The Messy Studio with Rebecca Crowell

Latest Episodes:

Episode 130: Being Authentic Jun 20, 2020

Show notes

This is a topic that we have considered covering for a while. It dovetails nicely with past episodes addressing what inspires and motivates our work. But it seems especially relevant now given the worldwide pandemic and recent social unrest, which have many artists thinking deeply about the meaning and honesty of their work.

Being authentic in your work means being true to yourself, and unafraid in your creative explorations. During this time when we are experiencing massive changes all around us, examining how authentic we are being in our work can lead to new insights and growth. The more challenges we are facing in life, the more important it becomes to bring our whole selves into our work. This results in better work and a better mental state.

It sounds simple, but understanding our true desires can be difficult and confusing, and forces us to be vulnerable. Being authentic in our work may require us to explore aspects of ourselves that would otherwise remain hidden. At the same time, it's good to acknowledge your natural inclinations as strengths. Work with these impulses rather than against them, but try to recognize when they are holding you back.

This doesn’t happen overnight. Like all processes in our work authenticity takes time and an open mind to develop. You may find yourself wanting to explore work that is a complete deviation from what you have done in the past. Going in new directions involves experimentation that doesn’t always work, and can be frustrating. Sometimes, these are important impulses to follow, and other times they are the result of an urge to please others or emulate what we like about another afrtist's work.

Our lives are dynamic and our work needs to change as we do. Being authentic is an ongoing challenge to bring out what is true and sincere. It means being very honest with yourself about who you are, and what motivates, inspires, and influences you.

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Episode 129: Considering Scale Jun 13, 2020

Show notes

Scale is an aspect of visual design that is perhaps the easiest to overlook. This is because there is a default mode that generally works—that is, medium sized works of art, and imagery that fits in expected ways within those boundaries. But challenging habitual ways of using scale can be an exciting path. As viewers, we notice immediately when someone steps outside the expected and calls attention to scale. Today we have some thoughts about using scale in dynamic ways.

When considering scale, it's good to consider both the unique aspects of small, medium and large work and whether the scale of your own work is a good fit for your ideas and imagery. Each scale involves you as the creator and your viewer in different ways. How would you like the viewer to be involved in your work--up close or from a distance, or both? How important is boldness or delicacy, and at what scale are those best expressed with your way of working?

There are also practical considerations for each scale. From small work--usually inexpensive to create and easy to store and ship, but often requiring framing--to large work which can be cumbersome, expensive to create, and hard to store and ship. However, larger work also has a higher price point and more impressive presence for the viewer. Finding solutions to practical issues is not impossible though, and this too can be an excercise in creativity.

Many artists use a medium scale for both practical and conceptual reasons. But this size presents its own challenges for the viewer, because on its own it draws no special attention to itself. We are surrounded by objects of similar sizes in our homes and though this makes medium scale fit into most environments, it also may make a painting simply part of the decor rather than something that is set apart and special.

Giving thought to the scale of your work is an important aspect of aligning form and content. Have you fallen into the habit of always working on the same scale? What new ideas or ways of expression might result from pushing the scale at which you work, going either smaller or larger?

Lisa Pressman's Videos:
https://www.lisapressman.net/teaching-videos/

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Episode 128: Composition: It's Complicated Jun 06, 2020

Show notes

We touched on today’s topic in our last episode when we went briefly over through some important design elements. Basically we were talking about composition—how to arrange the visual elements on a 2-d surface so that they “work.” This is complex because each aspect of a composition affects others in subtle or not so subtle ways. Even a small change often necessitates revision in other parts of the work. In this way, composition can be thought of a problem-solving, whether it is figured out in advance or during the process.

It is important to not settle too quickly on your composition. Poor composition is perceived by viewers right away, causing a feeling of confusion, imbalance, and a sense that the artist has lacked intention. As the entry point for your viewer's attention, a good sense of organization and structure is essential. Although it is often a only minor addition or change that brings the work together, finding that last decisive move may require a lot of patience.

While intuition plays a role in finding good composition—an arrangement simply “looks right”—for strong and consistent work we also need a more intellectual understanding. Having a flexible and developed visual vocabulary and an awareness of design principles are important for creating and evaluating your compositions. Being willing to edit, or remove unnecessary aspects of your work, is vital. Feedback from another person is often helpful too, since we can lose sight of the big picture while immersed in the details.

Composition is so challenging that many artists settle into one approach that works and stay there for years. It can be hard to step away from something you have developed. But remember that compositions convey meaning, and if you don’t allow them to change over time, your meaning becomes overstated.

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Episode 127: Visual Language May 30, 2020

Show notes

Learning to use the visual elements and design principles in your work is often compared to acquiring vocabulary and then being able to use those words to communicate. It also means being able understand better what other artists have to say in their work. This understanding is basic and contributes to your growth for your whole artistic life. It also grows in tandem with intuitive responses and understanding. Yet many artists do not progress much beyond a limited vocabulary, used in only a few repeated combinations. Today we will give a perspective on the benefits of growing your visual vocabulary.

It’s hard to progress as an artist without a good understanding of the basic concepts of the visual elements and design principles. Although learning about the visual elements and design prinicples can seem academic, a working knowledge of these widens your range of ideas, helps you to evaluate your work as you go, and helps establish personal voice and direction. Basic concepts are vital at any stage, and even very experienced artists benefit from revisiting them often along with changes in your work.

So many aspects of art involve balancing different approaches, and it's important to note that intuition plays as much a role in manipulating elements of our work as does more objective knowledge. Knowledge itself is not inhibiting. It leads to understanding that is implanted in your creative approaches, a basis that once solid you can step away from more easily. Explore what works for you, starting with your natural inclinations toward particular elements and compositions. It is an exciting journey involving an infinite number of combinations and interactions,

As a beginner, you can learn about the visual elements (line, color, value, shape, and texture) and the design principles (which describe ways of combining the visual elements into compositions) in many ways. You can find resources online, in books, and in workshops or classes. But practice and exploration in the studio are essential. Working not only with the elements and prinicples that appeal to you strongly but also those that are more difficult offers a lifetime of creative challenge and oppotunity.

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For more from Rebecca Crowell:
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www.squeegeepress.com

The Messy Studio is a CORE Publication MGMT production.

Episode 126: Handling Critique May 23, 2020

Show notes

It can be very unsettling to put your work in front of someone else for a critique. We may fear harsh, judgmental comments. Yet the value of critique is exactly that, the chance to gain an outside perspective and insight, and very often criticism can be given and received in a supportive way. Today we’ll talk about the positive aspects of critique as well as handling negative criticism with regards to our work.

First, let's distinguish between the meaning of the words, critique and criticism. The definition of critique is “a detailed analysis”, or as a verb “to evaluate.” This implies an objective point of view, not an attempt to find fault. Criticism has two meanings, One is “the expression of disapproval of someone or something based on perceived faults or mistakes.” The second meaning is “the analysis and judgment of the merits and faults of a literary or artistic work.” This meaning when applied to an art form includes positive as well as negative aspects, with an emphasis on judghement on the part of the person delivering it.

The kind of criticism that hurts or stings, seems unfair, or completely off base is not likely to be of value. It probably springs from the other person’s ego or bias, or perhaps from a lack of understanding of your intentions. It is often one-sided and opinionated. Destructive criticism can have a powerful impact and unfortunately we tend to give negative comments more credit than the positive ones.

But if what someone tells you seems true on some level, and has a basis in objective observation, critique can be extremely helpful. And critique is not limited to simply passing judgement. It is a way to delve into what you want as an artist especially if you seek it out when you are ready to engage with it. In addition to pointing out problems, a knowledgeable observer of your work can enable you to see things in a new and exciting way.

Critique is best if it is a conversation and not a monologue in which you have no chance to respond and engage. It is also helpful if you establish some parameters ahead of time--deciding what you wish to show, setting the stage for a proper focus, and giving thought to what you hope to gain from the feedback. At the same time, being open and allowing a critique conversation to evolve and flow in accordance with the other person's thoughts may bring surprising and positive insight.

Today's Episode is Sponsored by Multimedia Artboard:
https://multimediaartboard.com/
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For more from Rebecca Crowell:
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www.SqueegeePress.com

The Messy Studio Podcast is a CORE Publication MGMT production.

Episode 125: Art As Therapy May 15, 2020

Show notes

As we record this episode, a few months into the COVID-19 pandemic, there is much we don’t know—what the situation means in our own lives and in the world at large, how long it will last and what we will endure before it is over. How can our art practices help us through this difficult and anxious time? Today our podcast includes thoughts from two art therapists, Mimma Della Cagnoletta and Barbara Bagan, who generously shared their ideas about this topic via email.

Artists are often said to be highly sensitive people. Being vulnerable, introspective, thoughtful about what we experience are all personality traits that help bring meaning and emotion to our work. But those same qualities can also cause us to be more unsettled than others around us. Are there also experiences we have as artists that can be helpful to us now?

Artists are no strangers to uncertainty. We face it in the creative process every time we’re in the studio. This uncertainty is not comparable to the terrifying influence of the pandemic, of course. But we’ve been training our thoughts and emotions, often for years, to deal with the unknown. In fact, a characteristic of creative mindset is ability to deal with ambiguities and situations that are not clear-cut. Many of us are wired to adapt, and to bring our responses to difficult times into our work.

As difficult as it may be, studies show that there are long-term benefits to facing and working through our emotions during trauma. These benefits include enhanced creativity and other kinds of personal growth. As Mimma Della Cagnoletta put it, “we know that making art is resilience in itself and affirms human capacity to deal with ‘the brutality of life.’”

To quote Barbara Bagan, "Art plays a variety of therapeutic roles. Throughout history when going through intense experiences, especially where there are anxieties around mortality and what life really means, people turn to art. They turn to making art and beholding art. Accepting this current situation, even though we do not like it and rejuvenating ourselves in whatever ways we are comfortable with and creating again are what artists do."

Article referenced in the podcast:
https://blogs.scientificamerican.com/beautiful-minds/post-traumatic-growth-finding-meaning-and-creativity-in-adversity/

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Episode 124: Voices Of Experience May 09, 2020

Show notes

If you have ever had a really good art class, whether in school or a workshop, you probably retained some real gems of wisdom from the instructor. These may be specific things that were emphasized, or their overall teaching philosophy. These positive ideas and words have the power to shape our studio practices for our entire creative lives. We reached out to some art instructors, all friends of the Messy Studio Podcast, to ask them to share their insights and approaches to teaching, as well as how they motivate and inspire students to find their own direction.

Teaching art is a work in progress, and most instructors see their messages evolve over time to be more supportive of students, as well as more challenging. The best art instructors have years of experience, and know what it takes to find a meaningful path because they have traveled that path themselves. Other instructors,however, have only enough experience to come up with something that works, and they teach in a formulaic way. They know what is true for them, but not how to help others find their own way.

Meaningful art comes from personal experience. Teaching individuals involves guiding them to draw from their own well of resources, and requires the instructor to understand approaches other than their own. Students do need basic nuts and bolts information. However, they also need a wider context that goes beyond a one-size-fits-all teaching style.

We asked several friends, colleagues, and former guests about their teaching approaches and advice and invite listeners to recall words of wisdom from their own art instructors.

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Episode 123: A Call For Change May 02, 2020

Show notes

Many artists are feeling stuck right now--not only in their homes in the midst of the COVID-19 stay-at-home orders but stuck in their work as well. We not only contend with our own worries and struggles but the constant drumbeat of bad news from the media. Our usual ways of working may no longer seem suited to what our lives have become.
Historically, art reflects the times in which it is made. Today, we are considering this aspect of creativity in light of what we are all experiencing. The way in which we handle the current situation creatively can also be applied to other traumas that we experience in life.

Artists usually consider personal voice to be a concentration of focus that carries us along. It helps others understand what it is that we are communicating. A consistent process, point of view, or approach is achieved through a mastery of technique and a deep, ongoing interest in particular ideas. Traumatic events can disrupt this flow, and change our focus. Now may be the time to loosen our concept of what constitutes our crative voice, and allow for different aspects of ourselves to come forth.

Artists may wish to resist this natural change. There is so much disruption in life without having to completely change artistic direction. This change may also feel like a threat to the personal voice that has been developed through years of work and refinement. Or, in a positive light, our ongoing work may be something that can encompass the new reality, perhaps offering viewers something uplifting or comforting.

This may, however, be the perfect time to explore something new as part of our ongoing journey. Art is a calling, and acknowledgeing that helps connect us with our roots, when we first started making art. For many us it is also a therapy, and during difficult times having a creative outlet may be more necessary than ever. This creative outlet does not need to be related to your current art practice, and can be purely an escape. The art you create at this time may never be shown to anyone else, but it may reveal new insights.

Article referenced in this episode:
https://www.sothebys.com/en/articles/for-the-love-of-art-alain-de-botton-on-art-as-therapy?fbclid=IwAR3BCqbEobPi7JXmEP_Ym0xYCA1QCVZnAp7xrd2KmyXzZy8kQeqL4QTJdUs

For more fromt The Messy Studio:
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For more from Rebecca Crowell:
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www.squeegeepress.com

Episode 122: Sell More Art Online, Interview With Dave Geada Apr 25, 2020

Show notes

For the last several weeks we have faced an unknown and invisible enemy. COVID-19 has disrupted large portions of the international economy and thrown millions into unemployment. As artists we face these same challenges. Our galleries have closed, our workshops have been cancelled, and we have no idea when (or if) things will return to “normal”.

However, we still have at our disposal the most powerful marketing and sales tool ever created. The internet is a way of selling art that many of us have ignored until recently and have no idea how to use properly. In the midst of economic chaos, it is crucial to learn to use the internet in ways that will help us sell more artwork, now and in the future.

To explore some of the fundamentals of online marketing, we invited marketing professional Dave Geada to join us on the Messy Studio Podcast. What he taught us is deceptively simple: tell your story. We all have one, though we may not realize it. Dave emphasized that when people buy art, they are buying not only the work itself, but you and your story. That personal connection can make all the difference in a decision to purchase.

Stories are like any other form of art. They contain essential elements that, when properly composed, are satisfying for the audience. In much the same way that a painter uses line, color, shape, form, value, texture, and space to create a painting, a storyteller uses characters, setting, plot, conflict, and resolution. A basic, archetypal storyline involves a hero/heroine who faces a villain (a person or other obstacle) and then triumphs with the help of a guide.

This basic storyline can be applied to any person’s life and struggles. In the story of today's episode, our hero is the artist who faces the villain of COVID-19 and, with the help of a guide, learns to use the internet to sell their art. Our guide on today’s show is Dave Geada. He’s the CMO at[ Boldbrush (www.boldbrush.com) and has over 20 years of experience in technology and marketing. The interview provides some basic tools to start generating more art sales online, but if you want to learn more check out the special offer he has provided to Messy Studio listeners.

To take advantage of Dave Geada's special offer for Messy Studio Listeners:
https://l.faso.com/72

For more from the Messy Studio:
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For more from Rebecca Crowell:
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www.squeegeepress.com

The Messy Studio is a CORE Publication MGMT production.

Special Guest: Dave Geada.

Episode 121: Working with Place...While Sheltering in Place Apr 18, 2020

Show notes

Many artists working in both realism and abstraction explore ideas or emotions through the lens of unique or moving aspects of a particular place. This place may be as close as the artist’s own backyard, but it is often more distant.

At this time we are encountering many challenges in our daily lives due to the COVID-19 pandemic, including being unable to visit the places that motivate our creative processes. Nationwide “stay at home” orders are restricting our movement, but even in normal times we may still be unable to visit these places at will. Many of us have had travel opportunities, including artist residencies, that focus our attention and introduce new ideas while we are away, but the experience may seem inaccessible once we return home. How can we keep our connection to these places and allow our time there to keep influencing our work?

Memory is a great distiller of experience; working from memory can encompass visual imagery as well as emotions. Photos of special places may also be useful, but working in a literal way from photographs can be restrictive, leaving out emotions and subjective interpretations. But used as a point of departure, photos can trigger ideas. The same can be said for sketches, notes and objects we bring home. Sending time researching interesting aspects of where we have been can also being conceptual depth to our work with place.

As we continue to work while sequestered in our homes, remember that this too will pass. While we do need to reconnect physically from time to time with places that are important to us, there are many ways to nurture that connection and continue to work with what we love about these places from a distance.
Stay safe, everyone.

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For more from Rebecca Crowell:
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www.squeegeepress.com

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