web01.fireside.fm Wed, 15 Apr 2026 22:22:59 -0500 Fireside (https://fireside.fm) The Messy Studio with Rebecca Crowell - Episodes Tagged with “Drawing” https://messystudio.fireside.fm/tags/drawing Sat, 12 Dec 2020 14:00:00 -0600 Artist Rebecca Crowell shares experiences and thoughts from three decades of painting, teaching and traveling, as well as her conversations with other artists. She is joined by her co-host, producer, and son, Ross Ticknor, who brings an entrepreneurial Millennial perspective. The conversations are broad and eclectic, focused on ideas, information and anecdotes that other artists may find helpful in their work and careers. A new episode is uploaded every weekend! en-us episodic The podcast at the intersection of art, travel, business, philosophy, and life in general. Rebecca Crowell Artist Rebecca Crowell shares experiences and thoughts from three decades of painting, teaching and traveling, as well as her conversations with other artists. She is joined by her co-host, producer, and son, Ross Ticknor, who brings an entrepreneurial Millennial perspective. The conversations are broad and eclectic, focused on ideas, information and anecdotes that other artists may find helpful in their work and careers. A new episode is uploaded every weekend! no Rebecca Crowell rticknor.core@gmail.com Episode 156: Abstracting with Lines and Marks https://messystudio.fireside.fm/156 b42ef80e-4742-46e1-8b01-b670ce5ae2c2 Sat, 12 Dec 2020 14:00:00 -0600 Rebecca Crowell 156 Abstracting with Lines and Marks full Rebecca Crowell Lines and marks in a work of art connect the viewer very directly with the hand of the artist. They can express individuality, add structure, and show evidence of the artist’s process. Perhaps because these visual elements can reveal so much, many artists are self-conscious about using them and when they do, the results can appear contrived, awkward, or random. How can we use lines and marks in purposeful ways that feel right to us? What might more intentional use of lines and marks bring to our work? 33:08 no Lines and marks in a work of art connect the viewer very directly with the hand of the artist. They can express individuality, add structure, and show evidence of the artist’s process. Perhaps because these visual elements can reveal so much, many artists are self-conscious about using them and when they do, the results can appear contrived, awkward, or random. How can we use lines and marks in purposeful ways that feel right to us? What might more intentional use of lines and marks bring to our work? Similar to the urge to view a Rembrandt or Van Gogh from inches away to see their individual brushstrokes, we are often drawn in to examine a work up close when it includes lines and marks, and we can sense the artists hand at work. There is often an immediacy and directness in part becasue just a simple tool has been used--a pencil, crayon, or brush. In abstraction, marks and lines as visual elements can be created for their own sakes or for expressing a huge range of emotions and ideas. As artists using marks and lines, we need to remember that not that every line or mark works or should be retained. As with any visual element marks and lines need to work within the context of the piece. It often takes trial and error, and thoughtful editing to discover the right placement or type of mark. Yet we also need to resist the inner critic who may caution us that lines and marks are too revealing or too quirky. On the other hand, a good way to shake up a painting that is too tight is to apply a spontaneous mark that you then need to react to. Although there is much to explore with mark-making it is a visual element with which many artists never become fluent. Making marks and lines for their own sakes does not always come easily. Certainly, many wonderful abstract works of art do not include this element, but it is worth asking yourself if it’s one you avoid because it is too challenging, and to consider what a focus on mark-making might bring to your abstract work. We are approaching the end of the year, which means whoever prepares your taxes is about to tell you to spend money on tax deductable items for your art business... When you buy art supplies at Blick remember to use our affiliate link to support the podcast! www.messystudiopodcast.com/blick ​ Thanks to everyone who has been sharing the show and those who have donated anonymously via PayPal. If you would like your own shoutout on the podcast donate here (https://www.paypal.com/donate?token=Yyrf7Ht1DYfkYzAaWNoW8zuvCpTryLYsxY2VAj4qGZ3o2o4F7xHGv4VmDDef7kFxuvbgpz_z4jUa-z7F). ​ Cold Wax Academy (formerly Squeegee Press) would like everyone who enjoys using their special cold wax tools to know that all sizes of SP Create squeegees are back in stock! Rebecca and her partner Jerry McLaughlin are also launching their online live learning sessions as part of the new membership program, and all sessions will be recorded for future viewing by members. For more information, and to become a member of Cold Wax Academy please visit their website at http://www.coldwaxacademy.com and click on the Membership button. ​ Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast? Email Ross at rticknor.core@gmail.com (mailto:rticknor.core@gmail.com) for current mid-roll advertising rates. ​ For more from The Messy Studio: www.messystudiopodcast.com www.facebook.com/messystudiopodcast ​ For more from Rebecca Crowell: www.rebeccacrowell.com www.coldwaxacademy.com ​ The Messy Studio Podcast is a CORE Publication MGMT production. Rebecca Crowell, Art, Creativity, Fundamentals, Mark Making, Drawing, Line, Elements, Lines and marks in a work of art connect the viewer very directly with the hand of the artist. They can express individuality, add structure, and show evidence of the artist’s process. Perhaps because these visual elements can reveal so much, many artists are self-conscious about using them and when they do, the results can appear contrived, awkward, or random. How can we use lines and marks in purposeful ways that feel right to us? What might more intentional use of lines and marks bring to our work?

Similar to the urge to view a Rembrandt or Van Gogh from inches away to see their individual brushstrokes, we are often drawn in to examine a work up close when it includes lines and marks, and we can sense the artists hand at work. There is often an immediacy and directness in part becasue just a simple tool has been used--a pencil, crayon, or brush. In abstraction, marks and lines as visual elements can be created for their own sakes or for expressing a huge range of emotions and ideas.

As artists using marks and lines, we need to remember that not that every line or mark works or should be retained. As with any visual element marks and lines need to work within the context of the piece. It often takes trial and error, and thoughtful editing to discover the right placement or type of mark. Yet we also need to resist the inner critic who may caution us that lines and marks are too revealing or too quirky. On the other hand, a good way to shake up a painting that is too tight is to apply a spontaneous mark that you then need to react to.

Although there is much to explore with mark-making it is a visual element with which many artists never become fluent. Making marks and lines for their own sakes does not always come easily. Certainly, many wonderful abstract works of art do not include this element, but it is worth asking yourself if it’s one you avoid because it is too challenging, and to consider what a focus on mark-making might bring to your abstract work.

We are approaching the end of the year, which means whoever prepares your taxes is about to tell you to spend money on tax deductable items for your art business... When you buy art supplies at Blick remember to use our affiliate link to support the podcast!
www.messystudiopodcast.com/blick
​
Thanks to everyone who has been sharing the show and those who have donated anonymously via PayPal. If you would like your own shoutout on the podcast donate here.
​
Cold Wax Academy (formerly Squeegee Press) would like everyone who enjoys using their special cold wax tools to know that all sizes of SP Create squeegees are back in stock! Rebecca and her partner Jerry McLaughlin are also launching their online live learning sessions as part of the new membership program, and all sessions will be recorded for future viewing by members. For more information, and to become a member of Cold Wax Academy please visit their website at http://www.coldwaxacademy.com and click on the Membership button.
​
Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast?
Email Ross at rticknor.core@gmail.com for current mid-roll advertising rates.
​
For more from The Messy Studio:
www.messystudiopodcast.com
www.facebook.com/messystudiopodcast
​
For more from Rebecca Crowell:
www.rebeccacrowell.com
www.coldwaxacademy.com
​
The Messy Studio Podcast is a CORE Publication MGMT production.

]]> Lines and marks in a work of art connect the viewer very directly with the hand of the artist. They can express individuality, add structure, and show evidence of the artist’s process. Perhaps because these visual elements can reveal so much, many artists are self-conscious about using them and when they do, the results can appear contrived, awkward, or random. How can we use lines and marks in purposeful ways that feel right to us? What might more intentional use of lines and marks bring to our work?

Similar to the urge to view a Rembrandt or Van Gogh from inches away to see their individual brushstrokes, we are often drawn in to examine a work up close when it includes lines and marks, and we can sense the artists hand at work. There is often an immediacy and directness in part becasue just a simple tool has been used--a pencil, crayon, or brush. In abstraction, marks and lines as visual elements can be created for their own sakes or for expressing a huge range of emotions and ideas.

As artists using marks and lines, we need to remember that not that every line or mark works or should be retained. As with any visual element marks and lines need to work within the context of the piece. It often takes trial and error, and thoughtful editing to discover the right placement or type of mark. Yet we also need to resist the inner critic who may caution us that lines and marks are too revealing or too quirky. On the other hand, a good way to shake up a painting that is too tight is to apply a spontaneous mark that you then need to react to.

Although there is much to explore with mark-making it is a visual element with which many artists never become fluent. Making marks and lines for their own sakes does not always come easily. Certainly, many wonderful abstract works of art do not include this element, but it is worth asking yourself if it’s one you avoid because it is too challenging, and to consider what a focus on mark-making might bring to your abstract work.

We are approaching the end of the year, which means whoever prepares your taxes is about to tell you to spend money on tax deductable items for your art business... When you buy art supplies at Blick remember to use our affiliate link to support the podcast!
www.messystudiopodcast.com/blick
​
Thanks to everyone who has been sharing the show and those who have donated anonymously via PayPal. If you would like your own shoutout on the podcast donate here.
​
Cold Wax Academy (formerly Squeegee Press) would like everyone who enjoys using their special cold wax tools to know that all sizes of SP Create squeegees are back in stock! Rebecca and her partner Jerry McLaughlin are also launching their online live learning sessions as part of the new membership program, and all sessions will be recorded for future viewing by members. For more information, and to become a member of Cold Wax Academy please visit their website at http://www.coldwaxacademy.com and click on the Membership button.
​
Have an art related product, service, or event you would like to advertise on the Messy Studio Podcast?
Email Ross at rticknor.core@gmail.com for current mid-roll advertising rates.
​
For more from The Messy Studio:
www.messystudiopodcast.com
www.facebook.com/messystudiopodcast
​
For more from Rebecca Crowell:
www.rebeccacrowell.com
www.coldwaxacademy.com
​
The Messy Studio Podcast is a CORE Publication MGMT production.

]]> Episode 70: The Importance Of Drawing https://messystudio.fireside.fm/70 0f4aabbe-6e8d-44d4-b72c-93f263dbd963 Sat, 04 May 2019 11:00:00 -0500 Rebecca Crowell 70 The Importance Of Drawing full Rebecca Crowell Drawing is something a lot of artists do regularly, but for others -- especially abstract artists-- it has been pushed back to a musty corner with art-school exercises or early work in realism. But drawing, including abstract drawing, is an excellent way to keep your work vital and personal. What is the role of drawing in your work, and is it something that you would like to develop? 28:02 no Drawing is something a lot of artists do regularly, but for others -- especially abstract artists-- it has been pushed back to a musty corner with art-school exercises or early work in realism. But drawing, including abstract drawing, is an excellent way to keep your work vital and personal. What is the role of drawing in your work, and is it something that you would like to develop? Episode mentioned: https://messystudio.fireside.fm/21 https://messystudio.fireside.fm/68 Piece mentioned: https://www.usatoday.com/story/travel/destinations/2013/04/11/possible-van-gogh-painting-exhibit/2074219/ Relates to discussion about drawing in podcast about Intuition with Nuala Clarke and Joanna Kidney, both find it important part of their process (#68) Drawing def. by Miriam Webster shows the narrow way in which many regard drawing: “the art or technique of representing an object or outlining a figure, plan, or sketch by means of lines” Oxford English dictionary is similarly limited: “a picture or diagram made with a pencil, pen, or crayon rather than paint” “I can’t draw” is like “I can’t cook”—there are lots of ways to approach it and once you find something that works for you, you may want to expand your repertoire Maybe why many current artists prefer the term mark-making/more inclusive –we’ve discussed this when talking in earlier podcasts about visual elements A look at contemporary and modern artists’ drawings may be enough to open your mind if you are stuck in this mindset: famous ones like Cy Twombly, Agnes Martin, many famous painters also have done incredible drawings, too numerous to mention Using non-traditional materials, surfaces, even drawing right on gallery walls— Rocio Rodriguez— Linn Meyers Some contemporary work hard to define as drawing in any traditional sense—for example drawing with wire or sticks huge scale, tiny scale, everything from very expressive and loose to intricate and controlled (Michael Geddis #21) Many painters include drawing within their imagery, done with paint, paint sticks, or other techniques to create lines or marks. Drawing does not need to be a separate category. Why is drawing important? **as personal notes: keeping a sketchbook of some sort—can be drawings from life, or non-referential drawing, doodles, marks—accessing intuition, identifying interests, making observations, noting ideas ** traditional role of drawing as study for paintings/sculptures. Study=exploration; you don’t need to copy your drawings—they are just the first steps **drawing may be shared or just for yourself; tends to make people self-conscious like handwriting but lots of us doodle, not meant as serious art, but can feed your other work, it is not unimportant just because you don’t include it in your main work **be open to drawing from reality even if an abstract artist but don’t limit to that, and same goes for realist artists—try some more abstract kinds of free mark-making. You can learn from either direction. **as personal expression—explore a range of types of mark-making—different media, techniques, range of fluency/control, range of emotional expression, asemic writing **as part of personal voice—discovering kinds of marks that seem like you, that may include imagery or symbols, outlines, geometric forms—use these freely in abstract work Tips for working with drawing: *pay attention to what others do in their work, what do you respond to? *think of drawing as a way to add visual texture *as a way to add structure—to lead eye through the work *consider where a line or mark could make a real contribution, and what kind of mark that would be www.rebeccacrowell.com www.squeegeepress.com www.facebook.com/messystudiopodcast Rebecca Crowell, Art, Drawing, Abstraction Drawing is something a lot of artists do regularly, but for others -- especially abstract artists-- it has been pushed back to a musty corner with art-school exercises or early work in realism. But drawing, including abstract drawing, is an excellent way to keep your work vital and personal. What is the role of drawing in your work, and is it something that you would like to develop?

Episode mentioned: https://messystudio.fireside.fm/21
https://messystudio.fireside.fm/68

Piece mentioned: https://www.usatoday.com/story/travel/destinations/2013/04/11/possible-van-gogh-painting-exhibit/2074219/

Relates to discussion about drawing in podcast about Intuition with Nuala Clarke and Joanna Kidney, both find it important part of their process (#68)

Drawing def. by Miriam Webster shows the narrow way in which many regard drawing:
“the art or technique of representing an object or outlining a figure, plan, or sketch by means of lines”

Oxford English dictionary is similarly limited: “a picture or diagram made with a pencil, pen, or crayon rather than paint”

“I can’t draw” is like “I can’t cook”—there are lots of ways to approach it and once you find something that works for you, you may want to expand your repertoire

Maybe why many current artists prefer the term mark-making/more inclusive –we’ve discussed this when talking in earlier podcasts about visual elements

A look at contemporary and modern artists’ drawings may be enough to open your mind if you are stuck in this mindset: famous ones like Cy Twombly, Agnes Martin, many famous painters also have done incredible drawings, too numerous to mention

Using non-traditional materials, surfaces, even drawing right on gallery walls—
Rocio Rodriguez—
Linn Meyers

Some contemporary work hard to define as drawing in any traditional sense—for example
drawing with wire or sticks
huge scale, tiny scale,
everything from very expressive and loose to intricate and controlled (Michael Geddis #21)

Many painters include drawing within their imagery, done with paint, paint sticks, or other techniques to create lines or marks. Drawing does not need to be a separate category.

Why is drawing important?
**as personal notes: keeping a sketchbook of some sort—can be drawings from life, or non-referential drawing, doodles, marks—accessing intuition, identifying interests, making observations, noting ideas

** traditional role of drawing as study for paintings/sculptures. Study=exploration; you don’t need to copy your drawings—they are just the first steps

**drawing may be shared or just for yourself; tends to make people self-conscious like handwriting but lots of us doodle, not meant as serious art, but can feed your other work, it is not unimportant just because you don’t include it in your main work

**be open to drawing from reality even if an abstract artist but don’t limit to that, and same goes for realist artists—try some more abstract kinds of free mark-making. You can learn from either direction.

**as personal expression—explore a range of types of mark-making—different media, techniques, range of fluency/control, range of emotional expression, asemic writing

**as part of personal voice—discovering kinds of marks that seem like you, that may include imagery or symbols, outlines, geometric forms—use these freely in abstract work

Tips for working with drawing:
**pay attention to what others do in their work, what do you respond to?
**think of drawing as a way to add visual texture
**as a way to add structure—to lead eye through the work
**consider where a line or mark could make a real contribution, and what kind of mark that would be

www.rebeccacrowell.com
www.squeegeepress.com
www.facebook.com/messystudiopodcast

]]> Drawing is something a lot of artists do regularly, but for others -- especially abstract artists-- it has been pushed back to a musty corner with art-school exercises or early work in realism. But drawing, including abstract drawing, is an excellent way to keep your work vital and personal. What is the role of drawing in your work, and is it something that you would like to develop?

Episode mentioned: https://messystudio.fireside.fm/21
https://messystudio.fireside.fm/68

Piece mentioned: https://www.usatoday.com/story/travel/destinations/2013/04/11/possible-van-gogh-painting-exhibit/2074219/

Relates to discussion about drawing in podcast about Intuition with Nuala Clarke and Joanna Kidney, both find it important part of their process (#68)

Drawing def. by Miriam Webster shows the narrow way in which many regard drawing:
“the art or technique of representing an object or outlining a figure, plan, or sketch by means of lines”

Oxford English dictionary is similarly limited: “a picture or diagram made with a pencil, pen, or crayon rather than paint”

“I can’t draw” is like “I can’t cook”—there are lots of ways to approach it and once you find something that works for you, you may want to expand your repertoire

Maybe why many current artists prefer the term mark-making/more inclusive –we’ve discussed this when talking in earlier podcasts about visual elements

A look at contemporary and modern artists’ drawings may be enough to open your mind if you are stuck in this mindset: famous ones like Cy Twombly, Agnes Martin, many famous painters also have done incredible drawings, too numerous to mention

Using non-traditional materials, surfaces, even drawing right on gallery walls—
Rocio Rodriguez—
Linn Meyers

Some contemporary work hard to define as drawing in any traditional sense—for example
drawing with wire or sticks
huge scale, tiny scale,
everything from very expressive and loose to intricate and controlled (Michael Geddis #21)

Many painters include drawing within their imagery, done with paint, paint sticks, or other techniques to create lines or marks. Drawing does not need to be a separate category.

Why is drawing important?
**as personal notes: keeping a sketchbook of some sort—can be drawings from life, or non-referential drawing, doodles, marks—accessing intuition, identifying interests, making observations, noting ideas

** traditional role of drawing as study for paintings/sculptures. Study=exploration; you don’t need to copy your drawings—they are just the first steps

**drawing may be shared or just for yourself; tends to make people self-conscious like handwriting but lots of us doodle, not meant as serious art, but can feed your other work, it is not unimportant just because you don’t include it in your main work

**be open to drawing from reality even if an abstract artist but don’t limit to that, and same goes for realist artists—try some more abstract kinds of free mark-making. You can learn from either direction.

**as personal expression—explore a range of types of mark-making—different media, techniques, range of fluency/control, range of emotional expression, asemic writing

**as part of personal voice—discovering kinds of marks that seem like you, that may include imagery or symbols, outlines, geometric forms—use these freely in abstract work

Tips for working with drawing:
**pay attention to what others do in their work, what do you respond to?
**think of drawing as a way to add visual texture
**as a way to add structure—to lead eye through the work
**consider where a line or mark could make a real contribution, and what kind of mark that would be

www.rebeccacrowell.com
www.squeegeepress.com
www.facebook.com/messystudiopodcast

]]> Episode 46: An Act of Joy: Interview with Sally Bowker https://messystudio.fireside.fm/46 8a0b48d1-b4e5-4d8c-949d-1fc6fbebaa08 Sat, 10 Nov 2018 02:00:00 -0600 Rebecca Crowell 46 An Act of Joy: Interview with Sally Bowker full Rebecca Crowell Rebecca sits down with her friend and fellow artist Sally Bowker. Sally worked for years with painting, drawing, photography, and mixed media. In her later years she has departed from these more tradition art forms to explore the world of digital media and Photoshop. 32:57 no Rebecca sits down with her friend and fellow artist Sally Bowker. Sally worked for years with painting, drawing, photography, and mixed media. In her later years she has departed from these more tradition art forms to expliore the world of digital media and Photoshop. Guest artist website: http://www.sallybowker.com/ www.rebeccacrowell.com www.squeegeepress.com www.facebook.com/messystudiopodcast Special Guest: Sally Bowker. Rebecca Crowell, Sally Bowker, digital media, photoshop, photography, textiles, painting, drawing Rebecca sits down with her friend and fellow artist Sally Bowker. Sally worked for years with painting, drawing, photography, and mixed media. In her later years she has departed from these more tradition art forms to expliore the world of digital media and Photoshop.

Guest artist website:
http://www.sallybowker.com/

www.rebeccacrowell.com
www.squeegeepress.com
www.facebook.com/messystudiopodcast

Special Guest: Sally Bowker.

]]> Rebecca sits down with her friend and fellow artist Sally Bowker. Sally worked for years with painting, drawing, photography, and mixed media. In her later years she has departed from these more tradition art forms to expliore the world of digital media and Photoshop.

Guest artist website:
http://www.sallybowker.com/

www.rebeccacrowell.com
www.squeegeepress.com
www.facebook.com/messystudiopodcast

Special Guest: Sally Bowker.

]]> Episode 21: Michael Geddis Interview, Science Meets Art https://messystudio.fireside.fm/21 4c9fafb6-e990-480c-b05b-7bf9958d84e5 Sat, 12 May 2018 15:00:00 -0500 Rebecca Crowell 21 Michael Geddis Interview, Science Meets Art full Rebecca Crowell Rebecca interviews Michael Geddis, an Irish artist who produces extremely intricate drawings based on microscopic observations. He discusses the specialized equipment he uses, his methods, and what inspires his work. 34:08 no Rebecca interviews Michael Geddis, an Irish artist who produces extremely intricate drawings based on microscopic observations. He discusses the specialized equipment he uses, his methods, and what inspires his work. http://www.michaelgeddisart.co.uk/ www.rebeccacrowell.com www.coldwaxbook.com www.facebook.com/messystudiopodcast Special Guest: Michael Geddis. Rebecca interviews Michael Geddis, an Irish artist who produces extremely intricate drawings based on microscopic observations. He discusses the specialized equipment he uses, his methods, and what inspires his work.

http://www.michaelgeddisart.co.uk/
www.rebeccacrowell.com
www.coldwaxbook.com
www.facebook.com/messystudiopodcast

Special Guest: Michael Geddis.

]]> Rebecca interviews Michael Geddis, an Irish artist who produces extremely intricate drawings based on microscopic observations. He discusses the specialized equipment he uses, his methods, and what inspires his work.

http://www.michaelgeddisart.co.uk/
www.rebeccacrowell.com
www.coldwaxbook.com
www.facebook.com/messystudiopodcast

Special Guest: Michael Geddis.

]]>