Production

[Julie Deane]

There's a thought for my summer break: try to see how many portraits I can do in my six-seven weeks off. Sure won't be anything like Sargent's in quality, but it's an interesting numerical goal to set for myself.

Were those plain head and shoulder portraits he did or full-length works in that length of time? That would be interesting to know! If they were simple head and shoulders, then it becomes a little less mind-boggling.

[Marvin Mattelson]

Time alone is not the key, however, time well spent is. Working hard is certainly a major component of getting better but being well directed is equally important. Sargent spent years under the wing of Carlos Duran, learning how to paint. Doing something wrong over and over only makes you more proficient at doing something wrong.

Why bother going to a workshop anyway, except for the guidance? When people take workshops they are looking primarily for direction. Otherwise, they can just stay at home, hire a model, paint like the Dickens and save themselves some bucks.

[Carolyn Ortiz]

I can relate to Peter and Steven on this. When I've taken a break from art, which could be months, the work I do when first getting back to it has been some of the best work I've ever created! I really think this is something unique, and everyone needs to find what works best for them. I know I tend to burn out pretty quickly if I force myself to work on art especially when not feeling like it.

Perhaps being an extremely observant person, whether there's a canvas in front of you or not, is one of the most important tools for a great painter?

[Michele Rushworth]

I didn't paint or draw at all for seven years, when my kids were small. This caused me, more than anything, to lose valuable time in my growth as an artist. (Yes, I had different, and very important priorities during those years.) I don't think I got better or worse because of that break, I just let a lot of time go by, focusing on other things.

As for being observant, I think I have two ways of looking at things. During normal activities I am completely unobservant and can't even remember if friends of mine have mustaches or wear eyeglasses. However, when I'm looking at something in order to draw or paint it, my brain switches into a totally different way of seeing. Then I can tell you exactly the color of the light glinting off that person's eyeglasses, and which four different earth colors of paint I'd use to represent their mustache.

[Steven Sweeney]

This caused me, more than anything, to lose valuable time in my growth as an artist.

If I could figure out how to "lose valuable time" as productively and amazingly as you have, Michele, I would quit painting and spend my time ghost-writing your book. For the usual commissions and expenses, you understand.

If ever there were a stellar model of time well spent off-vocation, and then returned with renewed excellence, you must be that model. Congratulations again, and cheers.

[Michele Rushworth]

How kind of you to say those things, Steven, but, really, any gains I have made have happened since I got into an intense schedule of study and painting about two and a half years ago.

To see where I was at that point, just take a look at the (awful!) very first painting that was submitted to the Oil Critiques section of this forum. I did everything wrong -- bad reference photo, very bad color, etc....

In those two and a half years I've painted at least twenty hours a week, and spent another five or so hours each week reading about painting, both online and off. Plus I attended two workshops, a national portrait conference and bought and studied two portrait painting videotape sets.

I don't think any previous learning I had was silently percolating during my seven year sabbatical. I think I just didn't know very much back then, and I was very much out of practice.

My dedication since I started painting again has been due to one simple fact: If I don't succeed at this career I might have to go back to a high tech sales job, which is what I did in years past. I work hard at painting so I don't ever have to do anything else for a living!

[Steven Sweeney]

It was all, always percolating, which is why and how you've arrived at such an accomplished arena and practice.

Please stay on board for a long time and teach the rest of us.

Congratuations again, and cheers

[Chris Saper]

If I don't succeed at this career I might have to go back to a high tech sales job, which is what I did in years past. I work hard at painting so I don't ever have to do anything else for a living!

How dearly I relate to this. Part of my driven persona is the abject refusal to go back into hospital administration to earn a living.

My thought for the week (I give one every week to my students):

Don't use the wrong yardstick to measure your progress.

This stuff isn't a race, and it's not about how much the dissertation weighs. I lost 17 years building an executive career. So what? The time is gone, and although I think I might now be a much better painter, I'm not sure that is so. The years may be lost, but I think the basis is gained. In retrospect, I don't think I would be able to view my portrait struggle in the same light, had I not had those intervening experiences.

When I started painting portraits, I learned to use pastel. When I decided to learn how to paint in oil, I decided to make myself paint 100 portraits in oil befoe I offered them to clients. I probably only got to about 60.

Having had the privilege of meeting and painting with Michele, I do know that I very clearly relate to the nature of engagement with the (her) work.

There is much that is necessary, as it would be in writing, singing, music, etc, in putting in the countless hours of hard work - but I do agree that the work has to be properly focused. At least for me this means periodic, and carefully chosen workshop study, with my brain in the "open" position.

[Henry Wienhold]

I agree practice makes perfect, the more you do the more proficient you become. Although I don't consider painting work, I consider it a joy and a pleasure, because that's what I want to be doing, so for me it doesn't seem like work. When I'm painting the time just just zips by so quickly I can hardly believe it. So I spend a great deal of time in joy and pleasure. Shame on me.

I see work as something you do in order to survive, but you would rather be doing something else. With all of the jobs that I have had in the past my mind was always thinking about painting. I couldn't wait to get home and pick up that brush.

If a person is able to love what they are doing and enjoy the process you're not working, you're living life to the fullest.

[Kimberly Dow]

Steven,

My husband would so much appreciate your comments. It's his only complaint concerning my obsessivness. The day just seems so short - it flys by when painting and if I'm in a good grove it's pure torture to leave! Now that I have whined - it's good common sense - when your spouse of 16 years still wants to go to lunch with you more than anyone else you should go ahead and go. Reality check. Thanks Steven! If your ever in Uvalde I'll have my husband take you to lunch (maybe I'll even go

I suppose this is a bit off subject, uh, sorry!