Mirja, Author at Mirja Vahala Art Studio

Confidence and Creativity

Sunshine, nature’s confidence booster, sends these flowers skyward. (Rudbeckia, 14×18, acrylic).

As artists we work hard on skill building, productivity and motivating ourselves. We battle against the busy-ness of life to carve out time when we can focus and concentrate. There is another type of distraction besides ‘life’ that can debilitate our creativity as well. In the book by Mike Byster, titled The Power of Forgetting, he writes about confidence being crucial to concentration. When we are in a state of self-doubt, we are unable to to be effective in our work. It requires confidence to focus, to make less mistakes, to learn and to be in the flow. Flow and doubt are a very incompatible couple.

Being aware of that uncomfortable feeling in the pit of our stomach, our heart or our mind is a good thing. With awareness we can take a stance against doubt, shame, victimhood and defeatism. These feelings, born of negative thinking, are so destructive. It is important to create without getting in our own way. For me, it is like a battleground. I have to tell those thoughts to back off, out loud, and rudely.

By serendipity, in the midst of writing this, I read Noah Lukeman’s introduction to his book, The First Five Pages. In speaking to writers (my mind swaps this for painters), Noah states: “….to reach the highest levels of the craft, above all you’ll need confidence. Unshakable confidence to leap forcefully into the realm of creation…confidence is just the first step. The craft of [painting] must then be learned. The art of [painting] cannot be taught, but the craft of [painting] can. Vision itself is useless without the technical means to record it.”

Richard Schmid, author of the regaled Alla Prima, Everything I Know About Painting, wrote: “Self-doubt is utterly crippling to painters. Nothing will mess up our efforts more effectively than believing that we lack ‘what it takes’…Therefore, always give yourself the benefit of the doubt. Have confidence in the abilities you already do have.”

With skill, vision and self-worth, the twin of confidence, we can climb the heights. From that high place we can soar with the wonders of creativity, while filled with child-like abandon and a complete sense of purpose.

PS Unlike in North America, some cultures have no concept of self-hatred…

Speed Painting with Light and Shadow

Master Artist Workshop with Liz Wiltzen

The goal of the workshop:

to accurately draw the shapes of light and shadow
to choose what shapes belonged to the light and what shapes belonged to the dark
to block in the darks (including midtones for simplification) with a colour such as Transparent Red Iron Oxide
to block in the colour, shade and temperature of the shapes, maintaining the integral design of lights and darks

We did the above within 20 to 30 minutes per pose.

The result of this three day challenge was an improved ability to see and to design. We discovered that zooming in, showing less of the figure, worked well. We learned to better see the negative space as integral to the design, not just the form of the figure.

We began with one-minute blind gesture drawings using thinned, fluid paint. Some of us used acrylics and some used oils. We held our brushes near to the end, and kept our movements loose and flowing. We stood while painting to allow the full movement of our arm.

Each drawing was wiped off before beginning the next. We followed the blind gestures with looking at our canvas as we drew, beginning with one minute drawings and eventually moving into the 20 plus minute sessions.

Liz Wiltzen was an amazing facilitator, shining a light on each individual’s work in a way that promoted progress.

As a side note, Liz suggests the book, ‘Creative Illustration’ by Andrew Loomis. During her attendance of a Kevin MacPherson workshop he made the comment of Loomis’s book being a must-have for painters. I have a copy of the book at the Mirja Vahala Art Studio; Loomis has fascinating design methods.

Following are a photo of Liz demonstrating, plus an example of my efforts:

Setting up to Paint Outdoors

Having a system for packing your art stuff for painting outdoors will help you get outside. This is a good time to pack light!

The simplest way:
Find somewhere undercover or in the shade to paint. Once I found a great spot under a bridge that worked well. Otherwise make sure your canvas is shaded. I often use an art umbrella but watch for gusty winds.

My setup: tripod with camera mount, my homemade palette holder for oils (and sta-wet palette for acrylics). On the side is my umbrella holder.

Here is a list of the gear I packed up to 7,200 feet…

Pack light:
• A light-weight Tripod Easel with canvas holder crossbar OR tripod with camera mount and an attachable palette.
• Paper Palette Pad with thumb hole – if you have a palette holder, you could use a 11 x 14 sta-wet palette for acrylics; for oils use palette paper or the holder.
• Water or Thinner Container
• Medium – if it’s really warm I use glazing medium
• Basic Brushes – I bring 2 or 3 flats and one round. I rinse them well, or wipe off most of the oil, put them in a plastic holder and clean them better at the studio. For acrylics, I try to get them as clean as possible with water and brush cleaner.
• A Limited Palette – Cadmium Yellow Medium and Light, Phthalo Blue Green Shade, Cobalt Blue, Quinacridone Red, Pyrolle Red Light, Titanium White
• Rags, paper towels or blue shop wipes
• Gessoed Canvas cut to standard sizes, plus 4 inches extra, which allows you to stretch onto stretcher bars later. The taping method is great for air travel too.
• 12 x 16 panel on which to tape canvas
• Panels or Canvases if convenient
• Bungy Strap to hold paper towel
• Painter’s Tape
• Plastic Bag for garbage
• Squirt Bottle for acrylic painters
• Camera
I loop my knap sack onto my tripod to weigh it down.

Oil painters:
Bring wax or parchment paper to cover your painting if it’s going into a suitcase later. The paint may get a bit squished, but I usually touch up paintings a bit in the studio anyway. If you use Liquin or Walnut Alkyd Medium your paint will dry more quickly.

More stuff:
If you don’t have shaded area or cover, place your easel in a way that makes your canvas shade your palette. Consider that you have an hour to 90 minutes before the light changes and moves too much. Otherwise you can use a painting umbrella. These are great as long as it’s not windy; they add 3 pounds to your pack. Sometimes there is no shade or cover. I was very glad for the umbrella while painting at the Cannon Beach Plein Air Event.

Mirja’s Favourite Art Books

The Simple Secret to Better Painting by Greg Albert
Creative Illustration by Andrew Loomis
Daily Painting by Carol Marine
Alla Prima by Richard Schmid
Confident Color by Nita Leland
Capturing Radiant Light & Color Using Oils and Soft Pastels by Susan Sarback
Paint Red Hot Landscapes that Sell by Mike Svob
Two Books in One Watercolor by Joe Francis Downden
Mastering Color by Vicki McMurry
The New Acrylics by Rheni Tauchid
The Painterly Approach by Bob Rohm
A Painter’s Guide to Design & Composition by Margot Schulzke
Becoming a Successful Artist by Lewis Lehrman
How to Discover your Personal Painting Style by David P Richards
Brushwork Essentials by Mark Christopher Weber
Painter’s Guide to Color by Stephen Quiller
Design & Composition Secrets of Professional Artists by International Artist
Life Drawing by Robert Barrett
Light, How to See It, How to Paint It by Lucy Willis
The Artists Way — Carlson’s Guide to Landscape Painting by John F Carlson (Don’t be stopped by the lack of colour images. This is a great resource for landscape artists.)
The Natural Way to Draw by Nicolaides
Drawing on the Right Side of the Brain by Dr Betty Edwards

The Growing Artist

As the wise Eckhart Tolle says: Do things with one or more of these three things: acceptance, enjoyment or enthusiasm. Be awake in what you do. Replace wanting with enjoyment.

I also suggest replacing wanting with doing. Do a bit everyday towards your goals, enjoy the doing, and enthuse about the outcomes.

The growing artist:

— Accepts failure and learns from the experience —
— Understands that there are no mistakes —
— Experiments —
— Creates series —
— Paints! Draws! Practices! —
— Works with other artists —
— Is open to feedback —
— Agrees with feedback —
— Disagrees with feedback —
— Lets go of the outcome —
— Learns something new every day —
— Focuses on the good —
— Is kind to oneself —
— Shares information generousl —
— Enjoys challenge —
— Enjoys the process —
— Accepts times of boredom and frustration —
— Allows and expresses feelings —
— Uses fear to grow —
— Is okay being uncomfortable —
— Gets over ones self —
— Laughs easily —
— Does not compare or despair, is not conceited or competitive —
— Celebrates successes —

Confidence and Creativity

Speed Painting with Light and Shadow

Master Artist Workshop with Liz Wiltzen

Setting up to Paint Outdoors

Mirja’s Favourite Art Books

The Growing Artist

Acrylics for True Beginners video with Mirja Vahala —

Watch it now on YouTube.

Subscribe to the Mirja Vahala YouTube Channel.