I added, Right now, when we look up at the hills, we see burnt and blackened trees and fields. We need color, to bring a smile to our faces.

We need art in the world right now, for so many reasons! So… remember, if your own inner critic starts bossing you around, send it somewhere else (a walk to CalMart to get chocolate? A nice, long hike up the Oat Hill Mine Trail?). Maybe we can hand outer critics a pen, pencil, or paintbrush, and say, “Here. Give it a try.”​

Remember that the art you make does not need to conform to anyone else’s tastes or trends. It can serve different purposes — it can be highly personal, just for you; it can be work you want to share and show. But the main thing is, it is yours. And it matters.

Here are some of the results — at the top of this post, from left to right:

• Pencil drawing with shading
• Pencil drawing with shading, using a stump (tortillion)

And just above, from left to right:

• Pen and ink drawing with crosshatching
• Loose, gestural pen and ink drawing with cross hatching
• Brush pen contour drawing with shadow

If you don’t have the time or space to paint, quick sketches of whatever you’ve got nearby are a great way to keep making art. And the more you do, the stronger your drawing muscles will get. 

(A neighbor on NextDoor, online, said she could send her inner critic hiking up the Oat Hill Mine Trail here on the edge of town, and let it strengthen its calves — and exercise her drawing muscles at the same time. How’s that for staying in shape during quarantine time?)

The more you draw, the more it will help you see things closely. So, whatever you feel like painting — whether it’s pears or oak trees; people, dogs, or cats; vineyards or shoes (hey, the latter make good subjects for drawing); or the most glorious imaginary thing you can think of — developing a drawing practice will make your paintings stronger.

Just think: you can work out your drawings and paintings, your drawing muscles, and your inner critic’s calves at the same time, all from home. How’s that for an exercise program?

Now... where's my bamboo pen? I haven't used that in a while.... 🙂

When I thanked my Swedish cousins who sent photos, as we exchanged photos in messages, and told them I’d be printing the photos for her, several of them sent lots more, with their love. My little photo album turned into three volumes, with artistic covers and title pages! ​

Many of us are now in lockdown, shelter-in-place mode, to protect ourselves, our loved ones, and everyone else in our community during the COVID-19 pandemic. As artists and creative people, we are lucky that we can continue to do our creative work at home, maybe on a smaller scale. Consider it the gift of time, and give yourself an at-home creative retreat, an art retreat stay-cation. 

And lucky us, that we have so many resources online that we can turn to during this time! Here's a list of resources you can check out (I will add to this as I find more). My thanks to all my students who shared resources they came across, to share them with you!

Visit Museums Online:
Stuck at Home? These 12 Museums Offer Virtual Tours You Can Take On Your Couch: https://www.travelandleisure.com/attractions/museums-galleries/museums-with-virtual-tours?fbclid=IwAR3qdLHjlT-FqZOt_DSGD-IMmwUggwsTt2Lt_UJ6nDA7N7ZH85z3GvuA7D8

​Podcasts about all things art-related
Podcasts from Plein Air Magazine:
https://www.youtube.com/user/PleinAirMag/videos

The Savvy Painter Podcast:
​https://savvypainter.com/the-savvy-painter-podcast/

​Videos:
On YouTube, Bob Burridge's pep talk about the times we live in (and check out the many videos he has on his channel, too):
Bob’s Pep Talk  https://youtu.be/rhwxp96tEKc

Plein Air Magazine offers free videos of instructional Facebook Livestreams, along with articles and links to the podcasts listed above:
https://www.outdoorpainter.com/

On Amazon Prime, The Artist in You — a new series all about mixed media, and an experimental, playful approach to it, with Jenny Muncaster:
https://www.amazon.com/gp/video/detail/B077SYDQ2J/ref=atv_dl_rdr?autoplay=1

​Free online class with values vs color, with Matt Smith from Tucson Art Academy:
https://tucsonartacademyonline.easywebinar.live/registration-1

For children:
On YouTube, Lunch Doodles with Mo Willems, an engaging and encouraging children's book author/illustrator who sits down every day Monday through Friday to doodle with his viewers, and share how he makes his drawings, his characters, and his books:
https://www.youtube.com/resultssp=mAEB&search_query=lunch+doodles+with+mo+willems

Resources to De-stress and Release Anxiety:
Hay House is sharing free resources to help us all de-stress and reduce anxiety, in the form of podcasts, videos, ebooks and downloads, and articles: 
https://www.discover.hayhouse.com/freeresources/?utm_medium=email&utm_source=9988982_hh&utm_campaign=email_offer_free_resources&sp_rid=MTQwMjY0NTc5NjY4S0&sp_mid=64342400&spMailingID=64342400&spUserID=MTQwMjY0NTc5NjY4S0&spJobID=1842394927&spReportId=MTg0MjM5NDkyNwS2

Have you ever unwrapped a new canvas to discover that it was a little dented? Or perhaps you have one that's gotten dented because something was leaning against it?

Here's how to fix it:

1. ​The canvas itself is probably stretched a little loosely to begin with. You can use "painter's keys" to tighten it — also a good idea (to be addressed later) — but that won't fix a little dent.
2. Turn the canvas over, and spread a little water on the back of it, in the dented area. You can use a mister bottle if you like, or just pour a little water directly on it and spread it with your hand.
3. As the canvas dries, you'll notice how it tightens up. The dent should tighten up and disappear.
4. If the canvas is still a little dented, repeat (you may need to use a little more water, too).

Remember: never stack anything against a canvas or a painting that will dent, scratch, or pierce it — and then you won't have to worry about repairing it later.

1. Send your inner critic on a vacation (because you know it's working waaaay overtime.)

​​That critical voice can stop you in its tracks every time. It's not helpful, but it means well.... So, thank it kindly for its contribution. 

Then send it on a well-deserved vacation, to a remote location of your choosing. An oasis in the desert? An island in the Pacific? A beautiful spot in the Yukon? You decide. And — be very clear here — it can NOT come back for whatever length of time you specify. How about a month?

If it shows up again, send it packing. Be FIRM. Then enjoy the vacation you are both getting.

2. Creativity needs to be nurtured. Like good soil for farming, sometimes you need to let it rest. Allow time to be fallow.

It's out of the fallow time that the next new ideas come... they just need time to percolate, time to gestate. So give it a break... and do something else.

Clean your studio. Build canvases. Gesso panels. Inventory frames. Do all the routine studio maintenance kind of stuff that you never find time for in the throes of a creative whirlwind. Time for this is a good thing. You can learn to look on fallow time as a blessing.

3. Shake up your routine! Do something new, different, out of the ordinary — something that puts you in a completely different frame of mind and heart.

What is it that you just never think of doing, or never manage to find the time for? You can:

• ride a bike
• visit a museum
• go for a drive in the country
• spend time on a hobby that's always sounded interesting
• take yourself on a photographing trip
• learn to scuba dive
• go see the animals at a county fair
• go for a ride on a zip line
• check out thrift shops in a city at least an hour away
• visit all the tourist destinations in your area that you've never seen
• or... what can you think of?

Sometimes you just need to shift your perspective, and doing something completely out of your ordinary routine can be just what you need.

4. Go for a walk in nature. 

It's amazing what walking in a forest, sitting on a creek or riverbank, looking out across a lake at sunset, or gazing at ocean waves with beach sand between your toes will do for your psyche.

Don't just go there — experience it. You'll feel refreshed and rejuvenated, in heart and mind and soul.

5. Count your blessings.

Literally. Count them up, no matter how small. Every little thing matters. How high can you go?

And then give thanks for each and every one. It's amazing how much we can find to be grateful for, when we look for it, even in the hardest times. It's kind of like stopping to smell the roses.

Have you been feeling stuck? Try these! You'll be amazed at the difference doing them will make.

A week ago last Saturday, a fire — later named the Valley Fire — started in Lake County, on the other side of Mt. St. Helena from where I live. It jumped from 40 acres to 1,000 acres in less than an hour, and continued to spread far faster than anyone could have imagined, sending over 17,000 residents running for their lives, including friends, acquaintances, and current and former students of mine. Like so many others, I searched online, hoping and praying, to hear whether they had made it out safely, whether they had been able to take their pets with them, and whether they had any idea if their homes had been spared.

That first night, the sky glowed red above and behind Mt. St. Helena. It was both beautiful and terrifying. My neighbor suggested we write lists of all the important things you need, so we wouldn't miss anything if we had short notice to pack up the car. But we were lucky; the fire didn't come down our side of the mountain.

On the internet, people had posted terrifying photos and videos of apocalyptic scenes, of driving down roads with fires burning on either side, of tall tongues of flame leaping into the sky as gas or propane tanks exploded, of trees becoming tall, tall torches, and of darkened skies thick with soot and smoke and burning embers.

Then, on Tuesday, I drove to the de Young Museum in San Francisco, to see the Turner show (J.M.W. Turner: Painting Set Free) before it closed. Born in 1775, Joseph Mallord William Turner was one of the greatest English painters of the 19th century. Whether art historians agree with me or not, I think of him as the first abstract painter. Although he painted scenes and events, current, historical, and mythological, the scenes and events often seem simply a reason to paint light and storm and fog and fire....

And there, in the first gallery past the entrance, was a wall of paintings of fire. 

Turner didn't have a camera or an iPhone to record the terrifying fires of his time; he had only his watercolor paints and paper. The description of these three watercolor sketches said that the fire, which began October 30, 1841, burned for several days, and that most likely Turner sketched these on the other side of the moat, standing in the enormous crowds that had gathered.

Just down the wall a bit from Turner's watercolors of that fire was an oil painting of another fire, that of the Houses of Lords and Commons in 1834. Here, the flames rise high into the night, with an intensity of light and thick clouds of smoke. Crowds gather on the near shore, unable to stop it, able only to witness the fury of the inferno.

Turner's colors have faded considerably since he painted these, so I saturated the image above to see something of what they might have originally looked like. It reminds me of the apocalyptic videos I watched online, and the photos of the raging flames.

Like the crowds gathered in Turner's painting, we too stood and watched. I don't know how many others thought of those horrific images from the Valley Fire as they looked at these paintings. I did, and I thought of the ghastly power and ferocious speed and damage of the blaze. Just like the witnesses Turner painted, we witnessed the devastation he recorded in the painting, and we witnessed the devastation of this week's fire in photographs and videos. 

But some people saw it firsthand as they ran to their cars and drove to safety; or as they warned residents to leave, saving those residents' lives, and as they fought the fire so valiantly. 

I've been learning, as each day goes by, who among my friends has a home to return to, and who does not. 

I brought donations on the first Sunday morning for the evacuees, and though it was little in the scale of things, every little thing adds up. Our friends and neighbors have been devastated, and need our prayers, our thoughtfulness, our kindness, our generosity, and our help. There but for fortune, it could have been any of us.

To donate items to the evacuees who are now returning to Lake County, you can follow this link to find where to take donations:  http://www.lakecountylac.com/donation-centers.html

To give a gift of money, there are a number of organizations you can contact, including Redwood Credit Union, who will ensure that 100% of donations will make it directly to victims of the Lake County fires. https://www.redwoodcu.org/about-rcu/news-announcements-specials/rockyfire

My thanks to Santa Cruz artist Linda Huffman, who took photographs of the exhibit and shared them with me for this blog post.

Far more often than I'd like to see, new students bring in images of photographs (or paintings) they've found on the internet that they want to copy. Or they tell me about teachers they know who teach students to copy other people's paintings.  And then we have the talk about why they should NOT copy someone else's artwork.

So, why not just copy?

First, there are legal reasons. All visual artists, including photographers, own the copyrights to their own work. They have the choice to license the work for a fee or give permission for their work to be reproduced, if they like. 

Taking their work is intellectual property theft. And that's not okay.

Just because you see it on the internet doesn't mean you can use it without their permission. Artists make a living by selling their work, and copying what they do isn't a compliment — it's taking bread out of their mouths.

Apart from the legal issues, there are ethical issues. It's not ethical to copy someone's work and call it yours. 

If you really, really want to, you can always ask permission. If you're granted permission, ALWAYS credit your original source, and share the results with them.

If you want to work from the painting of a long-dead old master, take it in a new direction, but include the artist in the title. You can call it "Homage to Rembrandt" — or whomever. Acknowledge your inspiration.

Having had to deal with a violation of my own copyrights, I can tell you from experience it doesn't feel good to find someone has copied your work. It just feels like you've been ripped off.

But, finally, there is the basic question about why you want to paint to begin with. What is your reason for painting? Is it to get in touch with your own creativity? To find joy in the act of creation?

If that is why you paint — as it is for most people who want to make art— you cannot be truly creative if you are just copying someone else's work.

There are so many things to inspire your work, and to provide you with images to draw and paint. You can, for instance:

• Look around your town for interesting buildings
  
• Sketch people at your neighborhood coffee shop
  
• Stop on the side of the road to take photographs of roadside landscapes, or bring your easel along and paint a roadside scene
  
• Draw or paint a self-portrait
  
• Look at the little, simple things around you, and create simple still life images
  

Beauty and inspiration are everywhere — you need never be at a loss for something to paint or draw.

You will be inspired by the work of other artists, of course! Learn from what you see! When you see work you love, ask yourself, "What is it that I truly love about what I see?" 

Is it the color palette? The handling of the paint? The subject matter? A particular way of framing the composition? Identify it, whatever it is — and try it out in your OWN work.

There is only one YOU in all the world. There is no one else who can say what you have to say, in the way that you can say it. 

As you develop your skills, you will — and should — try many things. Learn from everything you see! 

Explore! Practice! Fail (it's okay; it's a necessary part of the process)! Discover! Grow!

As you grow, you will find your own visual voice, your style, your spirit, your genius. You will discover who you are as a painter.

If you work from photographs, working from your own photographs is part of the creative process. Trust me; many of my best paintings have come from amazingly bad or mediocre photographs. It's all about what you DO with it.

Someone else's great photograph is already art. What more can you say about it visually that it hasn't already said?

So here's my advice to my students: 

Take your own photographs.
Make your own still life setups.
Find your own models.
Learn how to make a great composition.
Then paint, paint, paint, and draw, draw, draw.

You will find your OWN voice. Allow yourself to be influenced by artwork you love. But your own artwork? Make it truly your own work. And THEN you will be an artist.

Trust me: the journey is worth it.

Has this ever happened to you? The paint beads up and won't stick to the canvas? (We're talking acrylics here.) When it happens, it's easier to see when you've got more water in your paint. So, what the heck is going wrong, and how do you fix it?

The problem isn't with your paints, it's with that sweet little canvas that you got at such a good deal.... Every ready-made canvas you buy comes pre-primed with gesso (pronounced JESS-oh). Gesso is different from plain white paint, in that it has gluey properties. It covers the surface you're going to paint on, and its gluey properties help the paint stick to the surface. (In years and centuries past, gesso was actually made with glue from rabbit skins.) Most often you'll find white pigment in it (though you can also find black and clear gesso for acrylics).

In order to cut costs and keep the price low on those value canvases, sometimes manufacturers will thin the gesso down to the point where it just doesn't stick all that much. So although the label may say double-primed or triple-primed, the gesso that was sprayed on the canvas was thinned so much that it just doesn't do what you thought it would. 

So, the solution? Prime your canvas with a nice coat of gesso. Some people like to apply multiple coats, let each coat dry thoroughly, and then sand it before applying the next coat. Sanding is a nice way of taking out the brush marks left by the gesso when it's thick — if that is important to you.

Then, when it's dry, you can get back to painting. Have fun!

One way to start off a mixed media painting (or any painting, if you want) is to create an interesting underpainting. In this case, I used four successive layers of the same color. Each layer deepens the color and obscures the white of the canvas more. You can try layering over different colors, too, including layering over a solid color underpainting on the surface.

Depending on the effect you want under your painting, you can stop at any point. Any of these surfaces would have worked as a good underpainting — it's all a matter of your individual choice.

One of the many wonderful features of acrylics is their quick drying time, which allows for layering like this, both to create an interesting underpainting and to create an interesting surface of the developing and finished paintings.