Working through a self- created problem.

All the time Marjorie, I think I am a bit of a perfectionist and I do get very frustrated because the image/idea I have in my head fails to materialise onto the paper! I can't leave it alone and sometimes have two or three attempts at something, often the first effort was the best! I'm sure it's all part of the learning curve and we shouldn't be so hard on ourselves.

I hardly ever re-work anything as I think with watercolour it loses it's heart when over fiddled with. I am sure you can do rescue jobs in other mediums. If I produce something that I personally don't have a good reaction to, it goes in the bin, or gets turned over and I use the back of the paper as scrap for trying out colour combinations, etc. I also try never to paint something that doesn't compel me. If I try, I know my heart isn't in it and I have no vision about what I want the finished painting to feel and look like. Those ones are usually the ones that fail for me. I have a slightly different problem in that I like to leave white paper and am compelled to do so. This means that as I approach finishing a painting I have to really slow down and consider each brush stroke more carefully as just one extra can prove to be one too many and I could end up losing the white paper just where the painting needed it. I don't plan paintings or do preliminary sketches (which is actually daft of me considering what I have said above!), but I find I am better driven by gut instinct. However, I don't entirely trust my instincts all the time, hence the going slow at the end of a painting and considering more carefully where I am going with it. None of this is a foolproof method I can tell you - it goes pear-shaped all the time. The only thing that doesn't vary in my painting is that I won't try and rescue a painting that I feel has failed - it just depresses me and the offending work gets the bum's rush into the bin!

Well, we all do it - it matters with watercolour, because it's transparent (generally) and fiddling with a watercolour means it usually gets darker and darker and muddier and muddier. I don't think it matters anything like so much with acrylic, and in fact one of my more successful ones evolved over a week or so of painting out and re-drawing just about everything I'd first laid down. I didn't enjoy it much when it was going wrong, but certainly did when it started to go right. You can also re-work oil paintings, but .... it's nowhere near so easy as people might think; it gets a bit easier as you gain experience, but I have vivid memories of trying to turn an oil painting around and getting to a stage at which I was just slapping wet mud with a clogged brush. The two reasons for that are one, using too many colours on the principle that if one isn't working for you another couple mixed in with them might, and two, that oil paint needs a rest ... certainly of a few hours, preferably for a day or more; of course you can paint alla prima, just get the paint down and say what you want in one coat: but I don't work like that usually: if you use a layered approach, give one layer a chance to settle and "prove" a bit, or all you're doing is adding more colour to an existing coat, and inevitably muddying it. And if in doubt - scrape it off and start again: there are times when all labour will do is make your painting look laboured.

My teaching experience has made it very clear that most of the difficulties people find themselves in stem from just a few factors. Having a mental picture of the finished painting before you start. There is a need to put emotion and feelings aside and adopt a method of working that does not dive straight into a finished piece of painting. Thinking that photographic qualities exactly is the golden standard to aim for. Seeing as an artist is different and something that requires discipline. An artist looks for shapes and the relationship and arrangement of shapes, the tonal balance of a composition not the subjects and certainly not the objects themselves. Basically speaking he needs to know about composition. Detail is less important than simplification. I do suggest that perhaps you may find reading this expresses what I'm trying to say. 9 Warning Signs I don't agree entirely with everything that Skinny Artist says but there are a set basic truths that may make you think about what you do or don't do. He is harsh and perhaps scathing but he speaks from experience and most of what he says is spot on. John

I really did stir up quite a lot of emotional response with my post and I'm sorry if anyone felt personally offended. I don't really think it's any good taking up and "us and them" response to this article, it was not specifically addressed to amateurs, this piece was really intended to stir up aspiring professional artists. I said in my post that he was scathing and that some things were spot on. I did mention the fact that there was a tendency to dive straight in to a finished painting with only a mental image as preparation. I have personally experienced the fact that people tend to identify very closely with their work and manner of working. When I do a crit for an art club or society I am of course directly critical, as I am paid to do, even though I try to be kind it is still possible to offend someone. The organisers know that straight talking is only possible by someone coming in from outside. I find that the greatest take-up for my booklet on composition is from photographers, both amateur and professional who know that composition is essential to taking good photographs. Many painters use photographs as reference material but they don't necessarily slavishly copy them but spend a great deal of time in sketching from, adjusting, simplifying, and rearranging before they embark on a finished painting. "I'm very busy and I don't have time for all that messing about I like to get straight on with it." Is something I hear very often from painters, and these are usually the ones who have most trouble with fallow periods and painters block. We can all learn from professionals, even unpleasant ones, that's why we pay a fortune to people who run courses. Always remember that the best teachers are always those who have had the most trouble in learning their craft. Go for competence every time. Prodigies and geniuses cannot understand the sort of problems that less gifted people face in learning a subject. Edward Seago was an inspired watercolourist but the Prince of Wales didn't seem to learn a lot from him. Sending you all the best of wishes. John

I think that the target audience for Skinny Artist's article is summed up near the end. To quote, “Being a professional simply means that you have decided to take this creative obsession of yours and make it into your career.” Clearly, this means that both the tenor of the article, and at least some of the points made, will not be appropriate to those, presumably the majority, who have no intention of making art a full-time career. Certainly, I don't need any “warning signs” to realise that I'm very much an “amateur”, and the advice that I need schedules, organisation, and that I should paint even if I'm not in the mood & ignore “distractions” is obviously very much off-target for people like myself who paint purely for pleasure. This doesn't mean that there can be no good advice for me in the piece, of course. But I'm struggling to find it. What should I make of the advice that I will need “decades of experimentation”, then to be told that I shouldn't change my style or medium as the mood strikes me? The advice, if not downright paradoxical, seems totally aimed at the aspiring full-time professional. As for believing that success will happen quickly........well, again I guess that this means commercial rather than technical success, and the former has no interest for me. The one I totally agree with is that I'm “too busy learning to do anything”, and, yes, I definitely overdo the “learning” rather than the “doing”, no doubt about it. I do think, however, that I need a great deal of theoretical and practical knowledge if I am to develop a range of techniques and a style that appeals to me. Is any of the article relevant to the original post? The only relevance I can see is the advice not to change style etc according to mood. I imagine, however, that when Marjorie says “I don't adhere to a particular formula because I like to paint different things” then the thought of adhering to a formulaic process (which I can see could be hugely beneficial monetarily, if you hit on something with popular appeal) would kill a lot of the pleasure and maybe the point of painting in the first place.

It really does depend to a great extent on what you want to do and what you want to be. What I suspect has aroused most anger here is the division between amateur and professional, to the disparagement of the former. I think the Skinny Artist is addressing those who wish to be professionals but don't understand what professionalism in the arts means, and to that extent - and so far as it goes - I agree with most of his points and have read them before,but in a different connection. Anyone trying to teach others how to write, for example, will make the same observations - J B Priestley, who wrote better than most, said many years ago that if you sit alone in your garret awaiting the arrival of inspiration, it won't come; you have to read, and work, and interact with the real world if you want to be a writer, and the same is true for painting - being ignorant of what others are doing, perhaps willfully so, for example, is generally a sure sign of the amateur artist: but that only matters if you want to be anything other than an amateur - we do attach a pejorative meaning to that word which I don't think it should bear. Every now and then, an amateur will produce work that makes professionals jealous - I don't know that it happens very often, but it does happen. It's not even the quality of the work, therefore, but what you do with it - how you approach it, market it (if you want to sell: not everyone does), how you learn from it and from your disasters. The criticism I would make of Skinny Artist is that he's assuming we all want the same thing from our art - as has been made clear here, that's a big assumption which includes the belief that we all SHOULD want the same. I agree with him therefore so far as I'm concerned, and I recognize the areas in which I would wish to improve - significantly, the marketing and promotion: I am very, very bad at that and don't work hard enough at it. But then - I want to sell. There's one other thing, that's been touched on by Marjorie and Thea - the question of time, and devotion to the matter in hand - this takes us to the pram in the hallway conundrum, which was raised (again, years ago, and in a literary context) by Cyril Connolly (other spellings may be available...): in other words, these domestic concerns, from children, one's daily paid work, hanging out the washing, cooking the dinner, making the beds .... they inevitably get in the way: what does the artist do about them? Well in reality, the great majority of us have no alternative other than attend to them - unless we wish to starve or live in squalor. But I would personally not abandon a piece on which I was working unless the house were falling about my ears or the bailiffs were hammering at the door. This doesn't mean I wouldn't take a rest from it - in fact, I have to - but I will finish it, come what may: or destroy it. That, to me, is what a professional artist, or, eg, professional journalist, does. That is the thrust behind the 9 Points, I think - and they are applicable if you want to build a career. Some time ago, the Society of Amateur Artists, which was founded by Alwyn Crawshaw, decided to become the Society of All Artists (which it very plainly is not): this typifies everything that's wrong about the way in which amateur artists are regarded, or regard themselves; it's seen as a lesser thing, something you should strive not to be. It is unutterably stupid, and really is the major reason why I would never join the SAA and refuse to buy from them - it makes me that angry. The Sunday Painter was well-known in Victorian times - there were many of them; they were, by any definition, amateur artists - that did not mean they took a casual, dilettantish attitude towards their work; they were devoted to painting, it's just that they couldn't make a living from it in what was then, and still is, a very crowded field. They were proud amateurs - and we should reclaim that word from those who use it as a form of abuse. There is, in short, a lot of sense in the 9 Points - uttered in a period in which the whole concept of amateur and professional has become so warped, however, they're going to be seen as somewhat inflammatory: and I can well understand why.

For interest's sake, Robert's mentioning of the SAA reminded me of a past experience I had with them. They were advertising for paid demonstrators to go around their home groups, they would supply materials and pay a fee plus expenses. I had previously for a couple of years in the early seventies, demonstrated to art clubs and societies for Winsor & Newton before they were bought up by a Swedish company (ColArt). They treated you very well, supplying a more than generous amount of materials and treating you with a great deal of respect as their representative, generous with the mileage rate as well. It was then I found that the SAA required you to act like an unpaid sales representative, carrying a large stock of their products and materials to sell. I should have realised how mercenary they were before this. I used to demonstrate for a firm which arranged art holidays at a stand they took each year at the Design Centre, Islington. There I witnessed the one of the SAA tutoring sessions where everyone taking part in the workshop, minutely directed with each brushstroke, produced the nearest to a carbon copy of the watercolour painting the demonstrator did. I know it is reckoned to be good practice to copy gallery paintings, but I didn't think much of the original anyway. This was a great place for gaining for a few days,an inner knowledge of the way the art firms worked behind the scenes, not to mention the demonstrators who mechanically produced the same basic watercolour time and time again. How's that for name dropping, I should be ashamed of myself . John

The SAA began - I believe - as a genuine society intended to encourage the amateur artist, and to celebrate the leisure painter, the occasional painter, the person who just wants to paint and isn't looking for a career. One could respect it then. Now, it's a commercial company pretending to be a society; it undercuts long established art materials suppliers. I don't know if its products are good,bad or indifferent - I expect most of them are perfectly good. But the reason why so many local art societies are affiliated to it is the public liability insurance it offers. I am - at present, but not for much longer - a member of a small-ish local art society, and receive the regular updates from the SAA which the Secretary dutifully sends out to all members. This picture is replicated all over the country - I've no idea how many local societies affiliate to the SAA, but I know a lot of artists have little respect for its ethos, methods, teaching (to which John refers above) or marketing techniques. I also know a couple of artists who demonstrate for them, and I'm sure neither insists on a brush-stroke by brush-stroke faithfulness to their methods. Even so - the SAA is not for me; it's travelled too far by several miles beyond its founder's intentions to become a purely commercial undertaking and in the process has managed to subvert his intentions entirely.

No: same one. And the trouble with it remains - it isn't a society at all. It has moved so far from its original concept as to be a mockery of it.

I must come to the defence of the SAA - yes it has evolved since the original concept but it still remains an original concept. <!--[if gte mso 9]><xml> <o:OfficeDocumentSettings> <o:AllowPNG/> </o:OfficeDocumentSettings></xml><![endif]--><p class="MsoNormal">I’m probably not the best person to talk about its history but in a nutshell (as I understand it) they were started by Alwyn Crawshaw who saw the need for a society to cater for the amateur artist (there were, andstill are, many Societies catering for professional artistsbut the poor old amateur was left out of the loop). <p class="MsoNormal">Since then they have developed into a commercial exercise but unlike other suppliers they still recognise and cater for the needs of the amateur. For example they provide (for a membership fee – both individual and groups) free advice on a range of matters, free insurance cover for work displayed in exhibitions ,discounts on purchases, free postage etc. They also run the TVshows hosted by one Matthew Palmer (yes and not my favourite either but okay for out and out beginners) .<p class="MsoNormal">They are housed in a modern office and have a state of the art warehouse (in Newark Notts) .I have visited them several times over the past 12 months both on visits which they host for art group membersand in discussion over a potential new product.I must add that I have been most impressed by their professionalismwhich comes in large part to the great camaraderie among staff - it also appears to be a great place to work. <p class="MsoNormal">As for the organised visits they include a talk by their MD,Richard, a visit to the warehouse and the TV studios and a chance to try out any new products etc.If your group (assuming it is a member) wishes to go just phone Jemma to make the arrangements – I’m sure you won’tbe disappointed. <p class="MsoNormal">A final point – no I’m not on commission – I leave it to you make up your own minds.<!--[if gte mso 9]><xml> <w:WordDocument> <w:View>Normal</w:View> <w:Zoom>0</w:Zoom> <w:TrackMoves/> <w:TrackFormatting/> <w:PunctuationKerning/> <w:ValidateAgainstSchemas/> <w:SaveIfXMLInvalid>false</w:SaveIfXMLInvalid> <w:IgnoreMixedContent>false</w:IgnoreMixedContent> <w:AlwaysShowPlaceholderText>false</w:AlwaysShowPlaceholderText> <w:DoNotPromoteQF/> <w:LidThemeOther>EN-GB</w:LidThemeOther> <w:LidThemeAsian>X-NONE</w:LidThemeAsian> <w:LidThemeComplexScript>X-NONE</w:LidThemeComplexScript> <w:Compatibility> <w:BreakWrappedTables/> <w:SnapToGridInCell/> <w:WrapTextWithPunct/> <w:UseAsianBreakRules/> <w:DontGrowAutofit/> <w:SplitPgBreakAndParaMark/> <w:EnableOpenTypeKerning/> <w:DontFlipMirrorIndents/> <w:OverrideTableStyleHps/> </w:Compatibility> <m:mathPr> <m:mathFont m:val="Cambria 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