The Messy Studio with Rebecca Crowell - Episodes Tagged with “Fundamentals”

Episode 167: The Power Of Intentions

Rebecca Crowell — Sat, 27 Feb 2021 00:00:00 -0600

A work of art created with intention is compelling--we intuitively recognize when something is done with purpose and inner direction. Yet as artists we are also seekers and explorers in our work. Our creative path is often wandering rather than straight, and it may seem false or against our nature to state a clear intention or meaning behind our work. How can we work with intention yet remain open and flexible? What are the advantages of clarifying intentions?

Knowing what is most meaningful to you in your work and applying that knowledge in a flexible way is key. Your intentions, if broad enough, allow for unfolding interpretations over time. You can also think about more narrowly focused and temporary intentions within the bigger picture. These might serve the needs of a particular work of art or series, or be about focusing on learning a new medium

But your most basic, underlying intentions, once recognized, can remain unchanged for decades. They are the “big picture” focus that underlies who you are and what you want to say. What moves you? What qualities do you always want in your work? What ideas have always pulled you? Over time, your expression of these ideas finds different forms, but these basic aspects of who you are remain true.

Acknowledging and writing down your core intentions is a powerful tool. Intentions help you to stay on track and to critique and understand your own work. While the idea of discovering these may seem daunting, it need not be done all at once. Setting intentions can be a work in progress until you feel you have found the essence of what is meaningful to you. At that point, they become a guiding and unifying force in bringing strength and consistency to your work.

Thanks to everyone who has been sharing the show and donating! If you would like to donate to the Messy Studio Podcast donate here.

Thank you also to everyone who has written testimonials for Ross's website! Have you enjoyed the audio production quality and hearing Ross's voice? Submit a testimonial by email at rticknor.core@gmail.com or by submitting the contact form at www.messystudiopodcast.com!

When you buy art supplies at Blick remember to use our affiliate link to support the podcast! Bookmark this link and then you don't even have to think about it again. This is one of the best ways to support the show. It takes a few seconds and costs you nothing!

Right now Gamblin products are 40% off, so this is a great time to buy Cold Wax or Gamblin oil paints!
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It's time for an update on the latest news from Cold Wax Academy! Rebecca and her partner Jerry Mclaughlin are now well into their second quarter of weekly Live sessions for their members, in which they explore 3 main topics in deep, interrelated, and engaging ways. This quarter, those topics are Texture, Layering, and Writing and Talking about your Work. Weekly sessions include discussion, slide presentations, videos, critiques, special guests, and the opportunty to ask questions during the session. Cold Wax Academy Members have access to all past sessions, which are recorded each week--so if you're hesitating to join mid-quarter, no worries about missing out. There is plenty for you to explore, and you can watch previous sessions on your own schedule. Jerry and Rebecca offer for a trial month at the Core level for only $29.99. Visit www.coldwaxacademy.com and
and click on the Memberships 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 163: Abstracting With Symbols

Rebecca Crowell — Sun, 31 Jan 2021 14:00:00 -0600

Abstract artists find many ways to bring meaning to their work. For some, this may be purely an investigation of color, line, or other elements. For others—it is the expression of emotion or evoking aspects of the visual world. Today we’re going to look at another powerful way that artists can bring meaning to abstraction—through the use of symbols, whether personal in origin or more universally recognized.

We recognize and use many symbols in daily life—every company religion, government, and organization adopts symbolic iconography, and written language and numbers are symbols also. In art, symbols—both realistic images and abstract ones—have been used since earliest times and in every culture. They may be based in universal ideas or be very personal to our own experience. As artists, how can we bring symbols into our abstract work?

This may be a particularly useful path for artists looking for a way into abstraction and away from literal representation. Symbols that refere to actual objects or figures can be placed into an abstract context and provide a bridge between realism and a more interpretative approach.

The most powerful symbols are simple, strong images that distill meaning and have strong powers of communication. Those that have meaning to you can be pulled from any meaningful source, and discovering which you feel most connection with may be a portal to expression thatyou have previously overlooked. You may even find symbols in your work already but not recognize them as such--colors, shapes, or compositions that recur over time--that may reveal meaning if you focus on them. Symbols have strong connections to our subconscious mind and can make themselves known even when we are not looking for them.

Symbolism is a very large topic and we can only touch on a few ideas here, but we hope that this episode will inspire you to give new consideration to using symbols in your work.

Blurb

Thanks to everyone who has been sharing the show and to Laura Smith for donating via PayPal. If you would like to donate to the Messy Studio Podcast donate here.

Have you enjoyed the audio production quality and hearing Ross's voice? Ross is building a website for his audio production business and could use a testimonial from you! Submit a testimonial by email at rticknor.core@gmail.com or by submitting the contact form at www.messystudiopodcast.com!

When you buy art supplies at Blick remember to use our affiliate link to support the podcast! Bookmark this link and then you don't even have to think about it again. This is one of the best ways to support the show. It takes a few seconds and costs you nothing!

Right now Gamblin products are 40% off, so this is a great time to buy Cold Wax or Gamblin oil paints!
www.messystudiopodcast.com/blick

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 158: Abstracting with Emotion

Rebecca Crowell — Sat, 26 Dec 2020 15:15:00 -0600

Abstract artists are sometimes stereotyped as uninhibited people who slap paint down in direct response to strong emotion. But this idea is far from accurate. While many abstract painters do aim to express emotion and mood, their approaches vary widely --from spontaneous to highly controlled. And even the most intuitive artists need to thoughtfully consider their use of the visual elements and design principles. Today we will look at painting abstractly as an expression of emotion, mood, remembrance, or other states of mind.

While we may think of abstract expressionist painters of the mid-20th c. as being the epitome of emotion-based work, with their bold brushwork, huge scale, and lots of color and contrast,
they may simply be the most obvious. The very name of the movement, abstract expressionism, implies painting with abandon and feeling. But expressing emotion, and working in a very loose, spontaneous way are not necessarily the same. If we think emotional work should look gestural and loose, we may fail to really see the emotion in other work that is much more subtle in its effects.

A restrained way of working emphasizes that as people, not all of our emotions are out there, easy to read. There can be depths of emotion and even spirituality to more austere work. The degree of personal emotion that we express in overt ways is an aspect of personal voice and also of where we are in our learning process. Beginners don't yet have the skills that help open the channels to inner experience.

Creating paintings that connect with your own feelings or inner experience and at the same time with that of your viewers can be very challenging, Over-thinking, shielding our feelings even from ourselves, and settling for half-measures when we could be pushing the expressive aspects of scale, color, and mark-making can all stand in the way. But recognizing what is powerful in our work in subjective ways is a good step toward opening the channels of emotional expression, whether in subtle ways or bold.

Website mentioned in today's episode: www.richarddavidson.com

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 to Albi Ulat for donating 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 156: Abstracting with Lines and Marks

Rebecca Crowell — Sat, 12 Dec 2020 14:00:00 -0600

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 154: The WOW Factor

Rebecca Crowell — Sat, 28 Nov 2020 15:00:00 -0600

Words like “wow,” “stunning,” and “amazing” are music to the ears of many artists. We all create plenty of art that elicits no more than a passing glance or Instagram “like” and that’s fine—it’s part of the process. If we are making art constantly, what we make includes a range of qualities and ideas. But what is it about those special pieces that makes them stand out and really engage the viewer? What can we learn from them and what questions do they raise?

If art is communication, our work that really engage people is telling us something. We are connecting, speaking to other people in ways that they can receive and respond to.

When a piece both pleases us and feels true, and engages the viewer in a strong way, what characteristics does it tend to have? First, the work shows a strong sense of purpose or intention. That may come through in in subject matter, color or other visual elements, scale, or any aspect of the work that has a certain boldness to it. The work also arises from personal meaning—it is sincere, authentic, not derivative--what we call personal voice.

Very impactful work also typically shows a mastery of technique and high levels of craftsmanship, although that alone may not carry the piece, if expression is not also part of the work. Finally, we respond to beauty, in the sense of work that has depth, power, and meaning,

Finding ways in our work to stay true to our own ideas and communicate with others in a strong and engaging way is one of those life-long challenges that we take on as artists. We will have pieces that hit that mark and many others that do not. Paying attention to our work that does fit both criteria is worthwhile—not to repeat it in a formulaic way-- but to try and understand what it has to teach us.

Right now is THE BEST time of the year to buy art supplies at Blick.com! Cyber sales are active all weekend while supplies last! Get your art supplies for your art practice (as well as gifts and stocking stuffers) at a massive discount, and support the podcast at the same time by using our affiliate link.
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 149: Nature's Art Supplies

Rebecca Crowell — Sat, 31 Oct 2020 12:00:00 -0500

A trip to the art supply store or website is something most of us enjoy. We’re not just stocking up, but entertaining possibilities, wondering what a new color of paint or kind of brush or sculptural tool could bring to our work. Exploring new materials is part of what we do as artists. But there’s also a world of art materials and processes available at no cost, outside in nature. What can be done with sticks, dirt, rocks, feathers, bones, and other bits of nature? Today we’ll toss around some ideas for using natural objects as art materials and tools, and forces of nature as part of the art process.

Many artists enjoy collecting natural objects for their beauty and unique aspects but also for specific purposes in the studios. Using materials from the natural world opens up many possibilities for mark-making, textural effects, and for using processes such as allowing weather to affect a piece by placing it outside or printing from rusted metal.

The impulse to create with natural materials goes back to childhood for many of us when we made snow forts and tiny environments from sticks and rocks, or sealed autumn leaves between sheets of wax paper. The connection to nature we felt then can be extended into our adult practices as an expression of our experiences in the landscape. Many materials produce unique effects that can't be found in commercially available supplies, such as sticks and dried plant stalks for drawing, dried organic material mixed into paint, and unique natural dyes. Sometimes the personal meaning of a work is enhanced by the origin of the material such as sand from a particular beach that the artist visited.

Artists also develop inventive ways of interacting with natural forces as part of their practices. The British artist Andy Goldsworthy uses both objects from nature and its processes to create ephemeral sculptures of ice, earth, and fallen leaves, which he then documents in stunning photographs. Other artists bury drawings or paintings in the ground to let the earth color and erode them or set them in the rain to wash them out. Irish artist Nuala Clarke created an installation piece using bits of cloth that washed up on the beach that were beautifully weathered and worn, titled The Mariner's Laundry.

Expanding our creative vision to what nature and its processes can bring to our work is exciting and a way to bring your own experience of nature and natural processes and forces to your work.

Artists mentioned in this episoide: Andy Goldsworthy, Nuala Clarke, Anthony Crammen painting with fire: https://www.youtube.com/watch?v=IxwQ0itTCpM

Support The Messy Studio when you buy art supplies from Blick.com by using our affiliate link:
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.

Thanks also to everyone who sent kind messages to Ross and Kara on their wedding day last week. The wedding registry is still active on Amazon if you would like to send a gift!

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 148: Thoughts on Creative Process

Rebecca Crowell — Sat, 24 Oct 2020 12:00:00 -0500

With all of the ups and downs that we go through in the studio, it may be helpful to know that the creative process involves stages that are fairly predictable and universal--some of which are challenging. Although these stages or steps are usually described as taking place as a linear progression --from initial idea to finished work--most of us find our own process to be more complex. Today we’ll discuss these creative stages as a reminder of what we all go through as artists, while at the same time acknowledging that few things can be described neatly and simply when it comes to creativity.

The stages of the creative process are often listed as preparation or inspiration, incubation, gaining insights, questioning/testing, and finally, the actualy production of the art. Few artists follow these in order, or as isolated steps. But each stage or phase does enter our ongoing working process in some way and it is interesting to recognize these and to know that we all experience these in common.

It can also be reassuring to know when we are blocked or frustrated in our work that some stages tend to take time to work through. During the incubation phase for example, the way forward is not be clear, even though under the surface you continue to work out an answer. The questioning aspect of creative process can also be frustrating, as doubts and challenges come and go throughout the working day. Yet both of these phases are essential, and interrelated with the other phases of creativity.

It seems nearly impossible to explain the complexities of the creative process in a way that would account for everyone's reality. While there is value in understanding these basic phases, taking them too literally or as rules to follow is overly simplified.

Support The Messy Studio when you buy art supplies from Blick.com by using our affiliate link:
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Right now you can get a 2 oz container of Gamblin Solvent-Free Fluid Medium when you order $30 worth of Gamblin paints or mediums. Cold Wax Medium is also marked down 25% and paints are discounted up to 40%!

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.

Thanks also to everyone who sent kind messages to Ross and Kara on their wedding day last week. The wedding registry is still active on Amazon if you would like to send a gift!

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 143: Quirky Mashups: Mixed Media Ideas

Rebecca Crowell — Sat, 19 Sep 2020 14:00:00 -0500

Working in mixed media, also called combined media, expands creative possibilities, and intrigues many artists. What materials can be used together in interesting and non-traditional ways? How can you approach the overwhelming number of potential combinations? Mixed media involves the joy of experimentation, the satisfaction of discovering new approaches, and new ways of creating meaning and personal voice in your work. In today’s episode, we will sum up some of the comments made on a recent Facebook post about the topic and talk about the reasons many artists love to work in mixed media.

I took the title for this episode from a description by the artist Sara Post about her own work in mixed media. It seems to describe well the mixed media work many artists create; "quirky" in the sense of being very personal, very inventive, and uniquely expressive. One of its attractions is that of play, the sense of freedom and exploration. Working in combined media almost always involves experimentation and the development of techniques. Unless you are following someone else’s process, you’re figuring it out as you go.

A pitfall of working in mixed media can be a lack of restraint or sensitivity to the various materials and ways of applying them. The result can be muddy or confusing, although an "everything but the kitchen sink" approach can work if intentional and appropriate for the idea an artist is working with. Expressing complexity or intense contrast might be well served by this approach.

Some effective combinations of media include ink, gouache, graphite, acrylics and acrylic mediums, gesso, colored pencil, powdered pigment, transfer paper, wall paint, and collage elements for water-based media. Oil based media that work together include oil, cold wax medium, additives such as sand or ash, collage elements, and pigment sticks. The substrates that an artist works on can also be an aspect of mixed media. The results may be surprising when you work on surfaces such as found wood, tar paper, or aluminum. Some artists use 3-D objects as a basis for their work, developing or embellishing with other materials.

Working in mixed media can be an intriguing sideline that informs other work in progress, or an artist's main way of working. It's a way of opening up new ideas and of working freely and experimentally and creating visual effects not possible with more traditional or straightforward uses of media.

Please check out the Messy Studio Facebook page to see an album of mixed media images sent in by liusterners. Thanks! https://www.facebook.com/MessyStudioPodcast/photos

Special thanks to Marian Sommers for setting up a monthly donation of $10. Check out her artwork at her website, http://mariansommers.com/. If you would like your own shoutout on the podcast donate here.

We would like our listeners to know about a big change coming to Squeegee Press, known for its award-winning book, videos, workshops, and tools - all created for artists working with cold wax medium. Rebecca and her partner Jerry McLaughlin have announced that later this month Squeegee Press will become Cold Wax Academy-- and will soon include some exciting new membership features.

As part of this change, their video, Cold Wax Medium: a Video Workshop will become available as streaming content for members only.
This comprehensive video, nearly 7 hours long, covers everything Rebecca and Jerry teach in a 5-day workshop and more. If you prefer to own the video, it's on sale at $250 off from now until the end of September when access will shift to streaming only. To purchase, and for more information, please visit www.squeegeepress.com and don't forget to join the mailing list for updates on all the new offerings from Cold Wax Academy.

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.squeegeepress.com

Support The Messy Studio when you buy art supplies from Blick.com by using our affiliate link:
www.messystudiopodcast.com/blick

The Messy Studio Podcast is a CORE Publication MGMT production.

Episode 142: Material World

Rebecca Crowell — Sat, 12 Sep 2020 03:00:00 -0500

The materials an artist uses are one of the first things we notice when looking at art—we may see paint, clay, wood, paper, pencil, or intriguing combinations of many materials and processes. Beyond their visual impact alone, materials can also evoke feelings and ideas that add to the meaning of the work. Today we’re going to talk about materiality in art—its impact and the decisions involved in choosing art materials.

As an art term, materiality refers to the importance placed on the physical aspects of a work of art, what it is made with and the ways the artist works with it. What is expressed via the materials and processes used by an artist? How do these materials and processes alone create meaning and impact?

There are many ways that artists engage with materiality in their work. Sometimes the source of the material is emphasized--for example a sculpture made of found objects that themselves have distinct associations. Some artists choose to challenge the traditional heiracrchies of materials, for example using concrete rather than marble or wood in sculpture, or using ephemeral materials that are not meant to hold up over time. Certain materials or processes that have cultural significance such as women's traditional craft are sometimes elevated into a broader context of social commentary. Other times the materials and processes may be obscured so as to lead to a sense of mystery about how an effect was created.

Many artists choose to work with conventional materials in established ways but even so, knowledge of the properties of their chosen media is important. Choosing how we approach materials and processes are choices we make as artists, whether or not we make materiality itself a focus.

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.squeegeepress.com

Support The Messy Studio when you buy art supplies from Blick.com by using our affiliate link:
www.messystudiopodcast.com/blick

The Messy Studio Podcast is a CORE Publication MGMT production.

Episode 137: Roughing It: All About Texture

Rebecca Crowell — Sat, 08 Aug 2020 15:00:00 -0500

Along with color, texture is one of the most evocative visual elements, engaging not only our eyes but our sense of touch—as well as our memories and associations. Many artists seek out ways of creating texture and consider it one of the most important aspects of their work. Yet because it is such a powerful element it needs to be used thoughtfully, and often with restraint. How can we use texture most effectively in our work, allowing it to take its place with other visual elements without overpowering them? What are the special qualities of texture that can be used to enhance our work?

Texture is problematic when it is an end goal and not a means to an end but created without meaning or intention. Texture for its own sake alone can lead to a superficial and non-cohesive painting. On the other hand, it can work well as a prominent feature but needs to be part of an overall concept. What do the textures you are interested in evoking? How can you use them as part of a larger idea?

Texture falls into two broad categories--actual, physical texture that can be perceived by touching, and visual or illusionistic texture in which we read something as having physical texture, but in fact the surface of the work is smooth to the touch. Each has its own distinct qualities and uses, and the combination of both in the same work can create intriguing contrast. Either kind of texture can be bold or subtle, organic or mechanical in appearance, and referential or not (whether how it is made has meaning in the painting.)

Texture is a powerful element that when used in a thoughtful, intentional way can bring strong meaning and associations to your work. Like any other visual element, consider its relationship to overall design and to your source ideas and intentions.

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.squeegeepress.com

Support The Messy Studio when you buy art supplies from Blick.com by using our affiliate link:
www.messystudiopodcast.com/blick

The Messy Studio Podcast is a CORE Publication MGMT production.

Episode 134: Editing with Energy

Rebecca Crowell — Sat, 18 Jul 2020 14:00:00 -0500

Artists need to edit, too!. Of course, we’re all familiar with the idea of editing as it applies to writing. It is often said that every author needs an editor to make sure that their writing is technically correct, cohesive, and impactful. But as visual artists we don’t typically involve anyone else in that kind of role --it's up to us to do it ourselves. Today we will talk about editing our work for stronger and more consistent results and point out that it need not be a chore or necessary evil.

Why is editing so important for us as visual artists? Editing brings clarity to our work and allows our viewers to enter without confusion. It is a powerful tool to emphasize our intention and purpose. Editing our work with a clear vision helps provide cohesiveness within a series or a larger body of work.

With all its benefits, why do many artists resist the idea of editing--that is, removing parts of their work that don't contribute, or not pushing on with additions or changes that could be helpful? A common reason is becoming overly attached to certain parts of our work that we see as exceptional. -- a particular combination of colors, a beautiful mark or texture. We hate to get rid of them, even if they are distracting have a random look. Also, settling for "good enough" can seem very appealing, when you know that one small change may lead to many more, and you may find yourself almost starting over. It can be easy to rationalize keeping things that will be difficult to correct. Yet taking the easy way in any of these situations weakens the work and limits your growth.

How can editing be enjoyable, energetic, and exciting? By making it integral to your process and editing with energy and spontaneity throughout your work sessions. Long deliberations, hesitations, and second-guessing yourself are what make it seem like a chore. Listen to your intuition and don't be afraid to make a decisive move, and proceed with positive energy. As with writing and other creative endeavors, early drafts of a project are seldom as strong and satisfying as what you develop through edits and changes.

Ross mentioned Stanley Kubrick's "The Shining" in this episode. For more info on the depth and complexity of Stanley Kubrick's visionary horror masterpiece check out the documentary, "Room 237". https://www.youtube.com/watch?v=gL1fTlH81gU

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Episode 129: Considering Scale

Rebecca Crowell — Sat, 13 Jun 2020 12:00:00 -0500

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

Rebecca Crowell — Sat, 06 Jun 2020 14:00:00 -0500

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

Rebecca Crowell — Sat, 30 May 2020 04:00:00 -0500

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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www.squeegeepress.com

The Messy Studio is a CORE Publication MGMT production.