Explore your own creativity, PLAY for once in your life!

Happy painting! I agree with Janet. Sometimes those broken bridges of security actually propel one into the future tense. Artists never stop working. The pieces with the most life are the nude figures, the wallpaper dresses, and the gouaches, all of which have a bit of sexiness to them. My advice is to take some time and push that sexiness as far as you dare! What have you got to lose? I agree with David, except I would characterize your work as too beautiful, kind of like what a perfect make-up job does to a model with good bones.

You should move to North America…your work would be a welcome change from endless landscapes. Your work is wonderful! I looked at your web site and noticed that perhaps you need an easy, spontaneous way for people to buy your art, such as Paypal. Have you tried galleries in the US? Your wallpaper series in particular is quite appealing and may sell well here. I am a retired art teacher who worked in all media with children of all ages in public and private schools. Teaching others what I knew about the creative process was what I loved best so I have continued to share my knowledge with adults and children in private classes.

I began to explore different ways to use collage in those paintings.


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Since they were works on paper, it was not difficult for me to cut, or tear them apart and reassemble them in new ways. Through the years I have developed different ways of painting using collage. In the past few years I have begun to use wrapped canvases on which I paint with acrylic and add collage. I have been doing the same thing for a few years. I never get rid of any of my efforts, but pile them up for future use. Working on paper enables me to cut, tear, assemble and paste, giving these old efforts a new life through collage.

Greens on the other hand are nitrogen based. These are materials that will heat up the pile to decompose the browns. The greens include chicken, rabbit, horse or cow manure, fresh vegetable scraps, green lawn clippings and even coffee grounds. Do you have to be exact? But if you stay close to the ratio, the pile heats up and breaks down faster.

As an example, if you put two shovel-fulls of leaves in your pile, you need to add a shovel of manure, coffee grounds or fresh green lawn clippings. When starting a new pile, begin with a bit of compost from your last pile. If starting from scratch, use a good quality compost starter as a substitute. Product Link : Compost Starter. Creating the right-sized pile is also important.

If a pile is too small, it will not generate enough internal heat for decomposition.

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It is large enough to create heat. And also small enough to manage for the gardener when turning. Turning the pile every few days keeps oxygen present though the entire compost pile. At minimum, turn once a week. Use a pitchfork or shovel to lift and turn ingredients. With so many to process, that means each individual designer gets very little time for assessment.

With a growing global workforce of designers, the startups you want to work with get lots of applicants, so while they may sometimes get more time than Marc was able to allot to each portfolio, the reviewers are likely thinking similar thoughts and having similar first reactions. These reviews were for a specific purpose, so some criteria may not always apply.

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For example, Design Inc. How do you think you rank on a 1—5 scale where 5 is world-class, experienced, and showing an amazing portfolio? Here are a few key lessons I learned watching Marc surfing through links. These were just the learnings I jotted down while watching. Share your thoughts and takeaways in the responses! You can thank hemeon on Twitter.

And follow designinc for updates. Sign in Get started. UX Collective. Your design portfolio is in a pile with hundreds of other ones and the reviewer is in a hurry. May 24,