The answer to the first question is easy… yes! The second one is a little tougher to answer. I love both art and photography for different reasons. So, here’s a little ‘pros and cons’ list for art and photography (or, at least for my personal feelings about each):

Art

Pros:

- allows me to be very creative

- I feel I have been able to develop a style that is very unique

- I can paint pretty much any time I have free time (ie. not dependant on the weather)

- I love looking back after finishing a piece and seeing what I have created out of nothing

Cons:

- time consuming

- at times, tedious

- results aren’t immediate

- selling artwork is very inconstant

Photography

Pros:

- I love getting out and being in nature

- fairly immediate results (even with post-processing, it’s still far more immediate than painting)

- being creative is a challenge, but the challenge is exciting

- many different avenues to generate income (ie. portraits, real estate, art photography, etc.)

- I love the ability to capture a moment in time that can never really be captured exactly the same again

Cons:

- though exciting, the challenge of being creative can be frustrating

- there’s a lot more competition and it’s much more difficult to stand out from the rest

- expensive

- more pressure in that if you don’t capture the image, the moment can pass by, never to return

- landscape photography is dependant on the weather and location (finding things to photograph in the middle of Alberta can be a challenge… especially in the winter)

So, with that all said, you can see why it’s not easy for me to answer which I like better. There are things I love about both and there are things I really don’t like about both. The more I think about it though, the more I realize that art and photography are a great mix. I’m the type of person that gets very bored of doing the same types of things over and over. This can be seen in my constantly evolving style of painting, as well as in the different types of photography I’m exploring. When the weather is good, you’ll probably find me posting more photographs. When the weather isn’t so great (especially in the winter), I’ll be doing more painting. It’s exciting to know that I now have two avenues to be creative year-round!

Why I don’t actually want to pursue becoming a full-time artist.

At first glance, that title might seem a little depressing. The question isn’t one of, “What am I doing? I should just give up!”, but rather, “What is my motivation for doing what I do?”.  Recently, I’ve been trying to think of ways that I can market my photography. The good ole staples of weddings, portraits, and commercial stock photography have crossed my mind. After giving all of them some consideration, I realized that I actually wouldn’t enjoy doing any of those things. So, why would I consider taking something I love doing (nature photography) and changing course to something I don’t enjoy, just for money? This is really what has prompted me to ask myself, “What am I doing this for?”.

Perhaps, to make it a little easier to work through, I’m just going to stick to point form:

Why do I create art (including photography)?

• I’ve been given a gift. Plain and simple, I know that God has blessed me with creativity and artist talent: to never use it would be a shame.
• I enjoy it. Now, this comes with some clarification. I don’t always enjoy it. In fact, sometimes I really am not looking forward to working on the piece I’m creating. What I do enjoy the most though, is the creative process.
• I love creating something I love. This is probably one of the biggest motivating factors. When I’ve finished a painting or taking a photo that makes me stand back and say “wow”, that’s a huge reward for my hard work.
• I love creating something that others love. Perhaps it shows a lack of confidence, but compliments, whether online or in person, really are the fuel that keeps me going.
• Striving to create something new and different. This is the reason why I’m never satisfied with doing the same thing I’ve already done. Most artists find a niche  and run with it. Though this certainly makes good business sense, it’s just not something I’m content on settling for.

Now, you may or may not have noticed that I didn’t include ‘money’ as one of the things that motivates me. In all honesty, I probably should have included it, but it’s only recently that I’ve realized that I’m not actually motivated by money. I have a full-time teaching job that I really enjoy doing, which provides for my family to live comfortably. We are very blessed and we really don’t need any more than that. So why not give my art away then? Well, although I don’t really care if I have an extra two grand in my bank account, the money that someone is willing to spend on my art or photography essentially translates to recognition that my work is worth something. The more someone is willing to pay for a piece or a photo, the higher the artistic value.

I know, this line of thinking has its flaws. A $10 000 painting to someone may only be worth $10 to someone else. However, as the artist, if someone were willing to pay $10 000 for one of my pieces, that certainly would go a long way in boosting my confidence (or probably better put, my ego). With that said, I think this is also one of my biggest detriments. Far too often, I let my ego get in the way of me progressing as an artist. Don’t get me wrong, there are certain pieces that I really love and would rather not sell than setting for a lower price. For the pieces that I just ‘like’ though, what good are they doing sitting in my basement. It would be better for me to sell them for a lower price to someone who would enjoy them, than to hold out for a large higher price because it’s what my ego wants.

So, in all of this, these are my conclusions (again, in point form):

• If I don’t enjoy doing it, I shouldn’t do it.
• Keep growing and striving to create something different and unique.
• Create work that I love and others love. Though creating work that I love should be the priority.
• Keep the pieces I love, sell the rest for whatever I can get.
• Don’t ever ‘plan’ on making a full-time living from my art and photography. If this happens, great, but the reality is that if I want to make a full-time living from this, it’s going to take a LOT of hard work and time. Essentially, it’s going to take a lot of the enjoyment out of it.

I understand that a lot of the thoughts above are a little scattered. If anything, I wrote that for me to work through some of those issues. However, if you read this far and enjoyed it… great!

Thanks for reading,

Joe

Feel free to follow me on Facebook, Twitter, DeviantArt, 500px, Flickr or Pinterest. You can subscribe to this blog and any work I post to my site through the subscribe link below. Also, if you want to help me share my work with others, share this with your friends on Facebook, Twitter or Google+ below.

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One thing I find interesting about art critics is that people try to read into what the artist was trying to say. Although I find a lot of meaning in my work, I rarely set out to create a piece with a specific meaning. In fact, most of the time, the meaning is the last thing I figure out. I’ll talk about that a little more later. So, what inspires me to start a new piece? Usually, it’s something visually that has inspire me. This could be anything from a photograph, to a painting, to a billboard advertisement. Now, when I say ‘inspire’, I don’t mean ‘copy’. I very much believe in creating art that is unique and original. However, sometimes there is a certain colour scheme or composition that jumps out at me that I would like to incorporate into a piece. For example, the current series I am working on draws inspiration from different Group of Seven paintings.

As you can see from the example below, my most current piece piece, ‘The Lies We Believe’, is inspired by Tom Thomson’s, ‘The Jack Pine’:

As you can see, certain elements of Tom Thomson’s piece can be seen in the background of my piece. Again, I am very careful in doing this as I don’t want to cross over from inspiration into plagiarism.

Next, I find a face that inspires me. There are several different options I have when it comes to getting a reference photo. The best way, and the one I try to use most often, is having a live model pose for me. At this point, I have been lucky enough to have friends, family and other acquaintances that were willing to pose for me. I have also found that people online who do self-portraits (I usually find them on DeviantArt) are quite willing to let me use their photos as references. Whether it’s someone I know, or someone I’ve met online, I always give them a canvas print of the piece when it’s finished. The final option I resort to is stock photography. Now, I’ve tried to find a definite answer in regards to the legality of this, but just to be safe, I always use an image that has the option of purchasing the extended license. This license allows the purchaser to use the image to create derivative works (ie. put the image on a mug or t-shirt for re-sale). I’m assuming this includes using the image to create a piece of art that will be for sale, which is why I go this route.

No matter which option I use for finding a face, I’ve found that a face looking straight ahead is least effective. I usually go for faces that are turned somewhere between 1/4, all the way to complete profile. Of course, there are also different vertical angles (ie. looking up or down) that can add a different effect. In fact, the angles, shadows and other elements, such as eyes closed or open, can all completely change the mood of a piece. The process of finding a face that will work well for a painting is actually a lot tougher than one might expect. I would go as far to say that at least 95% of all pictures of faces are useless for paintings (at least the paintings I do).

Once I have found a face that I know will work well for a paintings (sometimes I’ve only found out that it doesn’t work until after I’ve finished the piece), it’s time to incorporate it into the background. For this, I always use Photoshop. I mainly just use basic techniques, such as, transforming, brightness/contrast, hue/saturation and layer masks (essentially, a more powerful eraser). There are two key things I need to do to make sure I’ve got a good rough copy for my painting. First, and most important, is composition. Without a good composition, the painting is a failure from the beginning. Even just knowing the basic Rule Of Thirds goes a long way in starting a painting off on the right foot. Recently, however, I’ve been taking it a step further and using the Golden Mean. Essentially, rather than using the perfect thirds, the focal points are a little closer to the center of the image. It’s not a huge change, but visually, it’s just enough to make it more pleasing to the eye. The second key is colour. Again, recently I’ve been rethinking my philosophy on colour. I used to use really bright, vibrant colours, but I’ve found that my pieces were lacking maturity in the colour choices. I’ve really been learning to use more of the neutral grays (ie. mixing two complimentary colours to get a neutral colour) and toning down my palette. At the same time, I still incorporate some vibrancy, just in moderation. I actually think this is more effective, as it enhances the contrast through the use of colour.

Once I’ve got a composition and colour scheme that I’m happy with (I should actually say a composition and colour scheme I love, because if I don’t love it, I won’t love the final piece), I print off a copy of it to add some inking. As you can see in this image below, I am basically just blocking in some patterns and interesting lines that I think will enhance the image:

Now, sometimes I add in things that I realize after don’t look very good (you can see the little note I’ve made to myself), but that’s why I believe doing a good rough copy is so important; it’s better to make those mistakes on your rough copy than on your good copy.

At this point, I’m ready to move on to the canvas. I stretch most of my own canvases, as it allows me to use any proportions I want. I mean, don’t get me wrong, it’s nice to just go to the art store and pick up a pre-stretched canvas, but they are limited in their selection. I prefer slightly longer canvases, and in fact the proportions of The Lies We Believe adhere almost perfectly to the Golden Mean. The interesting thing is, I didn’t even measure to make sure, my eye the naturally knew that those proportions were visually pleasing. As for getting the image on the canvas, I always use a grid. When I first started painting faces, I would free-hand the face on to the canvas, but I learned quickly that I would later have to spend more time fixing my mistakes than I would having done it right in the first place. The face is the only thing I use a grid for though, as the main areas of the background are easy enough to free-hand.

After I have the drawing on the canvas, I’m ready to paint. In case you’re wondering, at this point in my career, I do use professional, heavy-body acrylics and gels (a combination of Liquitex and Golden). If you’re just starting out, I highly recommend using student acrylics (and cheap canvas) as you should feel the freedom to experiment, without the fear of wasting expensive paints if it doesn’t turn out. I always paint the background first, as it’s easier to paint around the drawn face and cover up anywhere that I accidentally go over the lines. If I were to paint the face first, I would have to be extremely careful when painting the background around it. Here is a shot of the background colours completed:

Next, I go ahead and paint in the face. I start with a medium tone and cover pretty much the entire face. Then I paint in the shadows and blend them back into the medium tone. When using acrylics, it’s important to work pretty fast so that you can blend them together. Sometimes I will add a gel in with the paint, which keeps it from drying quite as fast. However, sometimes I will just go over an area a few times until it’s nicely blended. I know that some people stay away from acrylics for this reason, but once you get used to it, they’re really quite easy to use. In fact, I gave oil paints another try this summer and hated them; for me, they dry too slowly (to each their own). Adding in the highlights on the face is pretty much the same technique as the shadows, but I find that you don’t actually need to blend them quite as smoothly for them to still look good. And actually, sometimes I will put white (or light) paint on my thumb and add in the highlights that way. The details of the face (ie. eyes, lips, nose, etc) require more care, but the more you practice them, the better you will get. Essentially, each facial feature requires the same process as the face itself. For example, for the lips, I start with a medium tone, then the shadows, then the highlights. Here is a shot of the piece, before facial features were added:

Now, I paint very quickly, so the total time painting after the entire face and background are finished is just under 3 hours. In my older paintings, I would have pretty much been done at this point, but I’ve really decided to step up the detail in my more recent pieces. Growing up, I used to love doodling and drawing intricate patterns and shapes (usually during school or Church). Even though these are a little tedious, I really enjoy doing them. The entire inking process for the remainder of this painting took approximately 10 hours. However, those are 10 hours that really paid off, in my opinion. For this I use a super pigmented acrylic ink (black and white) made by Speedball. I am actually planning on getting some different colours of the same ink to experiment with those. Here are a couple detail shots of the final piece:

After I have finished a piece, the last step is to give it a name. This is where I look at the piece and decide for myself what it means. It’s really no different than anybody viewing my work to find meaning in it. I usually then give the piece a name that relates to the meaning I personally find. The title, “The Lies We Believe” actually relates to the piece I did before this one, “Web Of Lies“. In that piece, the web patterns and wave coming out of her mouth conjured up imagery of getting caught up in telling lies on top of lies. In this piece, I have some of the same web patterns, but this time they are behind and above the face, rather than in front. To me, this felt more like lies were being spoken about her. Of course, there’s even more symbolism and meaning I find in these paintings, but I will keep those to myself so that you can be free to find your own meaning.

So there you have it! I’m not sure if my method makes complete sense, but I guess the whole point is that it makes sense to me. Again, I think every artist needs to find a method that works for them and really, it’s an ongoing learning process. If you have any questions or want clarification on any steps in my method, feel free to comment below.

Thanks for reading.

Joe

Feel free to follow me on Facebook, Twitter, DeviantArt, 500px, Flickr or Pinterest. You can subscribe to this blog and any work I post to my site through the subscribe link below. Also, if you want to help me share my work with others, share this with your friends on Facebook, Twitter or Google+ below.

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As I’m writing this, the temptation running through my head is that I should paint more landscapes. I really like landscapes, I enjoy painting them and they are also far more marketable than the abstract portraits I do. However, there’s some major downsides to that line of thinking, which I need to make sure I remind myself of. First, and most important, there is nothing more satisfying to me (artistically speaking) than when I have created a new abstract portrait that is completely unique and creative. As I mentioned in my previous post, ‘What Inspires Me‘, there are emotions and feelings that can only be portrayed through the human face. It allows me to take an abstract painting and bring it to a level that all of us can relate to.

Second, artists who are dedicated to painting portraits (especially abstract portrait artists) are not as prevalent. Tim Okamura and Oksana Zhelisko are two artists I know who are doing it extremely well (I teach with Tim’s mom and am currently showing with Oksana at The Daffodil Gallery), but we are a rare breed. Now, this can be a positive thing, but also a negative. It is positive in that the ‘competition’ is not very high. When walking through commercial galleries, you will notice that landscapes and abstracts generally make up most of the selection. This is mainly because there there isn’t the demand for portraits in the same way there is for landscapes and abstracts. There are several different reasons for this, but the main one is that a lot of people don’t really want to hang a portrait of someone they don’t know in their homes. I’m ok with that, because I know that the people who do, love my work and are generally more passionate about art. With that said, it can still be discouraging if I don’t remind myself of the positives.

The final thing I need to ensure myself of is that my artistic vision will eventually pay off. People who are passionate art lovers are the ones who are willing to pay the big bucks. Of course, there are examples of landscape artists whose paintings fetch top dollar, but generally speaking, most people who are passionate about art are looking for something different. Something that speaks to them on a deeper level. Something that sparks a conversation when guests are over. The main purpose of a landscape painting is to have something esthetically pleasing in your home to compliment your design tastes. The average person looking for a landscape painting is willing to pay under a grand, sometimes up to two, but rarely more. People who are passionate about having art that is meaningful and unique in their homes are much more willing to pay more for a piece that speaks to them (they are also far less likely to haggle). Even if they don’t have the money for it now, they are the type of people who closely follow your work and end up being your best collectors.

Now, this is not meant to knock those who paint landscapes, or for that matter, those who purchase landscapes. I have made and sold my fair share, and a good friend of mine, Allan Milne has seen his landscape paintings steadily take off over the last few years. Landscape paintings have a place in art and there are artists, like Allan, who see the need for there to be creativity within the genre. My point in all this is that every artist has a different artistic vision that they need to stay true to. Once an artist starts creating art solely because it is marketable, their success will never be more than just a paycheck. Now, I fully understand that we all need to pay our bills and provide for our families, but for me personally, that’s the reason I have a day job. If I one day I can do that solely through my art, then great… but it will never be at the expense of my artistic vision.

Thanks for reading.

Joe

Feel free to follow me on Facebook, Twitter, DeviantArt, 500px, Flickr or Pinterest. You can subscribe to this blog and any work I post to my site through the subscribe link below. Also, if you want to help me share my work with others, share this with your friends on Facebook, Twitter or Google+ below.

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Whether I’m at a show or in the classroom, that’s by far the question I get asked most often. I usually reply with, “Because it’d be weird if I only painted guys”. That’s really my humorous attempt to cover up that I’m actually offended by the question. You see, I wouldn’t be offended if people asked because they were trying to gain insight into what inspires me. However, it usually comes across as, “You should probably be painting something else”.

Perhaps I should take a step back, as it probably would help to know a bit more about me to put this all into perspective. I grew up in a Christian home and teach in a Christian school. My faith is a huge part of my life, so please don’t confuse what I say next as me being ashamed of it. Being surrounded by Christian culture, you really get to see the whole spectrum: liberal and fundamental, genuine and hypocritical, passionate and lukewarm. You could say that every believer swings back and forth between the spectrum at different points on their faith journey. But I digress. The thing I have learned about most Christians who fall towards the fundamental side of the spectrum is that they aren’t afraid to tell you what they believe. So, when someone in the Christian community questions why I paint what I paint, it really doesn’t come across as a genuine interest in what inspires me.

To give an example, I had a couple that I knew from church come up to me at an art show. They were very pleasant, however, the wife actually asked me if the Christian school was ok with me painting what I paint. It’s probably the single most offensive question I’ve ever been asked. Now, I will admit, my older pieces do portray the beauty of the female figure, but they are in no way meant to be sexual. I don’t paint nudes and never will. With that said, this example, as well as others like it opened my eyes to how my work was being perceived. Don’t get me wrong, I would never change what I was doing because certain members of the church disagreed with me doing it, but like I said, it was not my intent for my pieces to depict sexuality. But because people were perceiving something that I didn’t want being perceived, I felt that I needed to move on to different subject matter.

You may be wondering why I started this post about what inspires me with this anecdote. Well, it goes to show that one of the biggest things that motivates me is how my work makes others feel. Of course, the opinions that matter the most to me are those of my wife, friends and family (and my son when he’s old enough to really ‘get’ my work). Now, I don’t naively believe that everybody is going to love my work. In fact, I know that most people aren’t going to be moved by my work at all. However, there’s a big difference between not being moved by my work and having negative feelings or being offended by my work (justifiably or not). Some people may disagree with me and would say that I shouldn’t care if people have negative feelings about my work. If that were the only reason to change, then I would agree with them, but inspiration comes from many different sources.

In addition to wanting people to enjoy my work, I am also inspired by beautiful things. I think this is the reason why the majority of people just can’t get into a lot of modern art. Don’t get me wrong, I’ll defend the creativity and expression in modern art, but a lot of it does lack beauty (or at least traditional beauty). There are certain things in this world that are universally beautiful: a sunset, a bouquet of flowers, a bride, a newborn baby, etc. I’m not saying that all art should be beautiful, as there is room in art for all types of themes and emotions. But for me, when it comes to creating art, I am inspired by things that are visually pleasing. Again, if this was my only inspiration, then I would probably just paint flowers and sunsets (no offense if you are an artist who does). This does partially answer the question as to why I just paint women (for the record, I’ve done my fair share of landscape and abstract paintings, as well as several paintings of male musicians). I can admit when another guy is attractive, however, as a straight man, I obviously find more beauty in females. Beauty is also the reason I find myself photographing so many nature scenes recently.

The next major thing that inspires me is being different and creative. Aside from the question about why I only paint women, the comment I get most often from people when they see my work is that they’ve never seen anybody else do what I do. Of course, there are thousands of artists out there and I know there are quite a few who fit into the same genre as me (and plenty who do it better), but it’s always flattering to hear. This is one of the biggest reasons I moved away from landscape painting and one of the things I struggle most with when it comes to photography. To me, landscape and nature art does not leave much room for creativity (again, no offense if that’s what you do). You could argue that abstract is the most creative art form, since it requires you to make something out of nothing. However, one of my goals in painting portraits is take what is real and project it into the unreal (or maybe better put, into the unknown). The other reason I paint portraits is because of the human element. The ability to portray different emotions that the viewer can relate to brings the piece to a whole different level.

As I’m writing this, I’m thinking that perhaps I should have discussed my next inspiration first, simply because it’s probably the most influential. Art, whether it’s traditional, photography, music, etc. is like a giant snowball: everything new is built on what came before. Every artist is inspired by the artists that came before them. Even when somebody is doing something completely unique and different from something that’s ever been done before, they were still inspired in some way by other artists. Probably my biggest artistic inspiration is Van Gogh. Not only do I love his use of color, movement and texture, but I love his story. It’s a sad and tragic story, but his love of art and the personal sacrifices he made for it are truly inspirational. Of course, there are other major artists that have inspired me in some way (Claude Monet and many of the other Impressionists, the Group of Seven, Jackson Pollack and Alphonse Mucha to name a few), but there are also many current artists that inspire me. Some of them create similar art to me, while others have completely different styles and subject matters. Often, it will simply be through browsing online (usually on DeviantArt) and coming across a piece of art or a photograph that inspires me in some way. I think it’s very important to find other art that moves you and draw on that for inspiration. Of course, we as artists need to be careful of this as we don’t ever want to be accused of plagerism. If you are an artist reading this, please understand that I am in no way encouraging copying what another artist does. I am simply saying that we all need to be inspired, and at the same time, we can aspire to be an inspiration to others.

The last major thing that inspires me is also the one that I struggle with the most. As I mentioned earlier, my faith is a huge part of my life. With that said, it’s something that I find difficult to incorporate into my work. I have created a couple pieces that I’ve labeled as spiritual abstracts (abstract paintings with crosses in them), but ultimately, they feel a little contrived. In a way, I feel I’ve guilted myself into creating something spiritual, because I felt my work was lacking spirituality. But, does a Christian artist have to create Christian art? Does a Christian musician have to create Christian music? Does a Christian lawyer have to only take on cases that deal with Christianity? Lately, I’ve been coming to the realization that it’s not so much about what my work represents, but what myself as an artist represents. If I am living to represent Christ’s love in me and striving to show that to others, then that will come out in my work, even if it’s not intentional. As long as I am being true to myself and not creating art for the wrong reasons, then I guess I don’t have to feel guilty about a lack of obvious spirituality in my work.

Anyway, thanks for reading.

Joe

Feel free to follow me on Facebook, Twitter, DeviantArt, 500px, Flickr or Pinterest. You can subscribe to this blog and any work I post to my site through the subscribe link below. Also, if you want to help me share my work with others, share this with your friends on Facebook, Twitter or Google+ below.

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Original – Inquire For Price

Open Edition Prints

Regular Photo Print (11″x18″) – $40

Large Photo Print (15″x24″) – $80

Regular Canvas Print (14″x24″) – $140

All open edition prints are signed.

Limited Edition Prints

Large Canvas (20″x32″) (signed and numbered /250) – $320

All canvas prints are varnished and stretched.

Original – Inquire For Price

Open Edition Prints (Buy Two Get One Free)

Regular Photo Print (12″x18″) – $40

Large Photo Print (16″x24″) – $80

Regular Canvas Print (14″x20″) – $140

All open edition prints are signed.

Limited Edition Prints

Large Canvas (20″x30″) (signed and numbered /250) – $300

Please contact us to place an order or to inquire about shipping charges.

Buy two get one free deal (open edition prints only):

The first two prints can be of any images at any size. The free print can be of any images, equal or lesser value to the lesser of the first two prints.

All canvas prints are varnished and stretched.

Original- Inquire For Price

Open Edition Prints

Regular Photo Print (11″x18″) – $40

Large Photo Print (15″x24″) – $80

Regular Canvas Print (14″x24″) – $140

Limited Edition Prints

Large Canvas (18″x36″) (signed and numbered /250) – $325

Please contact us to place an order or to inquire about shipping charges.

All canvas prints are varnished and stretched.