Master Your Artistry - Ultimate Learning Resource For Creatives | Robert Joyner | Skillshare

Master Your Artistry - Ultimate Learning Resource For Creatives

Robert Joyner, Making Art Fun

Play Speed
  • 0.5x
  • 1x (Normal)
  • 1.25x
  • 1.5x
  • 2x
9 Lessons (1h 5m)
    • 1. Introduction

      7:10
    • 2. Home Base

      5:36
    • 3. Goal Setting

      9:37
    • 4. Being Consistent

      5:21
    • 5. It's A Relationship

      7:29
    • 6. Maximize Moods

      6:08
    • 7. The Power Of Observation

      6:11
    • 8. Managing Sessions

      8:14
    • 9. Art Chart

      9:23

About This Class

In this course you will discover many tips on how to maximize your creative journey. From my own experience and teaching others I have noticed many habits, good and bad, that can be healthy and detrimental to learning. To become better at anything we need to learn and having the right plan will get you there faster.

The lessons you discover in this course will simplify the learning curve thus allowing you to focus on what's important - technique!

Some of the topics covered:

  1. Establish a 'home base'
  2. Setting bite-size goals
  3. How to be consistent
  4. Understanding the relationship to your creative side
  5. Maximizing your moods - good & bad
  6. How to observe your art
  7. Get control of your art sessions
  8. The art chart

Who is this course for?

Great for beginner and advanced artists. If you take this course it's because you know that there are no shortcuts. You want a plan that will create a healthy learning environment.

Transcripts

1. Introduction: Hi there, Robert Joyner here with paint loose dot com and here to talk about the art of learning. Becoming an artist, developing your skills, getting the most out of your sessions, seeing improvement over time. It takes effort. And we want to channel our energy to get the most out of our sessions. And to do that, we just simply need a plan. Okay, If you walk in the studio and you pay aimlessly with no focus drifting here, drifting there, then chances are you're not maximizing your effort, and over a period of time, you will just simply move sideways, where if you focus if you have goals, if you have specific techniques that you want to develop if you take the time to observe your art to see what's going on, where my strong where does it need attention? You find those skills and you develop them. You spend time working on them, you're going to get better. You will climb that ladder and you will certainly see a much more improvement. Then the artists that works without a goal. Okay, so that these air some of the topics that I will discover having a home base Why is it important to have this setting goals? No, we don't need to be strict about it. We just need to be conscious knowing that this is what we want to do. Short term. This is where we want to go. Long term, being consistent. Nothing new there, Right? We know when things I do not receive our attention and we drift away from it. We come back, we gotta get back in the groove. Build that momentum again. And being consistent doesn't mean to do it every day. Hey, I'm busy too. I'm a father of two. I have a life outside of the studio. I know things get in the way, but I also know that making it a priority early on, when I was working other jobs and art was just simply, ah, hobby, a supplement. I had to make sacrifices, and I had to be consistent with those sacrifices and be stingy with them. So we'll talk about that observation. Are you taking the time to look at your art and various stages? Are you taking the time to be sensitive to what's going on while you're painting sessions maximizing your sessions? Yes, Very, very important. You want to get the most out of your time in the studio of some of us again. We don't have a lot of time. Art isn't a full time job for you. And you want to walk in that studio and be ready to go, OK, get the most out of your sessions. Is key understanding the relationship? It is a relationship very much to the point where we want to be a sensitive to our art as we are to any other relationship in our life. OK, it requires effort. Again. They were require sacrifice. Okay, Being honest, all of these things are important. The learning chart with a little red dot special, right? This is really cool. Someone to plot out a couple of scenarios where this chart will track the consistent artist , the one that sets goals, the 11 of the artists that know where they want to go. Okay. And then we'll also attract the chart of the inefficient artist, the drifter, right? Moods. I'm not talking about, um anything other than understanding the moment. Okay, When we're painting, when you're in front of that easel putting you're mediums down. What's your mood like. I mean, are you confident? Are you sluggish? Are you frustrated? Okay, all of these air important, and all of these can be channeled in the right direction to be productive. And I've had some of my most frustrating challenging sessions turn around because I was able to identify the mood. I was in channel that energy correctly. And I was able to maximize my time, which helps me get a better relationship with my heart. Okay, It's okay to be challenged. It's located struggle. So okay to make sacrifices. Okay. But we want to be smart about it. We wouldn't take those negatives. Tournament to a positive. Every chance we get, we're gonna talk about that. Get physical. Art is very physical. Okay? It's a lot of things. Is mental learning? Right? We have to absorb things. We see them to say you're watching one of my lessons or you've seen something else. Okay, You're absorbing that information intellectually. Okay, so it's very visual. We have process it physically. We have to understand how to get there physically. We need to understand what to do. Toe have breakthroughs in certain areas of our art. Very physical range of motion pressure into the surface. All those things are critical to in our artist finding the balance. Okay, balance in the studio. How do we juggle our time? How to? How do we divide the areas that are important and what's most important? We're going to talk a lot about balance as well. This is a lot to cover here. I'm very, very excited about this. I think it's critical to an artist development, and I think when you're done with this course, you have a much more, um, clear picture into how you can achieve a much higher level in your art in a much shorter time. It's about being focused being organized. And, yes, we're gonna play doodle and get and drift a little bit on the side to that. That's all part of the balance. Okay, I'm excited to get started. Let's kick things off. Establishing that home base 2. Home Base: but I'm talking about is having a go to subject very important for me. It was a simple count, pretty easy shape. And maybe to some degree, this can even be ah, little to, ah, busy or complex. But for me, it was over time I established a connection to that. It was easy to do, and it worked. You could do a coffee cup. Here's another example of a coffee cup. It could be an apple and orange. Okay, you get my point. Very, very simple. Very easy. One subject. A background of foreground. A subject. Okay, that's all you need. You don't want it any more complicated than that, because when you're learning, you're applying techniques. You're trying things and you want the technique, whatever it is you're working on to be the priority. Okay, When you're experimenting and you're trying to learn, we don't want to deal with a complicated subject or composition. We don't want to sit there and try to compete with what's important. And what's important is the technique we're trying to establish. So, for example, you may be new to mixed media, So you're trying to incorporate charcoal or crayon into your artwork if you're dealing with a new subject. So if you're on the Internet or viewer, you're out taking pictures and you see a beautiful scene or image and you take that picture . And now you go to the studio and you're working on trying to develop a style or technique. You're dealing with a new subject, a new image, something that you haven't processed before, something you haven't connected to as an artist on a creative level. Now you're competing with the technique, all right, that can typically lead to frustration. Okay, and you don't even realize it. So you're sitting there painting like, Oh, I just can't get this charcoal down. I can't get the my colors down, But really, the problem is, you're dealing with a new composition. You're dealing with this subject. You haven't made that subject your own, you're not comfortable with it, and you're dealing with a technique. You're trying to get that done as well. You're overwhelmed. If you do have success, which I'm not saying you won't, there will be more times more often than not that you struggle Okay, so you can apply. Focus all your technique. What's important? See it evolved This is awesome. Imagine having done let's say, Ah, coffee cup from the beginning of of your painting experiences. Okay, you started here Over time. You are consistent with it. You're like, Hey, I'm always learning. So I'm always going to spend time here at least once a week. I've got to devote some of my time to develop in my skills. Whatever it may be, you may be becoming on oil painter. You may again, you know, there so many scenarios where you're learning. Okay, I can't possibly tap on any of them, but I'll throw some things out there. Have that because that that's what that's what's going to help you. Mawr Viet the sit there scramble around. You're in trouble. But to see that coffee cup evolved over time will be awesome and the changes you work on the evolution of your art will be visible right there and keep him. Keep those things and they don't have to be big. We don't have to work on a 30 inch scale. Here you can take a full sheet of paper divided and four do some 11 by 14 11 by fifteens whatever and focus on that and It's nice to have that to go back to, To see it, to watch those things develop. Okay. Very, very interesting. Avoid busy subjects. Busy compositions. I mentioned that before. If you're dealing with elaborate compositions, busy subjects, new subjects, you're in trouble. Okay, You're you're You have resistance. Before you even picked up your paintbrush. Okay, Be consistent, like I mentioned before. Be consistent with learning, but be consistent with your subject. Now it's okay. Maybe the have to. So maybe you want to do the apple in the coffee cup. Okay, That's okay. I think we can go there. But we had too many. You're gonna again, you know, minimize your chances to really succeed. To really see these techniques get applied. Ineffective. Positive way. Okay, that concludes this lesson. I hope you enjoyed it. I'll see you in the next one. 3. Goal Setting: this talk about goals. They give us a sense of achievement. Accomplishment. The drifter. This is very common on the way it is about artists, but they tend to drift to get to the studio. They start painting. I walked over a What you working on there? Oh, uh, I'm just painting these flowers. No, I mean, but what are you working all more specifically? Is it your colors? Is it style? Are you just simply trying to develop the subject, making your own? What is it? I don't know. I'm just painting. And hopefully I'll do something good. Okay? Drifters are very, very common with what I have witnessed in person. And they just simply paid the paint, like have done Leo on our demonstrations. So showing a technique and a couple of ideas on what that I want them to focus on and and then they give their start painting. And not nothing really happens. I don't see the intent, e. I don't see the focus, but drifting is very, very common. We don't talk a little bit more about that when we get sessions and maximizing your sessions. But too lofty. This is another one, okay? And These were kind of the complete opposites, but I've had artists. I know a lot of artists that they train with a bunch of instructors. They get a watercolor classes, they go to mixed media there. They're trying 10 different subjects and they're trying. They got 50 different techniques they're working with and 20 different surfaces and things like that. And and it's just there's too much going on and they're trying to get better. But they have all of this stimulation coming at him, and they're thinking, Well, if I just get more warm orm or information mawr exposure, more techniques And I can kind of just, you know, I can become a better painter, you know? And you know the problem. There's it's just too much. You gotta slow down and break things down and too much smaller increments. I think it's OK to get training from various instructors, but, you know, I found you know, when I'm learning that if I have too much information, it backfires, I get nothing out of it. Other than is becoming overwhelmed, Frustrated? Where is what took things focused on them individually for a while? Not not this Five minutes and then go on the next 105 minutes going the next one. But really, really take the time to absorb it to physically do it and then to do it consistently takes time. And I realized that about art. I realized that about other areas of my life. Okay, I think this true for anyone that's painting, OK, but don't don't get to law if you don't try to take on too much at a time, slow down to bake. Okay, so they're not really knowing what they want to do. And a lot of times they could kind of get someone that's too lofty that has all of this stuff coming at him and they don't really know how to channel at channel it or how to consolidate it, you know, and make okay and pick something but their dislike. I just want to become a better painter. That's my goal. Well, that's very vague. I mean, if you want to become a better artist than then, you need to break it down. There needs to be something more specific there. And I think deep down we all know what that IHS. If you take time to look at your work, but you probably don't think you paint it and throw it away. Probably. Look at it. Make some judgments on it. But I think deep down, we know. Okay, this is where we're at. This is reality. And what what does my heart looked like? Where do I want it to go and then answer that question? How do I get there? Okay. Another example is maybe, like, for me, I'm a portrait I've been working with Portrait's for a few years now. I'm still very new. I will always, of course, be a student of portrait. So I never so egotistical that think I'm a portrait artist. I don't like that term. I'm gonna say, Hey, I'm learning the pain. Start my own. Yet I got a long way to go. But when I look at my portrait's now, I'm very much focused on Hey, how can I abstract them more and still make them believable? How can I do this? And that kind of focus of knowing where I'm at with that and what I want out of it. It makes me very productive in a productive artist that has goals that knows where they are going. They're not They We'll get a lot more and out of their return right of their time materials . Okay, let's look at some good examples. This artist wants to understand a technique. Awesome. OK, it could be applying charcoal with acrylics. How can I do it and maybe not create mud? All right. Can you learn that an hour? No. He learned that in three hours. Gnocchi learned that. No year yet. You can learn that a month or so. Yeah, absolutely. If you're focused on it and you know that's your goal. A medium. Maybe you're new to acrylics. Maybe you're new to crayon. That's your focus. That's your goal. Understand that? That's all you need. Go in the studio practice. Warm up. Go back to your home base your go to subject work with that medium consistent over time. And you devote energy to that medium, it starts to become natural to you. Okay, I'm not going to go any further than that. A subject So that say you're practicing your You're devoting your time that go to subject and you've got that technique you're working on and now you're becoming comfortable with it . So let's see Worked on it for a month or so, and you're kind of got the flow going. OK, well, great. Let's see how that works with the subject. Okay, So now, like I mentioned before, portrait, it's very interesting to me. I love them. I never thought I would. I think they're over time. They're going to push my art in a new direction. I kind of see it going that way. But subjects need time. A subject is all you need sometimes. Okay. So if you're fascinated with cityscapes, if you're fascinated with figured of studies, whatever, that's a that's a good goal. Okay, So this artist's over here had come to them or like what you working on? Well, I don't know. I kind of like flowers, though. Well, great. Then don't tell me you don't know. Hey, I like what you did with mixing inks and acrylics, and we're working on that with my flowers. Great. Okay. Be consistent with your goals. Okay. So easy to get sidetracked, but you need consistency with what you're doing. Okay? If you're consistent, you don't drift. You're going to develop much faster than someone That's not consistent. And believe me It takes time to develop techniques. They don't come in an hour. Another good example is the campus painter, right? Hey, I want to take mixed medium and put it on campus. I want to see if I can translate this from paper to canvass. Perfect. That's a great goal. Okay, again, these are just some good examples and then bad examples of gold setting kind of the traps you want to avoid. And then some of the good examples of things that will, ah, generate focus with your with your learning experience. Okay. Again, it's a lot coming at you with art. Okay? There's a lot of stimulation that there's a lot of possibilities, but I think you need to just simply evaluate where you are. Look at what you're doing. Simplify it. Take home. One subject has find us all you need now that in combination with your go to your home based subject all you need, maybe you can balance to another one. Okay, fine. You don't You don't really have to go in too many different directions. Stay there, develop it, working on it, because that's going to give you a comfort zone, a connection, and then you'll start to see progress with what you're doing. OK, but think about your goals. Set some goals. Let your goals reflect where you feel your artists and where you see it going. OK, I hope you enjoy the lesson. I'll see you the next one. 4. Being Consistent: be consistent. Nothing new here. Okay? Not really unleashing on earth shattering tip here, but I have to mention it. It's a huge part of learning huge part of anything you do in your life. No matter. Fitness, eating, healthy, whatever. We have to be consistent. If you're consistent, then we can splurge once in a while. Right? But we're not gonna do that with your art because we love it. It's a passion. Stick to it. When I was learning and really just starting to paint I was juggling a lot of jobs, Had a my own business. Another little I was teaching on the side ballroom dancing the time Always seem to never be there to pay. Okay. And for me, I had to make sacrifices, right? I had to get up early, super early and pain or stay up late when everyone else is asleep and paint, you know, blocking out of the calendar. Let everyone know this is your time, period. Don't count on me to do anything else because I'm slinging pain, period. Make it a priority along those same lines. You put that time down, I think for me and for anyone putting things down. The schedule is nice. It's good to see it on paper. It reminds you, and you start to work around it. So the other things in life that start to come into the picture you get Oh, well, you know what? I have to schedule it around this. Okay? So if you are, it's important to you make it a priority. Okay? Turn off your phone. TV? Where other device? This is a pet peeve of mine. I mean, I don't get it. You don't need him. Okay. There. Distraction. Okay, turn him off. You don't need to text that person back. You don't need to update your facebook status, okay? When you're in the studio, you should be focused. And believe me, I'm sure you you've done it. All right. You're painting, you get a tax, you get an email, whatever. You stop what you're doing, you look at it and you do all of this stuff, okay? And then you gotta put it down. Oh, they call you the Texan old. Let's do this. Nothing is really that important, OK? Shouldn't really be any more important Then what you're doing with your creativity and being an artist, being creative learning okay, requires attention. If you're sitting there getting distracted with meaningless things that can be done later, then you have to stop what you're doing. Your mo mentum, your train of thought Take care of this little task of texting or emailing someone back and then have to get back to your painting. We've lost all that money Amendment. You've lost that connection with what was going on. And it's a shame because it's easily avoided. Be stingy. Yes. What I mean by that is Oh, you know the mind going doing this in this in this on Friday evenings Now? Okay, I can't do that. I'm working. I want No, this is my art time. My creative time. Let's do that. Saturday, right? You got to Okay, because that's the whole thing I mentioned before. Life is going to throw things at you. You're gonna be There will be plenty of distractions. OK? Make sacrifices. Yes, that's what you have to do. OK? Most of us aren't full time artists, OK? We don't have the luxury of getting up coming into our studio five days a week, so we have to juggle our job right home life, domestic duties we all have. Okay, Me and in the snow. No story that's any different than you know. Anyone else's way had those priorities. But if you want to make learning, he your art important to you. Um And you do have a very busy schedule, which you probably do. You've got to make some sacrifices. Okay, You have to block out that time on your calendar. It may be in a time where you don't like it. Okay? Always found early in the morning was good for me because it is important to me I want. And I was consistent. Not because someone told me I had to be, but because I loved it. It was a passion, and I was getting rewarded from it. So But I do know that there are many times when I do have to make sacrifices, okay? And I know for many of you you need to do it as well. Okay, be consistent. People see the next one 5. It's A Relationship: this topic is relationship. Oh, boy, that big word. We all know what relationships are about in our life. Significant others family members, friends. Hey, there's good, the bad and the ugly. But we love something. Someone out just will keep it about art here. Okay, When we love your art, you have to understand your connection to it, your relationship with it. And this is something I became very sensitive to early on because I felt like when I first started painting, I was very hungry for something. I needed something in my life at that time and I'd avoid and I felt the art could give it to me, and it was giving it to me. But in a lot of ways, you know that it rewarded me. But I realize, you know, there were my approach to it. Wasn't that great? I would get frustrated. I would walk out of sessions, leave it for a while. There was a bad relationship, you know, It was giving me a lot on one hand. But in the other sense, it was a lot of resistance. It's because I really wasn't being honest. I tried to mimic artists that I saw, you know, like I would see art of Internet and maybe walking through galleries or whatever would be influenced by the work that would try to copy that. It was dishonest. I was lying to myself, thinking that yes, I can, You know, I like that could do it. Not not try to do it, but I haven't walked in their shoes. You know, that style belongs to them. And I simply needed to. And this is not really a story about me, but I'm a put it in the context of me. And I think maybe you guys will be able to relate to it a little bit as well. On your in again. I can't tap into your relationship with your art, but I can speak about experiences and then offer advice based on that. OK, But you know, honesty is very important. I fell. I feel like if you work on your art, how long enough to develop those skills? You can like mixed media taken experiment with mixed media, but we both eventually you have to make it your own. It has to fit into your subjects to your style, your personality, your energy. Okay, two minutes. Okay, Teoh like, for example, to take lessons and learn from it. But the idea of any of that of those building blocks of those techniques is simply a stepping stone is to introduce you to something and then for you to take it and run with it and to develop it in a much more positive way. And I was asked one time in a workshop, Robert, how do you feel when you go on the Internet and you see people cop trying to copy your cows were trying to copy your work? I've never been asked that question before, but instantly my reaction was, Well, it's a shame, because they could have it could have been a lot better. Have the artist taking the time to develop the medium, work with subjects that speaks or you know that they connect to it. Could have been a lot better than simply trying to copy what I do. Um, and I know that from experience trying to emulate and do what other people are doing, I have no right. I haven't. No, I don't know what their life is like. I haven't taken the same steps they have I don't have the same passion and energy they have . So for me, the artists should take things, be influenced by it, admire it if they are attracted to the style in the medium and the way things are done. Great paint loose, do things, but do it in your own way, right? And that's when it becomes honest. That's when it becomes the truth. Okay, very, very important right there. I mean, what I said, I think hopefully hit home because you really need to consider that because of not be not owned that right track. I can tell you you're going to be in a world of her in a ton of resistance coming at you. Nurture your art and being consistent to it. Setting good goals. Um, you have to care about it. Pay attention. If you don't pay attention to your art, you're in trouble, and paying attention is very broad. What is paying attention? Paying attention means looking at it, observing What's your are telling you to? Dio known what's going on, spending time observing it, looking at it very important. Okay, the sacrificing We talked about that before. You know, a relationship is all about making that sacrifice a lot more often than not. Um, but when When you make sacrifices in a relationship, you're rewarded. Okay, I know that for a fact, you know, it's, you know Hey, can you do this? This isn't a man. Well, you know, I was gonna go over here. Well, yeah, of course I will. If you can make sacrifices to help out the betterment of anyone or your art, and you're being consistent, and you're making exceptions to to do it, then you better believe you'll be rewarded. Okay. Ah, healthy relationship. You know that. It's a lot of balance making those sacrifices and give, you know, understanding the struggles and dealing with their struggles. Um, and art will challenge you people. Absolutely. Stand up to you and make you work. Many times it will make. You probably saw this cry once in a while. Frustrated, angry and all of those air. Okay, that's part of the moves and kind of swings you gonna get in a relationship. Okay? And art is no different. You need to develop a relationship. You need to be sensitive to it because the relationship is about you and the art the artist . What's coming out of you? The creative person hitting that resistance, backing up, paying attention to what's going on, making the right decisions to put in that goal some sacrifices and where I need to go to spend some time to develop this and then come back at it and then headed again. And this time you'll probably break through and build a much stronger relationship with that subject with that medium. Okay, be sensitive to your relationship with art. Hope you enjoy this lesson. See the next one. 6. Maximize Moods: moods. Every day's a new one, right? Nothing new there. The earth shattering statement. I can tell you. You know, you need to be sensitive to this in the studio. I mean, attitude and moods are so important because they change all the time. And when you were sensitive to them, when you can recognize them before they take you and grab a hold of you and control you, um, you have the ability to channel your energy to use it in a positive way, whether it's good or bad or in between. Okay, Now I'm not gonna course cover every mood. I don't even know him all but this. Just put him in three categories here. The good. We all know that one. Things were clicking. We're happy. We're working on our goals. We're seeing progress. But there are different levels of good. There's good, like things are working. There's days when things were just clicking. I mean nothing. Everything you're doing is feeling crisp and clean. When I'm feeling good sometimes I'm feeling great. I'm like on fire, man. I could like, paint anything if, like I will have success at it. And days like that are the days, I find I go to those pieces that are almost finished or no half way I can see them clearly . Now. You know, I my confidence is up. The instincts were right and take advantage of that channel. That energy, that really positive energy in that moment where I'm seeing things on that level and I bring a lot of those to a close stage, and I don't grab that crayon, whatever. And I will make that big sweeping stroke that perhaps I didn't quite feel before. And really, if you got your ducks in a row there and you're laying out your gold and your working diligently, you should feel this a lot. Okay? What about feeling flat like you're starting to paint? Maybe you're dragging a little bit. Things do you know, maybe woke up too early? Thing went to bed late or whatever days like that you can use to your advantage. But you don't want Oh, you don't want to force things If you're feeling flat those days, you could maybe take out that subject or those images you've been putting away of. Ah, vacation you took and just spend time sketching them. No, Grab a piece of charcoal in a piece of paper and just no play with that a little bit and kind of see where that takes you. But if you're feeling flat, not quite into it I mean, don't try tackle painting a beautiful 50 inch painting or something. But those flat days are kind of nice to have. If you use that, if you recognize it and knew where you're at channel that energy, right, it could be very productive. And a lot of times you can kind of find I find myself here and now, like Okay, well, you know, I've been meaning that kind of do some portrait of Roosevelt haven't quite done it gets on my goals there. Or maybe I've got some oil sticks I want to play with and see how I like playing with them . And that's not the kind of good or that stuff and kind of see where that takes me. See if they don't get me pumped up into this. Good. Okay, again, those are just some examples, but just something to be sensitive to. What about the ugly? I have bad days in the studio. It happens, and it's OK The key is, I'm aware of it. Look at your list. There were some things that you wanted to do. Maybe Maybe you want to build a portfolio or a website or start a blawg may maybe come back up from the easel and do that. Maybe your art is this organized. When your materials or disorganized your table is a mess, your floors amass. Your easel needs clean. Take that energy that negative energy and turn it into a positive. That's the key is recognized. That is going on back up. Hey, that's fine. I'm not gonna force it, but I'm gonna do something positive here. I'm in my studio. My art is a relationship. Remember that one? But we're going to turn a negative into a positive. We're gonna take this time with our art. I'm going to figure out how to start my block today. Okay. I'm gonna do some research about my camera, take better images, those things. They're positive that they build the relationship with your art. And when you walk out of here, you know, you may not feel great because you didn't paint or do anything absolutely wonderful on paper or canvas, But you look back and know that you had a positive day. You get a positive section, you were able to channel your energy. Okay, then that's all. Part of it is knowing where you're at. Okay. When things were clicking, I'm really popping. I mean, sometimes I'm on this level. And then, you know, I look at that finished art. There's pieces that are almost done. And I get in there because that's that's how I'm seeing things. Sometimes I'm doing good. I just keep on clicking with whatever I'm doing from flat. I don't tryto do anything earth shattering or huge or big, but I keep it simple. I played a doodle work with subject. I try to look at my goals and just tinker with things right here is great. I love this day. I mean, I don't like having him still get me wrong, but I've learned to be productive. There hope this lesson helps you. Thanks for watching. See you the next one. 7. The Power Of Observation: observe ation. Biggie. Biggie. Biggie. Right here. One of the things that helped me tremendously in my art was when I started taping my work and just putting it up around my studio. Hey, I didn't have a student at the time. When I first started this, I would take him to the walls from high where I live. I did this really? Because I rent out table space, have anywhere else to put things. So I started taping my work to the walls and it was huge. It was kind of a reality check, cause now I could see my art. Okay, Because when you're painting a lot of times you don't really see what you're doing. You're you're reacting to the things that are in front of you, but most people don't take the time to back up and observe. They also don't take the time to paint things. And stage is that they tend that we tend to kind of start something, finish it, get it done, you know? But I promise you with, if you take the time to take your work in various stages where it's in the beginning, middle or near the end, or finished and just tape him up to the wall. Put him up somewhere where you can see him good, bad and ugly. Sometimes that the ugly stop the rejects arm or important because you see things okay, you you absorb things that you think are terrible, and what's interesting is sometimes you come back to it, and it's not bad as you think it is. You actually find something interesting about it, and that's when it comes to moods and things like that, which we'll talk about in a future lesson. But looking is important observing what's going on, not just while you're painting. When you're painting your reacting to what you see that you're trying to achieve a particular technique goal, you're trying to finish a painting. Whatever the case may be. Study. But put them up somewhere and again, not talking about finished art. This is not about stroking your ego. I'm or interested and and the paintings air in the early stages, the very beginning, raw reactions of something with charcoal in the energy. And you know we're developing a new technique that that's that's the stuff you need to put up and look at OK, because we put those things down, you stack a lot. He painted over him too fast. Where you don't get that chance to look at what's going on, You're gonna miss some opportunities. Look at it. Just simply look at it and absorb it. Not in a painting stage. So if you're sitting there working on something, you're in a very creative state of mind. You're trying to achieve something. You're constantly judging whether or not you're getting it. So you're But it's that vision you have of what you wanted and maybe you are. Maybe you aren't getting it, but take those pieces of those early stages piddle and the even near the end, put him up and then come to him when you in the beginning of a session, before you even turned on the artist, the creative person walk in there and just simply observable, and you're gonna be surprised at what you see. But very few people do this, And if you do, I think you're gonna get a much better connection to what's going on. I think you're gonna find that you're you're doing some very, very interesting things that you were overlooking and perhaps some of the things you think you're doing. Well, aren't that great? Okay, reality check. Listen to what's going on. Okay? When you listen, when you look when you listen, you learn. But all the time you know I'm painting Things become a reality to me. They smack me in the face. It's not. It's not always bad. It could be good. Oh, that combination of that orange with this and the Browns. Oh, my gosh. Best thing ever. Great. Take notes. Okay. You should have a little journal, a little pad somewhere that you keep and write those things down, whether they're good, bad or whatever Those observations and keep a record of them because we they're going to disappear if you don't. Okay, Typically, when I'm painting, I have to my left where I'm standing here, have a really big table. All my paints have a huge glass palette. Have a new pad right there. And all the time I'm painting five, something happens. I walk over there, I'll write that down. Okay, Because that knees a solution, typically l write the things now. I mean, like, if I see a color combination like fun idea goes off that Oh, my gosh. I need to look at this. Subject this subject, but totally fit in tow. What I'm doing. OK, I'll go there. Write that down. I have a separate list for the things that I need to focus on. Then I go back and look at those. I read him a lot. Sometimes I do it at the beginning of my session. Sometimes I do it as a way to unwind, prioritizing what's important. What do I need now? How can I make this color combination work for me? Where can I use it? Do I want to explore with it? If so, boom. I fit into my schedule, and that goal was gonna make you better. I'm gonna get that learning chart a little later on. It's gonna make sense to you, but this is very, very important that you take time to observe If you want to be gum that are artist, you have to look at what's going on. You have to listen to what? What's happening when you're painting, and then you need to make notes of it. And then you need to find a solution. What do you need to do to get better at this? And then you need to make that a goal. Okay. See you the next one. 8. Managing Sessions: Let's talk about sessions was happening. When you're walking your studio, that's what we're going. OK, but before I get into the good, the bad examples just to say For most of us, this chart here represents your life. Okay, these are blocks of time. Half of your time. It's red now. Don't pay attention to my legend here, cause this really only applies to these big circles. But let's say half of your life is devoted to work. They would get a work. We got responsibilities. We got pay bills. Thanks. A lot of our time when we're awake. Gone. That's got to go. That's the priority family. We got to spend time. We got to go home. Cook, eat, hang out with our kids on the weekends. Our family do things. Have a relationship with them. Very important. Okay, go on your domestic duties. Other obligations in our life. Grocery shopping, washing the car, cutting the grass, gone activities, taking your kids to or from soccer games, hanging out with family, vacationing, all that stuff. Okay. And there's plenty of other excuses and reasons, but gone. Okay, so this little sliver of white, if you're lucky, is your art time. You're your time to do whatever you want to say. Okay, but let's just say your artist, that's what you devote your spare time to. That's what you want to do. That's that's a reality check. OK, that's probably very generous. But that's the sliver of time you get okay, and hopefully that makes you understand and really be standing with that time like we talked about before. Let's go over here. To the good example, we'll get to the good example first, I won't be a buzzkill. Let's say this person is doing the right things, okay? They're setting those goals, experimenting with one little technique, understanding how valuable that IHS understanding that that in the long Ron developing one skill at a time having that go to subject, developing their techniques. Okay, they're devoting half their studio time to developing. There are. And that to me, this read that that represents for me. I call it doodling. A lot of people of you asked me What do you mean by doing? You know, I think about it. Some mindless thing. Now I think of it as I'm not painting finished art. I put a piece of paper up there. Experiment. So I'm not trying to do anything to sell. I'm not doing a commission. I'm simply experimenting with techniques. Okay, if you're trying to learn, if you're trying to develop your skills, you need to devote time and make those goals. And just simply don't try to paint but experiment, Play doodle go there cause that's where you're going to develop your heart, okay? Because when you're painting finished art, you're gonna tighten up and go back to what you already know. OK, so I look at that for me as a reward, have done my pay My dues. Now I want to be rewarded and see where it goes. But paying your dues, learning that should be half your time. Right? Observing. Okay, so this little green chart here, 1/4 of your time should be devoted to looking. Look at your art. What's going on there? Listen, write things down, make notes of what you need to do, but you should be looking observing. You see things in a transitional stage and you'll get a lot more out of it. Um, last one here is painting. This is a good example. So devote 1/4 of your time, The painting. Reward yourself, get the fruits of your efforts and see where that goes. And but this is where the work happens. This is where you build your strength, and this to me is how you should spend your time. So, for example, if this were a one, this represented one hour. So let's say you have one hour in the studio is yours. Devote 30 minutes to achieve Instant one of your goals. Two of your goals merged to work on those goals. Put them to use in that basic home base. Composition. Put. You know that easy thing, right? Like that. Go to subject and spend your time there. As you're doing that, you should be spending time observing what's happening. Stand back often. Back up from your work. Look at what's going on. Walk into your studio and spend 15 minutes observing your work, writing, making notes. Okay, and then you could be reward yourself with time to pay. Now this doesn't have to be every session, but I'm saying as a whole. So if you know this represented a week, they say it was six hours three right hour and 1/2 hour and 1/2. If you do that to me, that's a good It's a good balance. All right, This is a bad balance, okay? And this is very, very common. Artists simply want to paint. They wanna put something up there, create something beautiful, stroke their ego, show all their friends posted on Facebook. Look at what I did. And it's a shame, because 3/4 of their time they devote to painting. They're not developing their skills and not working on the things that are important. They only spend a little bit of time looking. Okay, so let's go back to the hour of this. Represented an hour, right? Five minutes, maybe looking at their art, if they're lucky, Right? Another 10 minutes. Maybe working on their goals, actually looking at the art with a reality check in mind. What's going on? Where my week. What do where do I want to go with it? Do I want to develop landscape? Do I want to work with crayon and this person just that they don't spend time there, and it's a shame, and I see it all the time, and, uh, this again will be a bad example, you have to spend time on the fundamentals. You have to spend time on the basics because that's where the work is done. That's the grunt work. It's the stuff that Ah lot of people don't like doing. They're not trained to do it. And with art, for some reason, artists just want to be rewarded with a painting but doesn't really take you anywhere. So if you really want to learn really want to explore and expand, you have to give back to this. You have to get back to the goals and development. You know, Where do I need to go? And to me. And I spend you know, a lot of my time working on my goals, experimenting, playing doodling on don't mean doing again is a mindless thing. Is very focus eyes so important, you know, to do this. Okay. This is not very important. People painting finished art isn't a big deal. Think about this a little bit. Think about your sessions. How are you dividing your time? What? What? What are you focusing on? How are you dividing this up? And then you know So you see where it's at, and then see you know, if shifting things around a little bit helps you and developing your heart. Okay? Hope you enjoy the lesson. See you the next. 9. Art Chart: the art chart. So this is a chart that is tracking your progress if you're doing things right, Okay. What do I mean by that? You're setting goals. So let's say this is today. All right, So we got a little black dot there your goal. Mixing charcoal and acrylics and you work diligently. And And you you achieve that goal. Put that technique into a subject and you're working. You're working. You see your art go up and then kind of flatten out a little bit, but you're working your you're setting those goals, and you're building that foundation. Now, you start working on your other goals, and boom, you're going to get better. You're gonna kind of work on that goal. Build it up, build it up and build that base. Right. So that base, the save this is like today, and this is three months from today and you worked from here to here really? Building up your technique for two or three months. You build up this base right here, and that's your new foundation. Okay, You started out down here and you got better and he build up your foundation and you kept working on your goals and you got better and you build up your gold. He build up your new foundation That's higher than that boom. And you get your next going. You keep working and boom, you get better, Okay? You build up that foundation and when what happens is you know you start to achieve your goals, but then realize, Hey, there's more to learn. There is more to see, But as you as you grow, you get better. You achieve more goals, your art gets better. You keep climbing that chart, then you start to see differently. You see things now up here that you didn't see down here, so you realize that there's more to learn learning and getting better is a trap. But the deal is, the more you learn, the more you realize there is to learn. And when you're down here, you can only see here you can see that next step up and then you see that next step up. You don't ever see what's over here when you're down here, right? So getting back to the trap, you know you're climbing, we're going up, we're learning we're getting better. And then you realize, Hey, I've got Ah, problem. You observe these things. Maybe you regress a little bit while you build that up the work on that problem. And then you said those goals that takes you right back up with this foundation you built from achieving these goals and getting better are gonna protect you. They're going to keep you at a kind of this consistent level until you break through to the next level. And as you get better you see that next level now, got next mountain you need to climb in order to achieve. You know, learning never really stops. You never stop growing when you should never stop setting your goals. You know, you continue to develop, and then what happens is as you're learning excuse me, and you achieve these goals. Your spike, right? So if I were to draw another example here, let's say you're going from this point to this point. And so you kind of set this goal to do this, you'll go appear and trialing this you'll go down and your spike like that and that spike up here is what you start to see. It's kind of interesting. So you're working on this golden To achieve something, you're building up this base. You regress, you come back, you keep working at it. And all of a sudden, one day you're Argos boot, you go. Whoa, That was awesome. How did I do that? You know what's going on. And he may boom come back down here, regress. But you've got that base that's protecting you, that street, that consistency that you develop that that protects you from getting this going down Hill . We don't want to do this. We want to do this. You want that trajectory to be going up. But you see that spike like, Oh, that was awesome, you know? And then But, you know, you come back down here cause that's a little tease arts like, Oh, here's a little something for you boot quite there yet, but I'm not gonna give you that every time. But you get that goal. And now you've been teased. You saw this? You didn't see it before, but now you're seeing it. You saw it. You felt it. And that's where you want to go next. Okay. And that's what these are these air representing. Okay, you get better. And then you Well, this is my next go to get here. And as you're working on, that goal is common to regress. And that's kind of an interesting thing about learning, you know, have a background in teaching ballroom dancing. I talked competitive dancers for about eight years. I learned dancing. My mother taught me how to ballroom dance, and as a student and as a teacher, I realized when it comes to things that are physical arts, very physical is very visual to, um you know, you you get exposed to things and then it kind of like throws you for a loop like, Oh, well, I got, I got I need to work on this and there's kind of a regression period or contraction, and you have to develop something. And I always felt like I got pushed back a little bit when I was exposed to something that I saw it my students to, you know, they exposed them to a technique or whatever. Let's just get back toe art. And so I'm trying to say you're exposed to a technique you're trying. You get pushed back because you're like you gotta process this now you're like, Oh, I'm not going to wear. You know, I'm not painting. I'm not doing something finished. I'm not creating these beautiful art that see on the Internet or in the galleries, and that's okay, um, you have to fall back now, regress a little bit, But you're gonna come back to your foundation that's gonna protect you because you've done all this work to get there and you practice that skill and you develop it and then you'll see a spike. You'll come down and you'll see a spike a start to get better. And that's the way learning ISS. So keep that in mind As you learn. Let's say you have a period where your inconsistent and things aren't clicking or you get lost and other stuff. You're not setting your goals. You're just not your vague with everything, you know that. Then you're gonna come up even though you're not getting up here, you really take this. Died down here, you're gonna be protected. Since you've done all this work by this foundation of setting these goals because these things he worked on you built up, you own them. Okay, But, um, you know, and then you kind of get back in there. You start working and you build it up and you keep on going. Okay? So that's how I want you to think about goals. That's how I want you to think about. You have the positive relationships channeling your moves, channeling your energy, having those goes to subjects that help you build from gold. A goal that home base. Right. All of this is important. And the big scheme. And this is the big scheme. Okay, This is what you want. You don't ever want to try to go from here toe up here because it takes a while to develop all of these. Okay, so if I put these goes down, I'll put 123 45678 You get the point, right? So all of all of all the while, you have to understand that your art, your growth, your evolution, it's all right here. You can chart it like I did here. Art of learning. It's a very complex subject. But if you break it down, you have a healthy relationship. You understand the intricacies, the subtleties and and the important things. The important steps you need to take learning is very interesting. And it could be very, of course, very rewarding. Okay, Thanks for watching. And I'll see you in the next one.