web02.fireside.fm Wed, 15 Apr 2026 14:23:45 -0500 Fireside (https://fireside.fm) The Messy Studio with Rebecca Crowell - Episodes Tagged with “Technique” https://messystudio.fireside.fm/tags/technique Sat, 23 Oct 2021 11:00:00 -0500 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 193: What Realism Teaches Us https://messystudio.fireside.fm/193 8a54679c-3100-44ed-a073-50499fa5056e Sat, 23 Oct 2021 11:00:00 -0500 Rebecca Crowell 193 What Realism Teaches Us full Rebecca Crowell It can seem sometimes like artists and art lovers fall into two camps—those that adamantly prefer abstraction, and those who feel the same way about realism. Of course, this is a very simplistic view of art --and the fact is that these two approaches meet and mingle in countless unique ways. But it can be demoralizing for an abstract artist to be dismissed out of hand as lacking seriousness and skill, and the same for the realist who may be criticized for lacking imagination or unique vision. In fact, all artists who have gained mastery at what they do have something to teach others. 33:06 no It can seem sometimes like artists and art lovers fall into two camps—those that adamantly prefer abstraction, and those who feel the same way about realism. Of course, this is a very simplistic view of art --and the fact is that these two approaches meet and mingle in countless unique ways. But it can be demoralizing for an abstract artist to be dismissed out of hand as lacking seriousness and skill, and the same for the realist who may be criticized for lacking imagination or unique vision. In fact, all artists who have gained mastery at what they do have something to teach others. Thinking of abstraction and realism as a simple duality is misleading; it is more useful to think of various ways of depiction as a continuum, with extremely realistic work at once end and completely nonrepresentational, pure abstraction at the other end. The line in between filled with various departures from either extreme, and any kind of art is an interpretation, and there are always limitations to the medium an artist uses. While each way of working has its strengths, too often abstract artists don't consider or exploit the depth and nuances that can be observed in the real world and that realist artists are by necessity very aware of. These can bring more intricacy and complexity to abstract approaches. Realist painters learn skills such as creating visual texture through subtle shifts of value and color, and to edit their work carefully to create good composition that are applicable to abstract work as well. On the other hand, realism may also include approaches that do not interest abstract artists such as depiction of deep space and perspective, and there are interests that are unique to abstraction such as a focus on materiality and visual elements for their own sakes. So, while there are distinct differences, it's worth paying attention to how these various approaches overlap. All forms of art have more in common than they do differences, and it can be very beneficial to understand other approaches to the visual world. Thanks to everyone who has been sharing the show and donating! If you would like to donate to the Messy Studio Podcast donate here (https://www.paypal.com/donate?token=Yyrf7Ht1DYfkYzAaWNoW8zuvCpTryLYsxY2VAj4qGZ3o2o4F7xHGv4VmDDef7kFxuvbgpz_z4jUa-z7F). ​ 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 ​ Rebecca and her partner Jerry McLaughlin are excited to be launching year two of Cold Wax Academy's membership program, which began in October of 2020. In the coming year, live online learning sessions will feature an entirely new set of topics---beginning with a deep dive into technique and the steps involved in developing a painting. Other topics for year 2 include professional development, abstraction and realism, principles of design, and expanded uses for cold wax medium. As always, members have access to recordings of all previous sessions including everything from the first year, so it's easy to join anytime. Fall Quarter begins October 6th. Please visit http://www.coldwaxacademy.com for details about membership levels and to sign up for a year of exciting learning experiences. Here is what a member named Sandy has to say about her own experience: "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." 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 Tick Digital Media Production. Rebecca Crowell, Art, Creativity, Abstraction, Realism, Technique, Observation It can seem sometimes like artists and art lovers fall into two camps—those that adamantly prefer abstraction, and those who feel the same way about realism. Of course, this is a very simplistic view of art --and the fact is that these two approaches meet and mingle in countless unique ways. But it can be demoralizing for an abstract artist to be dismissed out of hand as lacking seriousness and skill, and the same for the realist who may be criticized for lacking imagination or unique vision. In fact, all artists who have gained mastery at what they do have something to teach others.

Thinking of abstraction and realism as a simple duality is misleading; it is more useful to think of various ways of depiction as a continuum, with extremely realistic work at once end and completely nonrepresentational, pure abstraction at the other end. The line in between filled with various departures from either extreme, and any kind of art is an interpretation, and there are always limitations to the medium an artist uses.

While each way of working has its strengths, too often abstract artists don't consider or exploit the depth and nuances that can be observed in the real world and that realist artists are by necessity very aware of. These can bring more intricacy and complexity to abstract approaches. Realist painters learn skills such as creating visual texture through subtle shifts of value and color, and to edit their work carefully to create good composition that are applicable to abstract work as well.

On the other hand, realism may also include approaches that do not interest abstract artists such as depiction of deep space and perspective, and there are interests that are unique to abstraction such as a focus on materiality and visual elements for their own sakes. So, while there are distinct differences, it's worth paying attention to how these various approaches overlap. All forms of art have more in common than they do differences, and it can be very beneficial to understand other approaches to the visual world.

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
​
Rebecca and her partner Jerry McLaughlin are excited to be launching year two of Cold Wax Academy's membership program, which began in October of 2020. In the coming year, live online learning sessions will feature an entirely new set of topics---beginning with a deep dive into technique and the steps involved in developing a painting. Other topics for year 2 include professional development, abstraction and realism, principles of design, and expanded uses for cold wax medium.

As always, members have access to recordings of all previous sessions including everything from the first year, so it's easy to join anytime. Fall Quarter begins October 6th. Please visit http://www.coldwaxacademy.com for details about membership levels and to sign up for a year of exciting learning experiences.

Here is what a member named Sandy has to say about her own experience:
"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."

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.

]]> It can seem sometimes like artists and art lovers fall into two camps—those that adamantly prefer abstraction, and those who feel the same way about realism. Of course, this is a very simplistic view of art --and the fact is that these two approaches meet and mingle in countless unique ways. But it can be demoralizing for an abstract artist to be dismissed out of hand as lacking seriousness and skill, and the same for the realist who may be criticized for lacking imagination or unique vision. In fact, all artists who have gained mastery at what they do have something to teach others.

Thinking of abstraction and realism as a simple duality is misleading; it is more useful to think of various ways of depiction as a continuum, with extremely realistic work at once end and completely nonrepresentational, pure abstraction at the other end. The line in between filled with various departures from either extreme, and any kind of art is an interpretation, and there are always limitations to the medium an artist uses.

While each way of working has its strengths, too often abstract artists don't consider or exploit the depth and nuances that can be observed in the real world and that realist artists are by necessity very aware of. These can bring more intricacy and complexity to abstract approaches. Realist painters learn skills such as creating visual texture through subtle shifts of value and color, and to edit their work carefully to create good composition that are applicable to abstract work as well.

On the other hand, realism may also include approaches that do not interest abstract artists such as depiction of deep space and perspective, and there are interests that are unique to abstraction such as a focus on materiality and visual elements for their own sakes. So, while there are distinct differences, it's worth paying attention to how these various approaches overlap. All forms of art have more in common than they do differences, and it can be very beneficial to understand other approaches to the visual world.

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
​
Rebecca and her partner Jerry McLaughlin are excited to be launching year two of Cold Wax Academy's membership program, which began in October of 2020. In the coming year, live online learning sessions will feature an entirely new set of topics---beginning with a deep dive into technique and the steps involved in developing a painting. Other topics for year 2 include professional development, abstraction and realism, principles of design, and expanded uses for cold wax medium.

As always, members have access to recordings of all previous sessions including everything from the first year, so it's easy to join anytime. Fall Quarter begins October 6th. Please visit http://www.coldwaxacademy.com for details about membership levels and to sign up for a year of exciting learning experiences.

Here is what a member named Sandy has to say about her own experience:
"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."

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 169: Overworking It https://messystudio.fireside.fm/169 54272ca7-9558-49d6-a788-b3bc0ca8627b Sat, 13 Mar 2021 16:00:00 -0600 Rebecca Crowell 169 Overworking It full Rebecca Crowell 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. 29:11 no 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 (https://www.paypal.com/donate?token=Yyrf7Ht1DYfkYzAaWNoW8zuvCpTryLYsxY2VAj4qGZ3o2o4F7xHGv4VmDDef7kFxuvbgpz_z4jUa-z7F). ​ 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. www.messystudiopodcast.com/blick ​ 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 (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, Technique, Style, Education, 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.

www.messystudiopodcast.com/blick
​
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.

]]> 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.

www.messystudiopodcast.com/blick
​
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 135: Are You Curious? https://messystudio.fireside.fm/135 d002e017-464b-438e-8a02-e6dc96cec9d9 Sat, 25 Jul 2020 15:00:00 -0500 Rebecca Crowell 135 Are You Curious? full Rebecca Crowell 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. 35:20 no 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 (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.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. Rebecca Crowell, Art, Creativity, Curiosity, Style, Technique, Growth, Art Researching 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.

]]> 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 https://messystudio.fireside.fm/110 e59af80d-aeca-4411-918e-f9a7c4b253c3 Sat, 08 Feb 2020 15:00:00 -0600 Rebecca Crowell 110 Balancing Acts full Rebecca Crowell 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. 27:39 no 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! More Messy Studio: www.messystudiopodcast.com www.facebook.com/messystudiopodcast More From Rebecca Crowell: www.rebeccacrowell.com www.squeegeepress.com Rebecca Crowell, Art, Balancing Acts, Technique, Teaching, Style 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!

More Messy Studio:
www.messystudiopodcast.com
www.facebook.com/messystudiopodcast

More From Rebecca Crowell:
www.rebeccacrowell.com
www.squeegeepress.com

]]> 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!

More Messy Studio:
www.messystudiopodcast.com
www.facebook.com/messystudiopodcast

More From Rebecca Crowell:
www.rebeccacrowell.com
www.squeegeepress.com

]]> Episode 90: Sharing Studio Secrets https://messystudio.fireside.fm/90 413c564a-dc08-4a41-9d83-ecf848f7b463 Sat, 21 Sep 2019 12:00:00 -0500 Rebecca Crowell 90 Sharing Studio Secrets full Rebecca Crowell Rebecca and Ross discuss why sharing your process and techniques with others helps to advance your own work and career. 31:45 no Rebecca and Ross discuss why sharing your process and techniques with others helps to advance your own work and career. Intro: An artist’s creative process is not always easily accessed by others—it may include technical secrets as well as approaches that are simply hard to convey to others even if there is a desire to share. Do the art practices of others seem mysterious to you? Do you guard some of your own studio secrets, and why? In this episode we’ll look at the pros and cons of keeping studio secrets and how transparency can benefit you as well as other artists. As a workshop instructor I’m sometimes asked why I give away all my --an interesting question—first because I do charge for my workshops! But the real question is what do you risk by being open about your work. My response is something like, my secrets are my secrets, but my techniques are things I’m happy to share. What I mean is that there are things that go into a painting that are private—memories, emotions—and there’s not much point in sharing those anyway, they are personal to me and would not be helpful to anyone else. But the biggest/best secrets are right in front of you—the importance of finding your voice, being patient, practice, etc. Things you just have to do for yourself with diff. results for each person. We can advise and offer tip but personal path is your own. Also some things about process are very hard to explain. Technique and process are just means to an end. Techniques are tools for each of us to use in our own ways. Even something like a formula for a painting color can lead to different results for different artists. There can be a feeling if we knew exactly what someone else did we could enhance our own work. People tend to look for formulas/answers as the result of being taught that way. That said I am not always ready to share something when I’ve just figured it out or am in the process of seeing what I can do with it. Another thing about teaching is people can feel entitled to the inside story on everything you do. (I do have moments of “ I just figured this out and I’m not ready to share it.” But there comes a time when I am ready. My hesitation is more about enjoying the discovery process on my own.) That’s me—we all have to figure out our boundaries on this. When you’re a teacher you are probably more inclined to share. Reasons to be Open: Letting others understand your techniques does not diminish them. If anything, it adds to the appreciation of the ones you have mastered. Never as easy as it looks or sounds. A lot of great art has been created using very straightforward and well-known techniques such as applying oil paint to canvas with a brush. Simply showing someone a technique is a first step, and most people figure out their own ways to use it. Keeping your techniques or formulas secret doesn’t necessarily add to own stature or mystique. It may just make you look guarded or territorial, maybe a little insecure-- Work that depends on mastery of a particular “secret” technique can be shallow—it can limit the artist to exploiting that which he or she has staked a claim to. The work can start to seem tricky or gimmicky. Spiritual or philosophical benefits of sharing: Acknowledge that every new thing comes arises from some previous knowledge that was shared. You may have put it together in a new way but be aware of the chain of which you are a part. By sharing you allow others to build on your discoveries. Teaching—obviously you need to be open. You can set your boundaries around anything you’re not ready to share, but I think these should be relatively few things. The spirit of teaching is sharing, being open and generous. Students don’t appreciate it if you hold back. Offering some free material via websites, youtube, etc. is good business practice Selling: talking about your techniques and process leads to understanding and appreciation of what you have developed. Relations with other artists: when you share, opens door to sharing back, also it can be interesting to see what happens in a collaborative sense. Your ideas transformed by someone else. Opens dialogue and collaboration. Reciprocity. Don’t be put off by fears of copying etc. What Not to Share: You can potentially share anything—up to you Sharing does not mean dictating or controlling how the knowledge is used. Know that once something is out in the world it has a life of its own. That’s basically positive and healthy but should be understood. Knock-off work rarely succeeds. Difficulties in sharing--Some things about process are simply very hard to articulate –you may think another artist is being secretive when in fact they just don’t have the words. Art speak or vague descriptions may well be honest attempts to talk about what is basically beyond words. Be honest with yourself—do you think as an artist you are “supposed” to be secretive as part of an artist's mystique? Is that really your natural inclination? Are you afraid of being more open—if so can you see benefits you might be missing out on? Wrap-Up: By nature many artists are very open and generous with their knowledge and ideas—a lot more so than the stereotype of the loner, egotistical artist would indicate. In my opinion that is a good thing to embrace and be a part of and makes your art life a richer experience. www.messystudiopodcast.com Create a site on Wix today! (https://wixstats.com/?a=30657&c=2356&s1=) www.rebeccacrowell.com www.squeegeepress.com www.facebook.com/messystudiopodcast Rebecca Crowell, Art, Business, Secrets Rebecca and Ross discuss why sharing your process and techniques with others helps to advance your own work and career.

Intro:
An artist’s creative process is not always easily accessed by others—it may include technical secrets as well as approaches that are simply hard to convey to others even if there is a desire to share. Do the art practices of others seem mysterious to you? Do you guard some of your own studio secrets, and why? In this episode we’ll look at the pros and cons of keeping studio secrets and how transparency can benefit you as well as other artists.

As a workshop instructor I’m sometimes asked why I give away all my --an interesting question—first because I do charge for my workshops!

But the real question is what do you risk by being open about your work.

My response is something like, my secrets are my secrets, but my techniques are things I’m happy to share. What I mean is that there are things that go into a painting that are private—memories, emotions—and there’s not much point in sharing those anyway, they are personal to me and would not be helpful to anyone else.

But the biggest/best secrets are right in front of you—the importance of finding your voice, being patient, practice, etc. Things you just have to do for yourself with diff. results for each person. We can advise and offer tip but personal path is your own.

Also some things about process are very hard to explain.

Technique and process are just means to an end. Techniques are tools for each of us to use in our own ways. Even something like a formula for a painting color can lead to different results for different artists. There can be a feeling if we knew exactly what someone else did we could enhance our own work.

People tend to look for formulas/answers as the result of being taught that way.

That said I am not always ready to share something when I’ve just figured it out or am in the process of seeing what I can do with it. Another thing about teaching is people can feel entitled to the inside story on everything you do. (I do have moments of “ I just figured this out and I’m not ready to share it.” But there comes a time when I am ready. My hesitation is more about enjoying the discovery process on my own.)

That’s me—we all have to figure out our boundaries on this. When you’re a teacher you are probably more inclined to share.

Reasons to be Open:
Letting others understand your techniques does not diminish them. If anything, it adds to the appreciation of the ones you have mastered. Never as easy as it looks or sounds.

A lot of great art has been created using very straightforward and well-known techniques such as applying oil paint to canvas with a brush.

Simply showing someone a technique is a first step, and most people figure out their own ways to use it.

Keeping your techniques or formulas secret doesn’t necessarily add to own stature or mystique. It may just make you look guarded or territorial, maybe a little insecure--

Work that depends on mastery of a particular “secret” technique can be shallow—it can limit the artist to exploiting that which he or she has staked a claim to. The work can start to seem tricky or gimmicky.

Spiritual or philosophical benefits of sharing: Acknowledge that every new thing comes arises from some previous knowledge that was shared. You may have put it together in a new way but be aware of the chain of which you are a part. By sharing you allow others to build on your discoveries.

Teaching—obviously you need to be open. You can set your boundaries around anything you’re not ready to share, but I think these should be relatively few things. The spirit of teaching is sharing, being open and generous. Students don’t appreciate it if you hold back.
Offering some free material via websites, youtube, etc. is good business practice

Selling: talking about your techniques and process leads to understanding and appreciation of what you have developed.

Relations with other artists: when you share, opens door to sharing back, also it can be interesting to see what happens in a collaborative sense. Your ideas transformed by someone else. Opens dialogue and collaboration. Reciprocity.

Don’t be put off by fears of copying etc.

What Not to Share:
You can potentially share anything—up to you

Sharing does not mean dictating or controlling how the knowledge is used. Know that once something is out in the world it has a life of its own. That’s basically positive and healthy but should be understood. Knock-off work rarely succeeds.

Difficulties in sharing--Some things about process are simply very hard to articulate –you may think another artist is being secretive when in fact they just don’t have the words. Art speak or vague descriptions may well be honest attempts to talk about what is basically beyond words.

Be honest with yourself—do you think as an artist you are “supposed” to be secretive as part of an artist's mystique? Is that really your natural inclination? Are you afraid of being more open—if so can you see benefits you might be missing out on?

Wrap-Up: By nature many artists are very open and generous with their knowledge and ideas—a lot more so than the stereotype of the loner, egotistical artist would indicate. In my opinion that is a good thing to embrace and be a part of and makes your art life a richer experience.

www.messystudiopodcast.com

Create a site on Wix today!

www.rebeccacrowell.com

www.squeegeepress.com

www.facebook.com/messystudiopodcast

]]> Rebecca and Ross discuss why sharing your process and techniques with others helps to advance your own work and career.

Intro:
An artist’s creative process is not always easily accessed by others—it may include technical secrets as well as approaches that are simply hard to convey to others even if there is a desire to share. Do the art practices of others seem mysterious to you? Do you guard some of your own studio secrets, and why? In this episode we’ll look at the pros and cons of keeping studio secrets and how transparency can benefit you as well as other artists.

As a workshop instructor I’m sometimes asked why I give away all my --an interesting question—first because I do charge for my workshops!

But the real question is what do you risk by being open about your work.

My response is something like, my secrets are my secrets, but my techniques are things I’m happy to share. What I mean is that there are things that go into a painting that are private—memories, emotions—and there’s not much point in sharing those anyway, they are personal to me and would not be helpful to anyone else.

But the biggest/best secrets are right in front of you—the importance of finding your voice, being patient, practice, etc. Things you just have to do for yourself with diff. results for each person. We can advise and offer tip but personal path is your own.

Also some things about process are very hard to explain.

Technique and process are just means to an end. Techniques are tools for each of us to use in our own ways. Even something like a formula for a painting color can lead to different results for different artists. There can be a feeling if we knew exactly what someone else did we could enhance our own work.

People tend to look for formulas/answers as the result of being taught that way.

That said I am not always ready to share something when I’ve just figured it out or am in the process of seeing what I can do with it. Another thing about teaching is people can feel entitled to the inside story on everything you do. (I do have moments of “ I just figured this out and I’m not ready to share it.” But there comes a time when I am ready. My hesitation is more about enjoying the discovery process on my own.)

That’s me—we all have to figure out our boundaries on this. When you’re a teacher you are probably more inclined to share.

Reasons to be Open:
Letting others understand your techniques does not diminish them. If anything, it adds to the appreciation of the ones you have mastered. Never as easy as it looks or sounds.

A lot of great art has been created using very straightforward and well-known techniques such as applying oil paint to canvas with a brush.

Simply showing someone a technique is a first step, and most people figure out their own ways to use it.

Keeping your techniques or formulas secret doesn’t necessarily add to own stature or mystique. It may just make you look guarded or territorial, maybe a little insecure--

Work that depends on mastery of a particular “secret” technique can be shallow—it can limit the artist to exploiting that which he or she has staked a claim to. The work can start to seem tricky or gimmicky.

Spiritual or philosophical benefits of sharing: Acknowledge that every new thing comes arises from some previous knowledge that was shared. You may have put it together in a new way but be aware of the chain of which you are a part. By sharing you allow others to build on your discoveries.

Teaching—obviously you need to be open. You can set your boundaries around anything you’re not ready to share, but I think these should be relatively few things. The spirit of teaching is sharing, being open and generous. Students don’t appreciate it if you hold back.
Offering some free material via websites, youtube, etc. is good business practice

Selling: talking about your techniques and process leads to understanding and appreciation of what you have developed.

Relations with other artists: when you share, opens door to sharing back, also it can be interesting to see what happens in a collaborative sense. Your ideas transformed by someone else. Opens dialogue and collaboration. Reciprocity.

Don’t be put off by fears of copying etc.

What Not to Share:
You can potentially share anything—up to you

Sharing does not mean dictating or controlling how the knowledge is used. Know that once something is out in the world it has a life of its own. That’s basically positive and healthy but should be understood. Knock-off work rarely succeeds.

Difficulties in sharing--Some things about process are simply very hard to articulate –you may think another artist is being secretive when in fact they just don’t have the words. Art speak or vague descriptions may well be honest attempts to talk about what is basically beyond words.

Be honest with yourself—do you think as an artist you are “supposed” to be secretive as part of an artist's mystique? Is that really your natural inclination? Are you afraid of being more open—if so can you see benefits you might be missing out on?

Wrap-Up: By nature many artists are very open and generous with their knowledge and ideas—a lot more so than the stereotype of the loner, egotistical artist would indicate. In my opinion that is a good thing to embrace and be a part of and makes your art life a richer experience.

www.messystudiopodcast.com

Create a site on Wix today!

www.rebeccacrowell.com

www.squeegeepress.com

www.facebook.com/messystudiopodcast

]]>