Page 142 - International Artist2 110

Mid-career

This drawing was done quickly with few corrections—a melody in lights and shadows. Painted in moments, I got everything that counted: her expression,
It’s alive with me and the subject; done in my wild, “take any challenge” period! Art for her movements, hair flowing. It still appears fresh, like I did it minutes
the pure joy of doing it. ago. I envision what was going on in my mind with each area. You
can, too. A stroke here and a tone laid in there. Few adjustments.

what to do subconsciously—like zigzagging What am I saying? Once we recognize the parents to give a thumbs-up. Later we hope
while running down a football field, knowing phenomenal capacity and wonders that galleries approve enough to hang our works
what’s happening but also allowing the inner lie within us and what those wonders can and then, of course, potential buyers. It’s
mind to go full throttle. Likewise, my little accomplish, we begin to appreciate what we like we’re a department store trying to make
finger (subconsciously guided) knows when are given, whether it is desire, abilities, time, customers happy.
to enter the scene and smudge this or alter curiosity, hope, energy or grand surroundings. The good news is that we settle on
that area. No small matter in art. Pastel or oil. We must dig in and let loose what we have. ourselves and where we’re going. In my
It can be a tiny imperceptible moment or case, figures and portraits. I had a general
Complexity in Brushwork something monumental. In a way, it’s all the idea how good they were and where they
That there’s a lot of complexity in one same. It’s each of us leaving a footprint. needed work. All those things became
brushstroke is a vast understatement. comfortable for me, but with always an edge
No science has come close to really Standard of “Good” Art of challenge. We learn with eyes open, mind
understanding that seemingly simple action. Will your next painting be a good one? open, timeline open.
Multiply it into a whole painting (or piano With many artists, the standard of “good” is
concerto or grand novel) and there’s literally difficult to know. In art college, we generally The Plumb Line
no viable explanation. Other than the results. want our instructors, fellow students and One of the things I’ve done by habit is using

Important Principles of Art 141

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