Close

Tammy Taking Note

Posted on by Wess Foreman

I have long been a slacker in terms of keeping up any sort of sketchbook. I make no secret of it. And just because the spirit of the new year is still hanging all dewy in the air, does not mean I expect this recent bout of sketches to continue, ad infinitum. But I'll do what I can for now - it's good for me and might also be entertaining to some of you.

Here's a sketch I accomplished in one sitting from an actual live model; my wife. I call it, "Tammy Taking Note," though in reality she was playing an electronic Sudoku game (I replaced the stylus she was holding with a pencil in the sketch).

sidenote: did you know that Sodoku (with an "o" as the first vowel) is the name of a zoonotic disease - a form of rat-bite fever? I didn't until I looked up the wrong spelling of Sudoku on wikipedia.

Wessforeman.com

Posted on by Wess Foreman

In case you have not already noticed (or been notified), the website name is now wessforeman.com instead of wessf.com (which is no longer mine). It's a long story, suffice it to say, steer clear of vizaweb.com if you need web hosting, and definitely do not register your domain name with them (for they will not register it in your name, but in their own).

But I harbor no hard feelings - not many - and life goes on. Besides, wessforeman.com (wesforeman.com also works) is, in some ways, a better name anyway - no need, for instance, to explain the awkward spelling: "w-e-s-s-f-dot-com" - I can now simply say that it's Wess Foreman dot com.

Along with the change, I've also changed the name of this blog to "open studio" and plan on posting only art/creativity related posts here. I've created a separate blog for all other stuff - check it out here: popularblur.com

Along with the new domain name, I've taken on a new look for the site as well - a little too austere perhaps, but fresh and new and ready for the new year and new content to go with it! All that to say: don't forget to change any old bookmarks to the new site. And welcome to the new wessforeman.com - expect much in the way of new content and come back often!

Vacancy

Posted on by Wess Foreman

Sketched this from a photo of my brother, Micah, and his wife, Jill. The drawing only slightly resembles them, due to my disregard for the perfection of the thing, and the title refers only to the "vacancy" sign in the top-left corner of the sketch and not to the vacant, tired look in my brother's eyes (though to tell you the truth, that could just as easily have been the inspiration for that same title, for the look was indeed captured perfectly well in the drawing).

WebUrbanist

Posted on by Wess Foreman

WebUrbanist is a blog of "urban design, culture, travel, architecture and alternative art." It's a fascinating look at the cluttered world around us. Geek graffiti, surrealistic sculptures in public places, and other ironically intellectual "art underground" blog posts abound. It's definitely one to add to your RSS reader.

Bent Objects

Posted on by Wess Foreman

Terry Border is an artist who creates tiny sculptures out of found objects - that, combined with a love for photography and a great deal of quirky humor thrown into the mix, make Bent Objects a must-see website! He's also working on a book of his little creations. Check it out; it's great! (discovered it via BoingBoing post)

Painting 101 - Part 2 The Beginning

Posted on by Wess Foreman

Canvas ready? Brushes? Paint? Here we go. First we should select our subject matter [nothing worse than staring at a stark white canvas without anything to paint]. My suggestion would be a still life arrangement - you know, fruit, bottles, vases, drapery, whatever - or maybe a landscape. Anything would work for a first painting, but I would suggest against starting with a portrait (people, pet, or otherwise) unless you have some skill at drawing already. The only problem with starting with people is that we all think we know what people look like - I mean, you draw a circle for the head, two small circles for the eyes, nose, mouth, maybe some hair on top, viola! Right? Problem is, when you paint something that is familiar to you, such as faces, you tend not to really study the thing you are painting, and without studying, you will end up with little more than a lifeless stick-figure face. It is very hard to break this tendency - even for myself.

Some artists might argue against using photographs, but I say go for it. Photographs only make things easier. First of all, the subject matter is already in two-dimensional form which is the same as the painting - sometimes I will even get out a ruler to measure certain key objects in the photo [the painting generally won't be as small as the reference photo, but the proportions should all be the same]. Whether you choose to paint from a reference photo or from real life, you definitely need to be looking at something [that is sort of the point, I think].

Once you have your subject matter decided upon, you will want to lay out your paint. Go ahead and squeeze out all the colors you have or think you are going to use - if you would rather, there is a technique called grisaille where the painting is first painted in shades of gray, the color added after everything is in its place [in which case, just lay out your black and white paint for now; it's up to you]. Either way, you want to start with plenty of paint - better to throw away some paint later than to be interrupted by having to squeeze more paint every few minutes.

Step One: Start.

One of the hardest parts of a painting is getting past that giant expanse of pristine canvas. It is a psychological barrier, those first few brush strokes, but one that can be overcome with the help of a few techniques. First, you could give the canvas a colored background - I have started many canvases by brushing on a layer of watered-down Raw Sienna, for example, to give the painting a warm, non-white starting point. Another option is to start in with a large brush, blocking in the major "shapes" that make up the scene you are depicting. You are also free to pencil in the scene ahead of time - though I wouldn't recommend spending too much time and effort on this step since it's all going to get painted over anyway. Just get the main shapes down and start in with the big guns [the paint]. The main thing to remember at the outset is that everything you are doing now is just the first step in a process, the end of which will in no way resemble this meager beginning. Once you get that in your head, it should help relieve any anxiety you may be experiencing. Most of my paintings look horrible up until the very end; it is the confidence of eventual success that keeps me going. Keep that in mind and don't give up!

Different people will have different painting styles: some will start with a detailed drawing and every step of the way will present yet another iteration of a tight, precise composition until every detail is accounted for; others will muck around with an unrecognizable blur of color and shape until, eventually, and ever so slowly, the details will present themselves at the very end; as for myself, I fall somewhere in between - I tend to get some sort of detail on the canvas rather early and then struggle for the rest of the time with the business of correcting my own mistakes at every turn. Once I get enough mistakes corrected, what's left is, hopefully, a finished painting.

That should get you started - keep going! I'll write another installment next Wednesday. Post your comments below if anyone is reading this.

Painting 101 - Part 1 Prerequisites

Posted on by Wess Foreman

So, you want to try your hand at painting but have never tried it before? Perhaps I can help. Painting is not hard. It just takes some practice and an afternoon.

Prerequisites
There are a few skills that are nice to have at your disposal (though not at all necessary to begin). A steady hand is a good thing - some level of drawing ability is even better. Basic knowledge of color theory would be another plus. And, along with rudimentary eyesight, observation would also a very useful tool to have at the ready.

As far as materials: Paint would be good - acrylic paint would probably be best for a beginner (any cheap brand would be fine to start with), though watercolors would be a fine starting media as well. Oils require a bit more knowledge and tend to be more dangerous, but if you've gotten more information on the subject and are comfortable with them they have the potential to make great masterpieces (same as the water media).

There are many colors to pick from of course. Here are my recommendations for what to start with (if any of these are not available, just get the closest color you can find) - Bare Minimum: Titanium White, Ivory Black, Ultramarine Blue, Cadmium Yellow Light, and Napahthol Red Light - Additional: Yellow Ochre or Raw Sienna, Burnt Umber, and Hooker's Green. More about color at a later time.

The second items needed, would be brushes. Any brushes will do. Most craft stores have kits of various sized brushes bundled together, or just pick them up individually. I tend to use three or four brushes: a large brush (3-4in.) for blocking in large areas of color, a medium sized brush (1in.), a liner brush (the kind with which an artist would sign a painting though I use it more often for detail work), and occasionally a ½ inch brush. Brushes come according to medium and in a broad range of sizes, materials, price, type, class, order, and phylum. Bottom line: just get a few different sizes and then work with what you have.

Third, canvas. Or watercolor paper. Or hardboard. Or cardboard. Whatever surface is appropriate. Canvases come in varying sizes and grades (as in student-grade, professional-grade, et cetera). A beginner would do well to start with whatever size he or she wants to paint on (but common sense tells me to suggest a smallish size - maybe a 11x14" canvas). As to the grade, I would advise you to get the cheapest available - this is, after all, a beginner's painting (plenty of time for your own masterpieces later on). By the way, if you get a large canvas, make sure you also get a large brush to go with it (one usually wants to cover the entire surface with paint) - a house painting brush will do fine for this purpose.

Fourth thing you'll need is water. In a large cup or can or old Tupperware container, your choice. This would only apply to acrylic and watercolor painting - oils and water don't mix.

That's basically it. You might want an easel to make you feel more artistic, though a flat table top covered in old newspaper would work fine, and I guess it would be a good idea to get a palette that can be covered (I use a plastic tray with a tight fitting lid) so the paint will last over several painting sessions, and, while I'm thinking about it, I use a spray bottle of water to keep exposed paint from drying too quickly on the palette. Another thing might be a change of clothes that you don't mind getting paint on. And possibly a beret or some other overtly artistic accessory - I, for instance, keep a keenly trimmed goatee on my person at all times.

Finally, I would suggest a spirit of creativity. Browse the Internet for artist galleries or your local library for books on art. Find a few paintings or artists that you enjoy looking at. Use these examples of creativity to inspire you in your own painting. [I'll stop there before I get too mushy on the subject]

So there you have your Prerequisites for Painting 101. Next time, I'll walk you through exactly what to do to start your painting. Until then, get your materials together - we will reconvene next week . . . let's say, next Wednesday (1/9/08) for Painting 101 - Part 2 The Beginning. Class dismissed.

Please leave me a comment if you liked this article, disliked this article, or if something was wrong with what I wrote. Thanks!

Join me on Twitter and Facebook

Posted on by Wess Foreman

I just wanted to let you know (whoever you are) that I have joined the Facebook online community, though I'm not very impressed and don't update things very much (not a very glowing recommendation, I know). Anyway, just thought I'd mention it, in case you were interested.

On a different note, I have also joined the Twitter online community, which is much simpler and easier to get into. My "tweets" should now appear in the sidebar of this very blog (to the right). If you would like to follow what I'm up to (it's a microblog, of sorts), you can follow me at twitter.com/wessf. I do highly recommend Twitter.com; like I said, it's easy to get into and much simpler than facebook.

North Shore Art Market

Posted on by Wess Foreman

This Saturday, Dec. 8th (10-4) I will be set up on the corner of Boston and Lee Street (diagonally across from Coffee Rani). Come by and enjoy the artwork if you're in the area!

art show updates

Posted on by Wess Foreman

driving.jpgThe Ruston Studio Artist Tour was a little disappointing in that the turnout was poor - though from what I heard, the downtown area was better attended - but I would like to thank Connie Cline (owner of The Pewter Company in Ruston, LA) for graciously sponsoring my artwork. So, thanks Connie - you did everything possible from your end (and then some).

This coming Saturday (December 1st) is the Mayfield's Visions In Art, Artist expo (10am to 5pm at the Holiday Inn in Covington, LA). I am still planning to be there, and I will be bringing my paintings. It will be indoors, so don't let a little rain keep you from coming if you're in the Covington area!

The following Saturday (December 8th) I will have a booth at the North Shore Art Market in Covington, LA (10am - 4pm). This is an outdoor event along Lee Lane in Covington. I am considering bringing an easel and doing some painting, but I haven't decided . . .

Ruston's Artist Studio Tour

Posted on by Wess Foreman

I will be the featured artist at the Artist Studio Tour in Ruston, LA this weekend at The Pewter Company. This will be Friday, November 16th and Saturday, November 17th. The times are Friday evening, 5pm to 8pm, and Saturday all day. Come by and see me!

The Pewter Company
2305 S Service Rd W
Ruston, LA 71270
(318) 513-2907

Get Directions from Google Maps.

Leaning Toward Abstract

Posted on by Wess Foreman

leaning.jpg


"Leaning Toward Abstract, paintings by Wess Foreman" is available for sale now. Here are the details: 7 inch square format book, 38 pages - softcover $20, hardcover $30. Available through blurb.com (pdf preview available).

I'm very happy with the results. I'm looking at both the hard- and soft-cover versions right now, and I can tell you, you will want to get the hardcover edition - it has a much more "finished" look to it - and then you can order a few of the softcover versions as Christmas presents, if you want to spend a little less on other people.

And finally, here are a few tips once you receive your copy: #1) for the hardcover edition, use a bit of scotch tape or your favorite Snoopy stickers to affix the dust jacket to the book, itself (otherwise, it will want to slip off all the time), and #2) for the softcover edition, pinching the spine of the book in one hand, use your other hand to gently bend the book one way and then the other, all the way down the spine - you may have to do this with half the pages at a time (this will allow the pages to turn freely when viewing and will hopefully avoid the tendency of the book to tear through the glue of the spine - you have been warned).

I'm already looking forward to doing another book in the future (any suggestions are much appreciated). Happy reading!

art book coming soon

Posted on by Wess Foreman

leaning.jpgI'm awaiting a proof copy of a book I put together containing many of my best paintings [might be a couple weeks until it arrives]. It'll be called "Leaning Toward Abstract," and if all looks good, I'll put it up for sale at that time [just in time for Christmas!]. It will be a small, 7x7" full-color 36 page (or somewhere around there) book available in softcover or hardcover, price to be determined. I wrote a bunch of words and stuff in it just to fill some space, but it's got a bunch of paintings and should make a good coffee table type book. Anyway, more on that later.

On Viewing Artwork

Posted on by Wess Foreman

It never fails to irk me to hear someone say upon viewing one of my paintings, "oh, I could never do anything like that - I'm not creative." It bothers me because I believe that a creative spark is in all of us: it's just a matter of digging it out and bringing it to the top. For some it may be a matter of several art classes taught by just the right teacher, for others maybe a simple word of encouragement is all that is needed. This self-deprecating, defeatist attitude - spoken in jest or otherwise - may be part of the reason many people can't appreciate art or don't know how to view art: they have already decided that art is something foreign to themselves, something unknown and therefore too difficult.

It could be that it is the artist in me that when faced with a piece of artwork that is challenging - a masterpiece, made by some god of creativity, unparalleled perhaps to anything in my own artwork - my first reaction is to study it further. To locate the lesser brush strokes, to see the stuff it is made of, the spark of creativity behind it - if not to see how it was created, at least to prove that it was painted by a mere mortal and thus a possibility. All artwork, seen in this light, is something to study deeper, something to admire on a technical plane and perhaps to spur one's own creativity onward. I'm not saying we should all become artists, just that connecting with our own creativity is an essential component in viewing artwork. So, step one: connect with our own creativity. Got it. What else?

I suppose the next thing to address is how one feels about a painting. Do you like it? Simple question, but not a bad place to start. If the answer is no - you don't get off that easy - you might try to determine why you don't like it, what aspects don't you like. This is an essential skill when viewing artwork: the critical eye. What is it about the painting that is not quite right? What can be improved? Moving a shape here or there, punching up the center of interest, a color change, perhaps? Sometimes a painting requires closer inspection and more time. I call these paintings, "difficult paintings." Sometimes, after closer study, I come to appreciate the creativity behind a difficult painting. Sometimes it just eludes me, and I must admit I still don't like it and don't know what the so-called artist was thinking. That's all right. Move on.

So what if you do like the painting? Same process. What do you like about it? What works? For that matter, what doesn't? The critical eye. Is it the color choice, the subject matter, the simple mood of the painting? Again, studying a painting, one can come to appreciate and connect with a painting all the more. One can also change one's mind about a painting: why not?

Connecting with our own creativity and developing a critical eye are both broad subjects - veritable rabbit holes waiting to be explored - and I encourage you to explore the subject in greater detail [the Internet is a good place to start]. It is interesting to note that these two steps are intimately connected to one another. When being critical of a painting, you are delving into your own creativity and seeing the possibilities in your mind's eye. This also allows you to identify those things that don't quite measure up to the better ideas you may be imagining.

a few design considerations

Posted on by Wess Foreman

This is a longish post about one or two aspects of design - good for any aspiring artist or backyard photographer to know [could even make your digital snapshots into masterpieces . . . maybe it could.] To read more, click
unnamed.jpg
This is the still unnamed painting that will serve as our demonstration painting. As it stands right now, I'm pretty happy with the design aspects of it, although there is a delicate balance to it with no real center of interest.

Center of interest, or focal point, is a very important principle of design. To put it simply, the center of interest is where the eye of the viewer is drawn to the most in a work of art. This can be achieved easily enough by putting a big red blob of paint in the center of an otherwise white canvas - and that would work [and probably has been done before] - but by adding some more principles of design, we can make a much more interesting painting.

Step one: squint. I'll do it for you:
unnamed-2.jpg
There. I will often squint at my paintings to "blur away" the details and get to the heart of the matter when it comes to center of interest. Now, looking at the blurry painting, we can agree there are a few places toward which the eye is drawn [this can be a bit subjective, of course, but bare with me]. There are three points of interest that I can see:
unnamed-3.jpg
The first is the point on the left, then my eye travels to the right, and then to the top - lather, rinse, repeat. The fact that the viewers' eye moves around the painting is a great thing when it comes to design - if this were just a blob of red in the center of a white canvas, it would take me a second or two to see everything there is to see of the painting . . . in other words, letting the eye travel around the painting gives the painting more depth, more interest.
unnamed-5.jpg
One thing I considered, was adding more interest to the lower right side of the painting [I don't know, I guess I didn't like the left side getting the first of my eyes' attention]. So, many times when considering the center of interest "balance" of a painting, I will squint and hold up my brush [in this case where the yellow square is, in the above picture] to get a sense of what it would look like with something in this spot or anywhere else I may be considering. One reason I considered this spot in particular, is that this is one of four "sweet spots" in a painting, as far as design is concerned. Here is how you find the "sweet spots" in a painting:
unnamed-6.jpg
Mentally, draw a tic-tac-toe grid over the image, and everywhere the lines intersect . . . well, there's yer sweet spots. [By the way, this works great for photography as well, so listen up!] The reason these are the sweet spots in a painting, has something to do with the inner workings of the human brain and perception and the like - matters I do not understand completely, but here's the way I see it: Consider the red blob in the center of a painting scenario . . . boring, right? Why? Because it's like a bullseye, a target - might as well be the logo for a national department store. Too static.

Well, what would make a more dynamic design? put something off to one side or the other, right? Right. Same goes for top to bottom - it's more dynamic if it's higher or lower than dead center. But put something all the way to the edge and you get decreasing returns. Anyway, that's the way I see it. I don't think about all that, of course - it's just built into how I see the world as an artist. [I thought of all that already during many an art class]

One final note about the principles of design. These "rules" are something that is crucial for every artist to know - there are no downsides to knowing them, at any rate - but it's also, in my opinion, crucial for every artist to know how and when to break these rules. That's what's great about these principles of design. Meant to be broken - there I said it. In my unnamed painting, for instance: although there is no bullseye effect, there also are no obvious points of interest in any of the four sweet spots either. But it's still an interesting, enjoyable painting for me.

Well, that's all for this little lesson. It's a pretty basic concept. And it works:


  1. Squint.

  2. Find the points of interest.

  3. Does your eye travel around the painting?

  4. Would adding anything in the sweet spots help?

"New Frontier" Series

Posted on by Wess Foreman

new_frontier_1.jpgnew_frontier_2.jpgnew_frontier_3.jpgI painted these three compositions one after the other using the same process with each. I first drew a few hasty lines with charcoal. I then blocked in the painting, trying my best to stay within the lines. Using a ruler, I re-established the vertical and horizontal lines. Finally, after a few layers of wash, adjusting the color and tone of each shape within the painting, I finished with charcoal and a few stripes of white paint.

"New Frontier #1, #2, & #3", 30x24", $400 each ($1,000 for all three)

GTD primer

Posted on by Wess Foreman

This video primer on the GTD system was posted on Lifehacker.com - a great personal productivity website. From Lifehacker.com:

"Hyper but lovable author of Getting Things Done David Allen explains the meat of his GTD system in this five minute video, which covers dealing with the "stuff" in your life, reducing your to-do's to simple "widget-cranking," and clearing your mind. Allen comes across pretty frenetic in this quickly-cut together clip, but it's a good primer for folks new to GTD."

Here's the link.