I’ve been pretty busy over the past 6 months, with one art project after another.  I worked overtime, creating what I considered one of my finest works, to be entered in an invitational show.  I decided to place it in the gallery until the show, which was some 3 weeks away.  It sold within 10 days, leaving me with nothing new for the invitational.  I stressed, and quickly began working on another small piece.  Luckly, I was allowed to show an older piece.

I had also made application for an arts festival which was a week after the invitational with another show 1 month later.  I knew I needed something new and eye-catching for each of these shows.  I really disciplined myself, and was able to complete the small sculpture and a larger saddle sculpture.  Shortly after the last show, I received a commission.  Based on the subject matter, I anticipated it would take 2 months to complete.  However, it was for a birthday gift, and the client was coming to town from the east in 5 weeks….OUCH!!  Once again, I disciplined myself, working 8-10 hours per day, and finished the commission on time.  I’M BURNED OUT!

So, why would I tell you all this?  Are we not in business as artists to produce and hopefully have a demand for our work?  ABSOUTELY!

Why then, is it important to take some time off…or is it?

The answer is a big Y E  S ! ! !   I’m not suggesting quitting work, just some time off to refuel your creative juices.  Do something different, like yard work, long over-due projects, camping, fishing etc.   Get the idea?  Anything that will take you away from your studio for a few days.  Take a vacation and make the time away from your work count.   Many of us are afraid to do this, and risk being less visible in the marketplace.   However by following this advice, you will return to the studio with much more energy.  Your brain will be more stimulated and your creative juices will flow much more easily. 

I have numerous art projects in mind, but plan to follow my own advice and take some time off.  I will no doubt be more ready to create quality work when I return to the studio. 

Several years ago, I took a duck decoy that I was particularly proud of, to an artist and asked for a critique.  WOW! what a mistake……or was it?

With some degree of tact, this individual proceeded to tell me everything I had done wrong, and that I basically hadn’t done any research on what a duck should look like.  I can still hear his words…”Do the research, Dummy.”   My confidence was completely destroyed, & I vowed to never carve again.  Why would anyone ask for a critique?

After I licked my wounds for a week or two, I realized the individual was right.  I hadn’t done any research, and in fact, I didn’t care to learn about ducks.  This taught me two valueable lessons.    1.  Learn  and reaearch well, on all items you are trying to recreate in art.  2.  Stick to what you know best and what intrestests you most.

This experience of several years ago, set me onto a new avenue in wood sculpting.  I had grown up on the family farm, and knew about the old west.  It was a natural.  So, I began a journey that has lasted well over 25 years.  I still however, seek critiques from people I trust to help me become a better sculptor.

Most artists are somewhat temperamental; especially as it relates to our artwork.  When we’ve spent hours, days, weeks and even months creating, we become attached to our creation, and protective of it.  Asking for critique of your piece isn’t easy to begin with.  Listening and learning from it can be even more uncomfortable.  

You have two options:

1. You can ask for critizism and learn from it, or…
2. You can continue to make the same mistakes you are currently making and cease to progress.   YOUR CHOICE.

I always ask for critiques from people I trust and consider to be the best to be found in my field.  Someone who I consider better or more advanced at their skill than I am, and is at the top of their game.  I’ve been able to rapidly hone my skills by learning from them.

How to accept Critizism:

It’s important to remember that its the particular piece that is being critiqued, NOT YOU.    Disconnect yourself from it, and try to see it from the critics point of view.  When I do this, I always learn, even though I may disagree on the opinions offered.  I read a comment from another artist recently that gave some very sound advice:

Every review should be approached with the idea that maybe they have a point.  They may be useless, but try to look at the work objectively, and decide if there is validity in their comment.  It is often difficult to get past the point of denial and feeling hurt, but it is important to give every piece of feedback the benefit of the doubt if you are serious about improving.

It is safe to assume that the harsher the review, the higher the standard that you are being compared to.  This isn’t something to treat lightly.  In fact, you should be flattered, because any reviewer who takes the time to compare you to that high standard probably believes you can achieve exactly that.

I’ve had to develop a “thick skin” and realize that if I am to improve, I must learn to accept critizism.  I truly appreciate the time other artists spend in critiquing my work, and giving me advice.  Keith and Craig Hone, Jeff Wolf, Jerry Anderson and others have  helped me hone my skills, as I strive to become a world class wood sculptor. 

Your email:

If they don’t like you personally, or you don’t show interest in them, they won’t buy your artwork.  It’s that simple!

In last weeks blog, I gave visual examples of why some people were successful while others were not at a recent Arts Festival I participated in.  Today, I’d like to dig a little deeper and talk about how to (or how not to) deal with people.  It was interesting to find that many artists basically don’t want to talk to people, or aren’t comfortable doing it.    It’s important however to realize that “You and your artwork are basically siamese twins.  If people don’t like you personally, or if you don’t show interest in them,  they won’t buy your artwork.  It’s that simple!

Remember that all people walking by your booth/display are potential customers.  It’s your job to approach them.  They want to meet the artist, and talk with you.    You don’t have to change your personality to be successful, but you must show interest in them, and approach them first.  Any approach could work, but it must be yours.  Sincere-not a phoney.  Think of yourself being on stage (because you are.)   Don’t just give them a sales pitch.  (That can come later, if they show interest.)

Here are some tips:  (Remember, I’m a wood sculptor) 

• Be agressively friendly.  If it appears you’ve shocked or offended someone, back off.
• Humor will always break the ice, even with the most disinterested person.  (ie “I almost cut my finger off doing that one.” or “Can you imagine how much sawdust I had after finishing that one?”)
• Make sure you talk with everyone, but focus on the 20% who seem most interest in your artwork.
• Don’t ever ignore women or children.  Remember in many instances the female partner controls the purse strings.  Talking to their children can also break the ice with the parent.
• Some prospective clients may know how you produce your work, but others don’t.  Be prepared to discuss it.  Pictures of projects in progress, visual aids etc. Maybe a project in progress.
• Be yourself.  Be prepared to give of yourself.
• Realize that a certain percentage of the public will not like your work, and will critize you.  Take negative feedback in stride and pay attention to constructive comments.
• Stories are fun, and your customers want to be entertained.  Tell them why you did a particular piece.  Talk about what inspired it.  Stories should be short and to the point.
• Watch your body language.  Sometimes it speakes louder than words.  (Unfold your arms, act excited, shake hands, make eye contact.) Clients will trust you more.

Use no excuses; don’t judge potential clients.  (ie.  They certainly don’t have any money; they aren’t dressed well; He/She won’t be interested; They’re just looking around; etc.)  When you catch yourself thinking these thoughts, it’s time to take a break and let someone run your booth for a while.  I learned this valueable lesson several years ago at a show I participated in.  A very shabbily dressed man walked by my display, and inquired about my art.  I mis-judged him, and it almost cost me sales, (both that day and for some years to come.)  HE WAS A MILLIONAIRE.

While you may have some repeat customers who watch for you at shows, many people who are buying at artshows are first time collectors. It’s up to you to interest them in your product. If you hope to be successful, marketing yourself and your work is as important as producing the art.

How do others percieve you and your work?  (Especially prospective collectors)

I recently read a very well written blog on Spit Shining Your Image  (Alyson Stanfield, March 2010).  

   Here’s some what Allyson had to say:

“How others perceive you is based on four things: 1.  Your Art   2. Yourself  3. The venues you show & sell in and 4.  Your marketing materials.  All of these important elements are used in promoting your art”

1. “Your Art (and how you present it)  Is it “Crafted” as best as it can be? …Canvases sturdy, mats properly cut, pedestals clean.”
2. “You:  Do you dress like a professional, or do you feel embarrased at the way you look when someone asks about your art? 
3. “Your Venue:  Will you forever be known as a “Coffee-shop Artist” or are your venues consistently improving?
4. “Your Marketing Materials:  Is your art always the most important part of your marketing?  Do your signs, banners, business cards etc all look professional

“Presentation is everything!  We only get one chance to make a first imnpression.  Make yours count by spit-shining your image in any or all of these four areas.”

I thought of the advice that Alyson gave as I participated in the recent St. George Arts Festival.    I had crafted my artwork to the best of my ability.  I paid partucilar attention to my booth presentation, to make sure it created interest.  My pedestals were of the finest quality,  the signing on the artwork was professionally done.  I had informative signing on the front of the booth, and also on the back panel, indicating my name, what I did, and my website address.  Professional brochures were available, along with my business cards, a guest book and my portfolio.  We had all of the needed supplies to make sales, but most were kept out of sight until they were needed.  Our booth was inviting to the people who visited us, and caused them to want to come into it.  We also dressed professionally.  Since I consider myself a western artist, I dressed the part, as did my wife and esteemed helper.  We had a successful artshow, and there was seldom a time during the two days that we didn’t have numerous customers to visit with. 

Approximately 100 artists from the Mountain States participated in this show.  Some indicated the show to be extremely successful, and others were most disappointed.  This caused me to wonder why the difference in opinion.  I decided to walk through the show, and take a closer look at their preparations.  It didn’t take long to discover who was being successful and why.    Even though most artists had good artwork, several didn’t pay attention to some of the basics.  Click on each of the photos, and see if you can tell if and why the artist was successful, or If he/she wasn’t.   Pay particular attention to the signing on or around their booth to tell customers who they were.  Did they have any?  Is the signing professional?  Is their booth inviting, and does it invite people inside?  Can people get inside the booth or is there a barrier stopping them?  Is the artist dressed properly AND are they visable and ready to greet their customers, or are they showing a lack of interest.  These photos are in no way intended to question any artists ability or professionalism, but hopefully will help you in your next exhibit.

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Painting can be a frustrating endeavor on a 3-dimensional sculpture.  However, a high degree of finish reflects the artists’ abilities and the time he is willing to spend.

It shows his interest in the work.  It is a painstaking task and requires extreme discipline.  While I’ve painted for nearly 50 years, I must admit to allowing myself to stress as much over the painting as I do sculpting.  Maybe even more.  The numerous hours spent in sculpting extreme detail in wood, can be quickly destroyed by paint if not properly applied.

Sculpting in wood is accomplished by both feel and sight.  Sight alone is the key to painting.  You watch what you are doing-not feel.

Paint adds realism and sets the mood of the sculpture.  It helps the viewer better understand the thoughts and intentions of the sculpture.  Prior to any paint being applied, I consider the direction of light.  Then by using washes of cool and warm shades of color, depth, highlights and shadows are added.

I use glass to mix my paint on.  Then by putting white paper under the glass, I can more accurately assess the intensity of the washes and colow I am using.

As with my sculpting, good tools are very necessary.  A base coat of paint is sprayed with an airbrush, and then detail is added with top quality paint brushes.  I choose to use oil paint versus acrylics.  Because they dry slowly, I find oils easier to blend colors and add washes. 

Blending happenes when you paint a lighter color in an area, and then by using a slightly darker color in your brush, drag it into the lighter, fusing the two.  Oil paint will also penetrate and seal the wood.

Several years ago, I was taught that keen observation is a very important aspect of learning to paint.  In fact, the importance of grasping the numerous colors in a subject is probably more important than actual painting technique.  Old leather has numerous colors, as does rusted metal or weathered wood.  I collect numerous research items, (barn wood, leaves, rocks, rusting metal etc.).  I closely examine colors in them by breaking large areas down to smaller sections.  Magical moments happen when carefully duplicating those colors in the sculpture.  It gains a personality and you achieve a sence of extreme realism.  Mixing black from opposite colors (from the color wheel), will add more depth and color variety versus using it from the tube.  Adding highlights and a slight gloss to key areas can also add authenticity.  The ability to blend color to show softness and power at the same time, will give a sculpture a touch of realism.

Composition and design of the art (discussed in previous blogs) is equally important when painting a sculpture;  particularly if the base is to be painted.  Colors used on the main subject must also be reflected in the base and visa-versa to create unity and harmony between the two.

After the paint has completely dried (usually for several weeks), I add two to three very light washes of burnt unber (brown) over the entire sculpture.  This tends to soften some colors, mute others and brings all elements of the sculpture together.

This is perhaps the most difficult task of any sculptor.  It is a matter of putting it together bit by bit to make it come to life.  How do you get from where you are to where you want to be?

You have to have a real enthusiasm for what you are working on.  You have to have a picture in mind and be willing to work hard to create it.  Just having an idea is no solution.  It all depends on execution.  William Faulkner may have said it best: “An artist is a creature driven by demonds…he usually doesn’t know why they chose him, and he’s too busy developing skills to wonder why.”

In earlier posts, I’ve discussed gaining artistic knowledge, now it’s time to put that knowledge to work.  We’ve all heard of the “3-R’s”  from our early school education.  I have found that there are three basic elements in making a good wood sculpture.  They are Research, Retention and Repetitiveness.

Research to near exhaustion about the subject you are sculpting.  How can you recreate something without knowing it well.

Retention is the ability to retain those things you’ve been taught.    Surround yourself with people who may be better at a skill than you are, and learn from them.  Follow the tips and techniques they share with you.  Then, practice your learned skills.  Take your time.  Don’t hurry.  When you can do it consistently, PRACTICE SOME MORE.  Repetitiveness.

As artists, we often hear the comment, “I wish I had your talent.  Talent is no more than persistence in recognizing and solving problems. PRACTICE!  Anyone who thinks they have learned it all, has a very closed mind.

Wood sculpting vs. whittling or just plain carving is a matter of following each step of the process.  As I continue to evolve as a wood artist, I am more inspired and driven than ever before to move wood sculpting into the realm of fine art.  Creative processes are individual things.  To some it comes very easy, while others struggle.  At times, I have felt both emotions.  Can you ever totally master wood sculpting?  Probably not.

Putting it all together, the subject, the story and the design is one of the most challenging yet powerful and exciting aspects of wood sculpting

Composition was, for me, a slowly learned process, but probably even more important than carving skills will ever be.  A person can be a great carver, but must understand principles of composition and practice them to become an accomplished three dimensional artist.

Early in my sculpting career, I learned that if I was to be successful, my pieces had to be expressive.  They had to evoke feelings of emotion in people who viewed and purchased them.  Regardless of what my intent is in a sculpture, or whatever I do to pack it with meaning, in the end, it is up to the viewer to decide if I have succeeded. 

I don’t think art can be expressed in words.  It is a feeling.  Therefore, one of the first questions I have to ask myself as a sculptor, is what am I trying to convey.  The second is how to accomplish it.

Typically, I like to  set the scene up in my studio.  Numerous hours are spent and alterations are made before I am satisfied with it.  Does it create interest?  Does it have a focal point?  Does it have rhythm and create movement?  Only when I have satisfied these questions, does the sculpting process begin.

In instances where I do not have access to the subjects I am sculpting, I must rely on inspiration and imagination.  After hours of research, basic sketches are made paying particular attention to such things as shape, form, texture, line, positive and negative spaces along with color (to be applied later).  I use circles and “S-shapes” to lead the eye through my sculptures.

The idea is to become familiar with the principles I’ve just listed.  It trains your eyes to create interesting and powerful compositions.

During the sculpting process, I frequently stop and place the item on a turntable.  By turning it, I am able to get a different perspective and avoid making costly mistakes.  I continue this process until the piece is complete, including the base and painting.

I always try to have a strong center of interest or focal point in each piece I do.  Once that is complete, I’ll add other items to form a complete sculpture.  It is important however, that each of the items adds unity, movement and has a sense of belonging.  They also support the main focal point by adding secondary points of interest.  When working with this mindset, I find that all parts of the sculpture interact with each other and no part could be removed without altering the message or story I am trying to tell.  It is equally important that nothing be added when not needed.   If I can’t find a way to put an object into a sculpture that will add to or support the focal point, I’ll leave it out.  Unneeded items tend to clutter the artwork and can destroy the message or story I’m trying to convey.   By following these rules, hopefully your enthusiasm will grow, and success will come more often.

As Ralph Waldo Emerson said, “Enthusiasm is one of the most powerful engines of success.  When you do a thing, do it with all your might.  Put your whole soul into it.  Stamp it with your own personality.  Be active, be energetic, be enthusiastic and faithful and you will accomplish your objective.  Nothing great was ever achieved withour enthusiasm.”

I was recently asked if I remembered the first sculpture I completed, and about some of the things I had learned from it.  That question caused me to ponder, as I thought back to what I’ve attempted to acomplish as an artist.  Here are some of the things I’ve learned through my successes and failures over the past 30 years.

Even though the frustations were often, I never failed to learn something from them.  Someone once said: “Mistakes and failures really aren’t a bad thing unless you continue to make the same ones over and over again.”  More true words could not be spoken.  As an artist, you must strive to improve with each project you undertake.  In short, you must discipline yourself.  Many people do not understand the discipline it takes to become an artist.  You become a “loner.”  One who spends hours alone working on a project without stopping.  My priorities have certainly changed over the years, and I have become excited by cutting into a new piece of wood to uncover the art hidden within.

I have learned to surround muself with people who I consider more skilled at their art than I am.  Become a good student, ask for advice and them become receptive when advice is given.

Discipline requires an artist to focus and dedicate himself to the project being worked on.  Becoming a sculptor, while most enjoyable for me, must be looked at as a job.  This came easy for me, as soon as I began sculpting things I knew about and had a passion for.  One can actually get lost in this excitement, and occassionally forget to stop for meals. 

Discipline requires a good sculptor to become intimately acquainted with the object he is sculpting.  How did it work, for what was it used, and finally, when and where was it used, are all questions that must be asked.  I have found that a good artist/sculptor must dedicate himself to being a good researcher.  Stick to what you know best and become an expert on the subject you are creating.

I learned early on, to not take short-cuts.  They can be very costly to your finished work and also to your reputation.  I think often of an experience I had as I entered one of my first shows.  A man purchased two of my pieces, but told me that a 3rd one I was displaying was not correct.  It was a wagon axle and hub resting by a decaying tree.  I had spent several days working on this project.  The tree was superb.  The burning detail and painting in the axle and hub were absolutely correct.  “So what” I inquired “is the problem with the sculpture?”  “There was never a wagon made with only 8 spokes” came the reply.  I discovered he was right.  My reputation as a sculptor could have been destroyed had I not hearned from this mistake.  I kept that piece and often look at it to remind myself…DO THE RESEARCH!

I believe in setting very high standards in the quality of my artwork.  I won’t call it complete until it meets my tough standards.  I often tell people, “If I’m not satisfied with it, you will never see it.”  I follow this philosophy through all sculpting phases including the bases, the painting and the finished pedestals. 

Though the process is somewhat different, creating a coveted work of art from wood requires the same disciplines as a bronze artist must follow.  Beyond the accuracy of the subject, a story is being told.  Does it flow properly to capture interest?  Does it lead the eye from one point to another?  Does it show movement and create excitment?  All are important steps that must be considered and balanced before the finished product is truly a work of art.

When we leave this earth, we leave little behind except an expression of ourselves, which is carried in the memory of others.  Through my wood sculptures, I try to leave a bit of this memory through a story, told in delicate accuracy-something that can live on forever.

Grab ahold of the word ART, and place it squarely in front of you.  Now close your eyes and let your mind wander for a moment.  What do you see?  What do you imagine?

How about something that excites you, relaxes you, or causes you to reflect on a fond memory of a past time.  Maybe there’s something from your childhood, something you prized.  Is there a memory of a loved one and something that reminds you of them?

Is there a place you think of or a time you frequent in your mind?  Is there an extremely peaceful feeling you have within yourself?  Have you drifted into a fantasy world?  If so, you’ve discovered it….the love of “Art.”

I must admit that I didn’t have to imagine these things for long, because they were all around me…fond memories.  Memories of the farm, times I loved (and some I hated).  The struggles of my ancestors and people I loved to be around.  They’re all things I value.  Thinking of them allows my mind to wander, and my soul to reflect.  After some time (often several days) in this state of mind, I’m drawn to my studio where words and thoughts are recorded.  Then the often frusting task for an artist is bringing them to life.  Art will mean different things to each of us.  I prefer realism.

Most of our minds will not remember extremely fine details.  Therefore, if the memory or item I’m sculpting is not at my immediate disposal, several hours of research are necessary.  For me, this is the most important step.  I remember once traveling several miles to examine the shape of a bolt head on an item I was sculpting.  Was it round, square or hex-headed?  Realistic items can not be created in art without proper research.  Early on, I was taught as an artist that at least 1 hour must be spent in research for every hour spent in actual production.  I believe this to be true in sculpting, painting or any other artistic discipline.

I’m also a dreamer.  Art is a dream world.  It allows you to escape from relity, much the same as a good book does.  Being able to create art alows me to live in a world dreaming, reflecting and being at peace with myself.

 Is it even possible to accomplish?

We frequently hear about people who are perfectionists.  Maybe you are one of those people.  I have also occasionally been labeled as such.  After I complete a sculpture, I find myself becoming a critic of my own work.  I may spend several hours examining it, making mental notes on what I could or would change if I were to do it again.  While each sculpture I do is (and will continue to be) 1- of- a- kind, I use many similarities from previous pieces.  My latest saddle sculpture, “Mother Hubbard-a Texas Icon” is an example.  While it has many similarities to its predecessor (Charro), I  strive to take it to a higher level.  I paid more attention to ‘movement’ and guiding the eye from one point to another using “S” curves and circles in both the base and saddle itself.  With the real saddle close by, I’ve paid close attention in the painting process, trying to better capture the look and feel of worn leather and rusted metal.  But is it perfect?  Probably not.

It is our nature as artists to do the best job possible on every project we attempt.  I think we all strive to produce the Perfect Piece of Art.  However, if each piece we produced were considered perfect, how could we improve?  If perfection is our end goal, the ultimate we are striving for, then what would we do if we ever reached it?  If we never make mistakes, or leave room for improvement, how would we learn?  Life as an artist,   extremely boring without the experience of learning.

We should always strive in one way or another to change, progress and to improve.  We can achieve our personal best, with each new endeavor;  a much better goal than trying to produce the perfect piece.

It’s important that we follow our dreams, but don’t compare yourself to the quality of other artists.  If you do, you’ll never have the courage to follow those dreams.  We must however, learn from our previous experiences and mistakes.  We can achieve our personal best with each new artistic endeavor.  These three Proverbs may say it best:

• “Do the best you can, where you are, with what you have NOW!”  (an old African Proverb)
• “Knowing is not enough, we must apply.  Being willing is not enough; we must do.”  (Leonardo da Vinci)
• “Happines does not come from doing easy work, but from the afterglow and satisfaction that comes after the achievement of a difficult task that demanded our best.”  (T. I. Rubin)

I’ll take some license and change a few words from William Faulkner.  “Always dream and shoot higher than you know you can do (with your artwork).  Don’t bother trying to be better than another artist; try to be better than yourself.”  In short, expect the best of yourself, and do what is necessary to accomplish it.

So, is it possible to produce the Perfect Piece of Artwork, or is it just a pipe-dream?  Have I achieved it with this sculpture?  Will I ever accomplish it?  I’ll probably never know, but rest assured, I’ll never quit trying.  As long as I keep challenging myself, my best work is yet to come.