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

Episode 264: Interpreting Experience: Abstract Approaches

Rebecca Crowell — Wed, 18 Oct 2023 15:00:00 -0500

We may think of abstract painting as exploring the visual elements and the process of painting strictly for their own sakes, but that’s only one kind of abstract work. Many abstract artists have a more personal approach, in which aspects of their lives, memories and experiences fuel their work. They want to feel a direct connection between their inner lives and what they create. But finding ways to interpret these personal sources in abstract terms is a big challenge. Without obvious subject matter, how can you express an experience, tell a personal story, or evoke a memory? Today we’ll talk about some approaches to abstraction when very personal expression is the goal.

if you are an artist seeking this kind of personal involvement with your abstract work, a key is developing a meaningful visual language that feels connected to your own experiences. Personal visual language means the way you use the visual elements and composition that are most expressive to you. This can include certain color combinations or textural effects, kinds of mark-making, and considerations of scale or format. This is the result of lot of practice, building up aspects of it over time.

Working in a personal way with abstraction has limitations in how specific you can be in conveying your ideas. You might think of the process as setting a stage that invites your viewer into a certain evocative realm, for example something organic or nature-related, or a something that seems architectural. But a challenge in developing abstraction with personal meaning includes avoiding literal depiction and insisting on a particular interpretation. It's very easy to slide into imagery even if you decide you want to avoid that; finding a context for your ideas that is consistent in its degree of abstraction is important.

Finding the essence of experiences, places, objects, or other subject matter is an important aspect of personally expressive abstraction. Essence means the most basic and pervasive qualities of something, the distillation of an idea. It’s typically the motivation behind wanting your work to be more abstract, because it helps your own responses to your subject be more powerful. You can express essence via any of the visual elements that seem related, and you can use them freely in compositions that are not literal in their depiction.

Thanks to everyone who has been sharing the show and donating! If you would like to donate to the Messy Studio Podcast donate here.
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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! The Blick website works exactly the same way, but we earn 10% every time you buy art supplies.

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What's new at Cold Wax Academy?
Fall quarter is now underway with sessions on Texture, Materiality and Process, Finding Time for your Work, a return visit with Gamblin representative Mary Tevlin, a painting clinic for works in progress, and the quarterly member critique. As always, Members are encouraged to take part in the online sessions, where lively discussions take place as Rebecca and Jerry respond in real time, But if you can't make it to the live sessions, remember that Cold Wax Academy Members have unlimited streaming access to over 100 previously recorded sessions --and now you can navigate the extensive range of topics with an index to easily find what you need.

By the way, you don't have to use cold wax medium to benefit from the content in these recordings. Artists who use other painting media will also find a wealth of valuable information --including effective use of the visual elements and composition, personal voice and intentions, mentoring topics like procrastination and work/life balance--and much, much more. For more info and to join CWA please visit www.coldwaxacademy.com

Please visit http://www.coldwaxacademy.com for more information as well as basic information about using cold wax medium.

Here is what a member named Sandy has to say about her own experience with Cold Wax Academy:
"Rebecca and Jerry have presented the most professional, authentic and structured approach to a creative activity I have ever come across. Their selfless sharing of all their knowledge and encouragement is a gift in my life unsurpassed."

Also-- please visit https://www.espacioart.org to learn about Rebecca and Jerry's newest project, Espacio, dedicated to providing beautiful living and working spaces for artists and writers. Espacio's first offering is Casa Clavel, a modern, fully equipped house opening this September in the beautiful cultural city of San Miguel de Allende, Mexico. A few booking openings are still available in 2023, so please incquire if you are interested.

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.
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For more from The Messy Studio:
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For more from Rebecca Crowell:
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The Messy Studio Podcast is a Tick Digital Media Production.

Episode 257: More Than One Direction

Rebecca Crowell — Sat, 01 Jul 2023 21:00:00 -0500

In the interest of having a consistent style, artists are generally advised to stick to one type of work --both in the studio and when exhibiting. But many artists are experimental, curious, and explore more than one direction—so this advice can seem too restrictive. In our last episode, we touched briefly on the idea that a range of the same artist’s work can be promoted effectively if done with consideration. If you have more than one direction you may have questions about how you can best present your work when exhibiting or in other situations, and today we will address those concerns.

While it is advisable to have one primary focus that you fully develop and go deeply into, there are many good reasons that artists explore multiple directions as sidelines. Working in various media and approaches tends to inspire new ideas, energy, and insights, and helps keep your work fresh. Different approaches may also appeal to different audiences and thus expand your marketing possibilities. But it's important to think about how to present your work when you have more than one direction. Different situations involve different concerns, and you need to consider the audience for each.

For example, when approaching a gallery or applying for a grant or commission, you will make the strongest impression if you present only your main body of work. In these cases, the person deciding about your work wants to see consistency and an immediate visual impression. Other situations, such as when you post on social media, hold an open studio, or do a slide talk about your work, it's fine to show the breadth of what you do. In these situations, your audience has more time to absorb your various directions. If you want to show a range of work on your website, it's best to clearly separate your various directions and provide some written insight into your reasons for pursuing them.

In the best scenario, your work in various media or approaches will have an interesting relationship. Viewers seeing a range of your work will then be able to deepen their understanding of who you are as an artist. If your ideas come from a strong inner source rather than being very scattered, -they will be more worthwhile for you to pursue,and be more likely to enhance how others view 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.

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! The Blick website works exactly the same way, but we earn 10% every time you buy art supplies.

www.messystudiopodcast.com/blick

What's new at Cold Wax Academy? As Rebecca and Jerry reach the end of their third year of Live sessions they are launching a new phase of programming aimed at reviewing and reinforcing foundation topics--beginning with Color in their Summer quarter that starts on July 5th. This summer's sessions will also mentoring and professional development topics, as well as a painting clinic and a member critique. As always, Members of Cold Wax Academy have unlimited streaming access to over 100 previously recorded sessions. And a table of contents to easily find specific topics in the recordings will soon be available. For more info and to join CWA please visit www.coldwaxacademy.com

Please visit http://www.coldwaxacademy.com for more information as well as basic information about using cold wax medium.

Here is what a member named Sandy has to say about her own experience with Cold Wax Academy:
"Rebecca and Jerry have presented the most professional, authentic and structured approach to a creative activity I have ever come across. Their selfless sharing of all their knowledge and encouragement is a gift in my life unsurpassed."

Also-- please visit https://www.espacioart.org to learn about Rebecca and Jerry's newest project, Espacio, dedicated to providing beautiful living and working spaces for artists and writers. Espacio's first offering is Casa Clavel, a modern, fully equipped house opening this September in the beautiful cultural city of San Miguel de Allende, Mexico. A few booking openings are still available in 2023, so please incquire if you are interested.

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 Tick Digital Media Production.

Episode 252: Personal or Formal?

Rebecca Crowell — Mon, 15 May 2023 22:00:00 -0500

We tend to think of artistic expression as being very personal, as coming from the artist’s experiences, emotions, memories, and responses. But there are also many works of art that are not focused on personal expression. Instead, the artist is motivated to explore a more impersonal realm of ideas, patterns, and more universal concepts. For most artists, there is a balance between sources that are more and less personal, a balance in working between the heart and the mind. That individual balance is basic to the artist’s voice and unique expression. Today we’re going to talk about these two different approaches to making art and the balance in your own art practice.

In looking at art history in these terms it is easy to see the differences, and to recognize the ways that artists have drawn from both personal and formal sources. These divisions, although they tend to overlap in any one artist's work, are useful in understanding your own preferences and tendencies, and what is important to you. Do you prefer a more intellectual, structured approach--one that is removed from pure emotion? Or is expressing your personal experiences in a freer way important to you? These divisions are simplistic, however. Even the most formal work may have emotion behind it, and the most informal relies on formal concerns like composition and the use of the visual elements.

Both approaches are equally valid, from pure abstraction to the most expressive ways of working. But in getting started, formal concerns like developing technique, and understanding the visual elements are an excellent starting point for finding your personal voice. Personal expression tends to emerge from this kind of exploration, but without a firm formal grounding it is difficult to develop powerful work.

It's important to develop your appreciation for the approach that feels less natural to you, and to recognize that any weakness in your own work may have its roots in that other approach. If your work is strictly formal, could it benefit from letting a little more of your more personal experience and sources come through? If strictly informal, is there enough structure to allow the viewer a way in, or a universality that allows their engagement with the image?

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What's new At Cold Wax Academy?
Rebecca and Jerry launched their spring quarter on April 12th. Sessions this quarter so far included identifying compositional issues in your work, and technical information from Gamblin representative Mary Tevlin. Upcoming sessions include a painting clinic for works in progress, and much more. As always, members can join in on live sessions with questions and comments, and can benefit anytime by interacting with other members on our Members-only facebook page. With 100 recorded sessions in the member library there is always something to learn or review, with topics ranging from technical advice to visual language to guests speakers and critiques of member work.

To learn more about membership, and to purchase cold wax tools and Rebecca and Jerry's book, Cold Wax Medium: Techniques, Concepts & Conversations, please visit http://www.coldwaxacademy.com

Please visit http://www.coldwaxacademy.com for more information as well as basic information about using cold wax medium.

Episode 242: The Challenges of Consistency

Rebecca Crowell — Sat, 25 Feb 2023 22:00:00 -0600

As artists we know it’s important to be open to new ideas and changes—but for marketing purposes we’re also expected to have an identifiable style that is consistent and recognizable. This basic dilemma is frustrating when you have wide-ranging interests and like to explore new ideas or media. Your work can appear to be “all over the place” and seem to lack focus. At the other extreme, being overly concerned that your work is consistent can inhibit your growth as an artist.

These are issues that are contained in the idea of personal voice, in which you can have flexibility and change while working within the realm of what is meaningful in your work, that is, your core ideas and content. The search for basic intentions is an ongoing aspect of creative process but is more involved as an artist in is the beginning stages. The stage of incubation of core ideas may take years, and during that time, exploration and experimentation are essential at that time.

Marketing enters the picture when galleries and collectors need your work to be consistent and within parameters that define your style and approach. This allows them to market your work as a sort of brand. But allowing for your growth and changes when dealing with galleries is important. Growth that is the kind that evolves organically over time is typically more accepted. For you as the artist, understanding what makes your work consistent and building from that base is helpful. Working in series is an excellent path to this discovery.

This issue of consistency and growth is of those balancing acts that creativity requires, and it means we find individual solutions to that balance. Thinking of consistency as continuity and organic growth is a helpful idea that encompasses change and flexibility. Your work can move forward yet also have common threads. Those threads are what makes your work you, and unique.

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What's new at Cold Wax Academy?
Rebecca and Jerry are now midway through their winter quarter of online sessions at Cold Wax Academy, where as always members have access to in-depth and varied content for learning and growth. Upcoming sessions include a presentation by guest author Shaun McNiff, tips on photographing your artwork, a painting clinic for works in progress, and the final critique session for this quarter with a special focus on composition. As a member, you can also access the private Facebook page and the community there of informed and supportive artists who post paintings, ask questions and initiate discussions.

It's never too late to join Cold Wax Academy! All live sessions are recorded and there are now nearly 100 previous sessions in the member library. Please visit http://www.coldwaxacademy.com for more information as well as basic information about using cold wax medium.

Please visit http://www.coldwaxacademy.com for more information.
Here is what a member named Sandy has to say about her own experience with Cold Wax Academy:
"Rebecca and Jerry have presented the most professional, authentic and structured approach to a creative activity I have ever come across. Their selfless sharing of all their knowledge and encouragement is a gift in my life unsurpassed."

Episode 234: A Deeper Look, Step by Step

Rebecca Crowell — Sun, 18 Dec 2022 00:00:00 -0600

In the process of making a work of art, the artist deals with many questions and decisions. There is a constant evaluation of asking if the piece is on the right track and considering what is needed for the next move. What will best convey the artist’s ideas and intentions? Many of these decisions are quick and intuitive, but sometimes a more reflective and conscious process is called for.

You need a balance between intuition and more conscious analysis to produce consistently good work. Both are important—you don’t want to be constantly stopping and picking apart every move, that is paralyzing and over thinking. But without applying some objective evaluation of your work every so often, your work will be all over the place. Sometimes you hit on a good result, but it is harder to do that consistently without a deeper look.

A lot this is analysis is thoughtfully but quickly, with just a short amount of consideration. This process borders on intuition because it feels that you just know what to do, although that knowledge may need a moment of looking to see what to do. But there’s another level that takes more time. This is an actual step by step process you can go through to analyze your work either when you are close to being done, or deciding if it’s done, or at any time along the way that you feel stuck. It involves close observation of your work in several ways. The first is an objective, descriptive look at the form of the work, observations about what you see in the use of the visual elements and composition. Next is subjective interpretation based on your ideas and intentions, and finally, how do the form and content work together? It is helpful to do this in written form to help your focus.

This basic exercise is taught in art school as a way of observing the alignment of form and content. After a while the practice gets ingrained and a basis for making choices about how you use the visual elements and composition to express what you want to say.

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What's new at Cold Wax Academy?
Rebecca and Jerry have just wrapped up their Fall Quarter of instruction, which featured an exciting session on using Procreate, and demos of creating depth and working with color. Winter Quarter begins on January 4th, and Rebecca and Jerry are launching the new year by featuring informative guest artists, help with improving your studio practice and habits, painting clinics, and mentoring topics. You can join Cold Wax Academy at any time and take advantage of over 80 previously recorded sessions already in the member library, and you can also join in on the live, online sessions produced each month. Please consider treating yourself or a loved one to the comprehensive and wide-ranging art education available at Cold Wax Academy in 2023, by visiting http://www.coldwaxacademy.com. The website also offers plenty of free information about cold wax medium including a series of informative videos.

Episode 169: Overworking It

Rebecca Crowell — Sat, 13 Mar 2021 16:00:00 -0600

Artists are often cautioned not to overwork their pieces, especially when the medium is drawing or painting. This advice is meant to prevent work that is too fussy or refined, or otherwise lacking energy. But many artists place importance on fine-tuning their work, and on paying close attention to detail. The art-world advice against overworking may not apply to everyone’s approach. Today we’ll take a closer look at how this advice can sometimes get in the way of creating your best work.

Often instructors and other artists will tell someone, “don’t touch it, it’s done.” In other words, “don’t overwork it.” This is usually said with all good intentions, but it takes away the artist’s decision about whether to keep going. If we don’t test the boundaries of what is done, we don’t discover new territory or learn to control the medium.

There are art media that need to be used in a deliberate, direct way, start to finish, with no reworking. Or you may simply want your work to be very gestural or fresh, in which case you do need to be concerned about an overworked surface. But overworking often hovers as a caution even with media that can easily be reworked and changed as part of the process.

Whether avoidance of overworking applies to you or not depends not only on your medium and style but your personality as well. It may suit you work patiently on a detailed or subtle painting for a long time as you refine and edit. This doesn’t mean you’re too perfectionistic or picky, it’s simply your own approach.

Overworking is one more art term that is used frequently without much explanation—it’s based on assumptions that may or may not be true for your own preferences and way of working. I hope that today we’ve gotten you to question whether this term means anything at all to you, and if it does, how you would define it in your own way.

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! The Blick website works exactly the same way, but we earn 10% every time you buy art supplies.

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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 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:
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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:
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The Messy Studio Podcast is a CORE Publication MGMT production.

Episode 135: Are You Curious?

Rebecca Crowell — Sat, 25 Jul 2020 15:00:00 -0500

We were all curious as children and many artists retain that trait as vital to dynamic art practice. Yet curiosity can be fragile, disappearing in the face of information overload or the desire to seem knowledgeable and in control. To be curious, to wonder, to explore –all are aspects of ourselves that keep us young, with room to grow. Today we will look at how to nurture curiosity in your art practice and the importance of exploring and wondering, in art and in life.

During our current COVID-related shut-down, many artists are feeling free of gallery pressures and deadlines and are experiencing exciting growth in their work. But others feel stagnant, or reluctant to move on from an approach that has served them well in the past. By not exercising curiosity, they may be blocking ways to overcome these obstacles.

Some of the most successful artists are life-long learners, always curious, investigating new ideas, and reaching out to other artists for reciprocal conversations. They ask "what-if" questions of their work and are willing to take risks in the studio trying out new media and following their impulses. They are open to change and input. They track their ideas over time, sometimes returning to paths that were abandoned earlier with fresh perspective. And they think of ways to integrate new information, techniques, and materials into their current and developing work.

Unfortunately, other people tend to shut down curious impulses, or immediately look to others for answers rather than figuring out what they want to know. Or they may fear looking ignorant or incompetent. As a result they close off some of the true joys of creating--discovery, honoring impulses, and the pride of independent accomplishment. If you sense a lack of curiosity in your own attitudes, consider what is holding you back. It is easy to fall into habits that cut off new information. We may fail to apprecaite what others have to offer, or resist doing our own investigating when we have a question. Curiosity is a muscle that needs to be exercised.

Curious artists have a big advantage in their art practices, remaining energized and growing in their work. Knowing how to obtain new information and recognizing what may impede your own curiosity can be important steps in opening new pathways in the studio.

Our ad break in this episode is from artist Elizabeth Schowachert, who offers beautiful handmade brushes and specialized art tools on her website. Please visit:
https://elizabethschowachertart.com

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 110: Balancing Acts

Rebecca Crowell — Sat, 08 Feb 2020 15:00:00 -0600

We often talk about finding balance with aspects of the creative process that seem to be opposites. For example, finding the balance between working intuitively, and working with control and intention. The way each of us finds this balance between different approaches helps to develop the unique character of our individual work and process.

First of all, we should define what we mean by balance. Obviously, no approach is completely equal. An artist’s personal approach almost always demonstrates a preference for one tendency over another. You may have a strong personal preference, but developed work includes an element of the opposite as counter-balance. Even very intuitive, loosely painted work benefits from structure within the composition.

Often times friends, colleagues, and instructors will push their own preference. In a sincere effort to be helpful, they may insist that working with purpose and intention is the only way to create quality work, or example, or that work without spontaneity lacks emotional depth. Both approaches are equally valid, however.

All of this is part of the balancing act. How much should you pay attention to what other people tell you? This matters to those of us who teach, also. Try to be inclusive of various styles and ways of working. What is right for you may not be right for your student, but you must still be willing to push them to incorporate an opposing element.

Many of these opposing forces exist in our work and our lives. Are you spontaneous, or a planner? Do you prefer learning from an instructor or by figuring it out on your own? Even the most basic elements of design are defined by their opposite. By observing these opposing forces objectively, we can gain clarity. Very often these forces are not truly in opposition. They can work together, and each plays an important role.

The complexities and details of these balancing acts are up to each of us to address in our own work. It can be easy to disregard tendencies that don’t come naturally. We must attempt to incorporate elements and approaches that counterbalance these natural tendencies and provide contrast. At the same time, it is essential that you stay true to what feels right as an artist. This is perhaps the most important balancing act of all!

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Episode 20: Finding Personal Voice

Rebecca Crowell — Sat, 05 May 2018 13:45:00 -0500

Rebecca and Ross discuss personal voice in painting, what it is and how to find it.

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