Keeping Art Affordable

Cloth Paper Scissors -Keeping Art Affordable by Pam Carriker

In tough economic times, things like buying or creating art often end up on the back burner. The challenges of managing a household, the ever-increasing cost of living, and the need to be frugal don't diminish your need to create. Here are some simple money-saving strategies.

1. Use supplies you already have on hand. Look through your work space for supplies you purchased and haven't used yet. We get excited about a new technique or product, rush out to buy it, and then it sits in our studio gathering dust. Use it, trade it with a friend, or sell it online.

2. Finish projects you started and never finished. Go through your unfinished projects and set a time to finish them. If you've lost interest, recycle or appropriately discard the materials. Unfinished projects weigh on your spirit and take up space.

3. Save leftover paint and scraps of paper. Use leftovers in your art journal, make a card, or create some mail art to submit to a magazine for publication. Organize scraps by color in see-through drawers. Host a scrap swap on your blog.
   Together (mixed media, 12x6) by Pam Carriker

4. Host an art swap. Swapping art with friends is a fun way to collect and share art with others, as well as lift each other's spirits. Who doesn't love a good mail day? It's becoming increasingly rare to get a letter, card, or package in the mail, and nothing brightens your day more. Pay it forward!

  5. Reinvent older works. Take work that didn't sell and make it into something new! Collage right over it or cut the canvas off the frame and make it the cover for your next art journal. Art is meant to be seen, so get it out of hiding and give it new life.

6. Become a coupon clipper. Many craft/hobby stores offer online coupons, so take advantage of them. The two major stores in my area will allow you to use one coupon per day, so if I need a lot of things, I'll go back every day. ~Pam

These are great tips, and I'll be you have some to add to the list. Share the ways you save on mixed-media supplies in the blog comment section at ClothPaperScissors.com, and see what others have to say as well.

Until next time,

The Painter's Primer Part 2

A survival kit.     LINEA

Irwin Greenberg circulated this primer to his students at the High School of Art & Design and the Art Students League of New York. He died, age 87, in 2009.                                   BY  IRWIN GREENBERG    |NOVEMBER 21, 2013   

51. Never say “I can’t.” It closes the door to potential development.

52. Be ingenious. Howard Pyle got his start in illustration by illustrating his own stories.

53. All doors open to a hard push.

54. If art is hard, it’s because you’re struggling to go beyond what you know you can do.

55. Draw everywhere and all the time. An artist is a sketchbook with a person attached.

56. There is art in any endeavor done well.

57. If you’ve been able to put a personal response into your work, others will feel it and they will be your audience.

58. Money is O.K., but it isn’t what life is about.

59. Spend less than you earn.

60. Be modest; be self-critical, but aim for the highest.

61. Don’t hoard your knowledge, share it.

62. Try things against your grain to find out just what your grain really is.

63. Inspiration doesn’t come when you are idle. It comes when you have steeped yourself in work.

64. Habit is more powerful than will. If you get in the habit of painting every day, nothing will keep you from painting.

65. There are three ways to learn art: Study life, people, and nature. Study the great painters. Paint.

66. Remember, Rembrandt wasn’t perfect. He had to fight mediocrity.

67. Don’t call yourself an artist. Let others name you that. “Artist” is a title of great weight.

68. Be humble; learn from everybody.

69. Paintings that you work hardest at are the ones you learn the most from, and are often your favorites.

70. Read values relatively. Find the lightest light and compare all other light values to it. Do the same with the darks.

71. Grit and guts are the magic ingredients to your success.

72. Let your picture welcome the viewer.

73. Add new painters to your list of favorites all the time.

74. Study artists who are dealing with the same problems that you’re trying to solve.

75. Have a positive mindset when showing your work to galleries.

76. Don’t look for gimmicks to give your work style. You might be stuck with them for life. Or, worse yet, you might have to change your “style” every few years.

77. If what you have to say is from your deepest feelings, you’ll find an audience that responds.

78. Try to end a day’s work on a picture knowing how to proceed the next day.

79. Don’t envy others’ success. Be generous-spirited and congratulate whole-heartedly.

80. Your own standards have to be higher and more scrupulous than those of critics.

81. Howard Pyle said, “Throw your heart into a picture and jump in after it.”

82. Vermeer found a life’s work in the corner of a room.

83. Rembrandt was always clear about what is most important in a picture.

84. If, after study, the work of an artist remains obscure, the fault may not be yours.

85. Critics don’t matter. Who cares about Michelangelo’s critics?

86. Structure your day so you have time for painting, reading, exercising and resting.

87. Aim high, beyond your capacity.

88. Try not to finish too fast.

89. Take the theory of the “last inch” that holds as you approach the end of a painting, you must gather all your resources for the finish.

90. Build your painting solidly, working from big planes to small.

91. See the planes of light as shapes, the planes of shadows as shapes. Squint your eyes and find the big, fluent shapes.

92. Notice how, in a portrait, Rembrandt reduces the modeling of clothes to the essentials, emphasizing the head and the hands.

93. For all his artistic skill, what’s most important about Rembrandt is his deep compassion.

94. To emphasize something means that the other parts of a picture must be muted.

95. When painting outdoors, sit on your hands and look before starting.

96. When composing a picture, do many thumbnails, rejecting the obvious ones.

97. Study how Rembrandt creates flow of tone.

98. If you teach, teach the individual. Find out when he or she is having trouble and help at that point.

99. Painting is a practical art, using real materials—paints, brushes, canvas, and paper. Part of the practicality of it is earning a living in art.

100. Finally, don’t be an art snob. Most painters I know teach, do illustrations, or work in an art-related field. Survival is the game.

"Like a lot of realist painters, I started teaching as a way to stabilize my income. I was amazed to discover that it would be one of the most meaningful experiences of my life. Somehow, everything I have learned in my life found a place in the studio classroom. Teaching also forced me to objectify my thoughts and make them comprehensible to my students. But the greatest reward, by far, was getting to know that special kind of person, the art student. His hunger to learn and commitment to what Robert Henri called the “art spirit” has been a never-ending inspiration to me. I am sure I got the larger share in the exchange." Greenberg

Know Thyself, You Are Ready, Make Things.

Austin Kleon-
"Don't wait until you know who you are to get started.
There is a psychological phenomenon in which some people are unable to internalize their accomplishments."

They may feel like impostor's, but none of us know what we are doing all of the time, we just have to show up and do it, do life, do art, do family, do whatever it is. We have to do it -everyday.

Fake It 'til You Make It
Yep, that old adage, it applies to people we admire, and it applies to us.
Kleon says there are two ways to look at it: Pretend to be something you are not until you are; Pretend to be making something until you actually make something.
Lets be honest, we have heard these specs of wisdom for so long, why is it we have to revisit them, what has not sunk in? Remember this one: You have to dress for the part you want, not what you have now, and you have to start doing the work you want to be doing. Hmm!

"Start copying what you love. Copy, Copy, Copy, Copy. At the end of the copy you will find your self." Yohji Yamamoto

Kleon talks about first having to figure out Who to copy (the easy part), and then figuring out What to copy (takes a bit of work). Who: you start copying people you like, people you are inspired by, people who do or behave in a way you want to be like. What: copy the thinking behind the person that inspires you, whats behind their work, you want to see how they see the elements.

It is said, if you just mimic the surface of someone's work without understanding where they are coming from, your own work will never be more than a imitation.

Studying your inspirations helps transform your voice into discovering how you see your own work. Adding something of your own to where they left off makes it unique. Keep looking, keep seeing, keep working, keep growing.
Just do-