by Bobbi, Burlingame, CA, USA
What can you make out of starting a loose poppy painting which painting people liken to Georgia O’Keeffe, and then I keep painting over and over this same painting to improve when unnecessary? I want to stay “loose”, but end up over doing! Do you have any suggestions on breaking this perfectionist tendency? Help, please! (RG note) Thanks, Bobbi. There are several theories about this. I’ve noticed that women have a greater tendency to do it than men. This makes me think that it has something to do with the female need to “give more.” This may be a cultural thing, and it may have something to do with the way women are wired. In any case, the idea of “It can’t be that easy” hits both men and women, and we do go on, gradually killing that first spontaneous burst of creative energy that is often enough to carry the day. The writer E.M Forster noted the situation many years ago and coined the phrase, “Only connect.” Another theory is the “persistence of perfectionism” of my own invention. It’s something all humans have in varying degrees, and I can assure you that it is impossible to achieve. There are 2 comments for Perfectionist tendencies by Bobbi When collaboration kills creativity by Betsy Schulthess, Exeter, NH, USA I have been reading the New York Times Bestseller, Quiet by Susan Cain, and your comment about others picking up unanimity from others and being all over it like kids on a broken gumball machine, made me reflect further on some of what I had read in Chapter 3 titled, “When Collaboration Kills Creativity” and how peer pressure unknowingly affects us. There is 1 comment for When collaboration kills creativity by Betsy Schulthess Style tendencies by Ellie Siskind, Indianapolis, IN, USA When I was in grade school I spent many hours looking at the people who came into Dad’s mobile home business — from all walks of life: gypsies, vacation travelers, soldiers back from the war. I used up a lot of letterhead stationary — with two-B pencils, drawing these folks and wondering about their lives, what made them look that way. I didn’t draw from Photos and didn’t draw “movie stars” but regular people. Now I am modestly “famous” in the Indiana region and in four museums — I have applied the idea of the way our lives mark our faces, like masks. There are 2 comments for Style tendencies by Ellie Siskind Curiosity overcomes preconception by Jeffrey Hessing, Nice, France I am pleased to be invited to teach at the School of Curiosity. Malcolm McClean is bringing together a team of innovators and entrepreneurs to explore how we can live our lives more creatively and express more fully our hopes and dreams. Oscar Wilde said, “I put my talent into my work. I put my genius into my life.” It is not enough to simply paint. It takes a tremendous amount of creativity to make a life which supports, or allows for, full time painting. In this respect, paintings are more of a witness to creative thinking than the source of it. Painting is a way of seeing. We see with our mind. Our eyes are merely lenses. Over the years our minds develop countless preconceptions about how things appear so it can quickly interpret the world around us. In my class we will do simple exercises that force us to really see familiar objects as if for the first time. To short-circuit our preconceptions. This same process applies to all problem solving. Our minds tend to go to old familiar solutions, to follow well used patterns of thought rather than see things with fresh eyes and come up with an innovative idea. Organization of palette by Mike Barr, Adelaide, South Australia Habitual things are hard to see until we step back and your letter has made many of us do just that. I think my most noticeable habit is the organization of my palette. Actually, it is never organized. I have noticed over the years how many artists have all their colors in a particular order and in many cases such insignificant little dobs of paint. The colors I put on my palette are never in the same order and I only ever use about six at a time — not the whole rainbow as many artists do. This haphazard palette gives every palette a feeling and personality of its own and I believe adds to the overall adventure of the next painting. Well, that’s my excuse and I’m sticking to it! There are 2 comments for Organization of palette by Mike Barr Unique tendencies by Chris Christen, Florence, Italy Habitual tendencies are what define our uniqueness, particularly evident in handwriting, drawing and painting. Our hands reveal our deepest emotions, inextricably woven in our minds. On sabbatical, I’m discovering my love for Florence, the galleries and museums — habitually rendering my experience in a little pocket-book, which I carry with me always, taking the advice of Leonardo da Vinci. We all have tendencies — some appreciated, some not — but how often have dislikes turned out to be someone else’s likes? Ever had one of your ‘poor’ paintings become somebody’s ‘must have’? This happens in reverse, too. The one painting you think is your best, nobody wants. The collector is unique, also, with unique tendencies, even habitual tendencies, in forming a unique collection. When one person’s tendencies appeal to another, success is found for both. “There is no more miserable human being than one in whom nothing is habitual but indecision.” (William James) There is 1 comment for Unique tendencies by Chris Christen Everything is possible by Warren Browne, UK All the new age gurus such as, ETF, Psych K, NLP, Clinical Hypnosis claim it is easy to make changes in our lives to eliminate old destructive patterns and create new positive ones. Some say it takes 21 days and others about a month is needed to affect positive change. Doesn’t it boil down to “All thought is energy,” “Your thoughts create your reality” or “Energy flows where the attention goes”? We have the power to change — it only depends how much effort we are willing to put in to making changes. “Start by doing what is necessary, then what’s possible, and suddenly you are doing the impossible.” (St. Francis of Assisi) “In the arts, as in life, everything is possible provided it is based on love.” (Marc Chagall) There are 2 comments for Everything is possible by Warren Browne
Archived Comments
Enjoy the past comments below for Habitual tendencies…
The live comments particularly in the last two clickbacks have been amazing! All the way from adulation to pure venom. It just shows that art, like the stock market, exists because of a difference of opinion.
….celestial in origin eh? Habitual tendencies – this comes from somwhere else! I need to close the lines and paint in blazing primary colours – i have to! No, there are no “voices” just my own style from day one i took the brush. Sure i learn new tricks, paint different styles, take some workshops to be for a while in someone’s else world or mind. …and i retun back to the vivacious, colourful organic blobs that i was painting years ago. Sort of “have to”. In the past i didn’t know now i know what is a “no no” but i need to paint me, flat colourful, often outlined and in crazy movement, speed. Maybe after all that is why i paint. Maybe we all should paint for expression of this part of us that can only be voiced through the painting?
My habitual tendencies have been to not finish the bottom of the painting and to leave some of my drawing marks visible. My college teachers told me to break the habit of doing this but now I have come to realize that it is a hallmark of my style of painting and encourage the paint to drip and fade away as the I work toward the bottom of the image
Michael J Fox wisely says, “I strive for excellence, I leave perfection to God.”
Interesting all!I try to learn this stuff you sent me.
My English is not so perfect yet, but I understand most of that. I am learning Flemish style now and Verdaccio..and all steps for that..Found some, but still do not understand yet when to use turpentine….when varnish and …I, also, think that bit of El Greco’s about taking a sword to those who challenge your style, is what prevents a person from getting the most they can from a provoking teacher.
I appreciate your letter.
My deepest fear is that I truly do not have a style of my own. I have not created anything that is mine. Not that I like. I had a memory from a second grade teacher who told me I should never color outside the line. Funny, I find myself still fighting that remark. I try to go out of the form on a defiant mission, needed or not. So interesting I still have that remark stuck in my brain. Thanks for the reference of habitual tendencies. I guess everyone has had some form of early memory that tends to become a part of the brain.I was an art history major in college–because not GOOD enough as a late-comer to art, and one of my profs offered that El Greco has an astigmatism in his eyes…?
When painting outdoors, does one paint the colours that we see e.g. The green grasses and green trees with all their monotony or does one invent colours to make a painting exciting? If we invent colours than what is the object of painting plein air except perhaps being close to nature and due to rapidly changing light.
It is so true about all of life and the “personality” we so treasure, even though we might be much better off with purging some aspects of it. Those automatic mannerisms are sometimes very difficult to eradicate, even when we see the need to do so.
Playing with paint is so wonderful, but here I am again doing my habitual thing with paintings…I’m a “headlong and headstrong” personality according to relatives. It shows in my approach to oil painting.
Here’s the thing: I get so enthralled with the big brushes that I lose touch with the gentle grace strokes, and sort of burn out before the painting is finished, being too satisfied with my furious beginnings to want to diddle around with hairs and whiskers. This might also be catagorized under “not finishing what I have started.” I spent a whole year once working only on unfinished abandonees. So there it is. Should I “fix” them?The one habitual tendency I have is starting too high on my canvas. This happens when painting figures or heads. Invariably the head or figure will “expand” as I work and eventually finish higher than I wanted. I can’t seem to break myself of this habit one hundred percent of the time.
My solution is now to leave extra canvas wrapped around the stretcher bars when I stretch canvas, so IF, I follow my habit, when finished, I can remove the canvas from the stretcher bars and lower it so the head is positioned where it should have been in the first place. Of course, this isn’t a problem with landscapes.My worst is overworking and here’s how I deal with it: I purposely stop when I’m three quarters through and leave the room or go to bed. The next time I look at it it will look not half bad and generally only a few things will be needed to be done. As I want to get on with the next, I often finish with just a few strokes.
When I was single I was painting everything brown and ochre, etc, but when I got married last year to Joan my colours brightened up. Do you think this will last?
My most persistent habitual tendency is not starting. I have a feeling of defeat before I begin, so I don’t. Only times when I decide to fool myself do I sometimes begin and sometimes not even then. Aloha!
A friend who buys my art told me I did not use my greens properly and so I spent some time studying the various mixtures, etc. I actually studied Sargent and Sisley and my greens got more subdued and sensitive. This is an example where someone else was able to spot a bad tendency before I was.
I have three wide jars with large, medium and small brushes crammed into them. But I tend to use the same favorite 8-10 brushes for everything – this one for sky/clouds, these for blocking in large areas of pigment, those three for foliage, these for lines and detail, that one for blending, etc. I know my technique suffers because of it and have made a conscious effort to use the rest of my arsenal. It is bewildering how uncomfortable that is. Even more strange is a preference between identical brushes, especially when the tip of that brush is frayed. And no, that doesn’t make it better; the protruding hairs are annoying. Go figure ….
If we accept that habits run the world, both good habits and bad habits, even habitually bad politicians give in to their bad habits with emotional and misguided gut reactions, then creative people who in another way lead the world, can at least be advised to lean on their better judgement as a guide to moving forward, this in a world where even failed presidents decide to take up art and paint nude portraits of themselves. I mean, freedom is great but judgement is also of value.
Some old habits are worth keeping. I recently painted an old mill while sitting down. I was a bit tired that day and the weather was lovely and a good painting buddy of mine and I spent more than a couple of hours working on the river that day. The results were tight and somewhat boring I thought, although accurate, I was left with a feeling of yawn. I had to figure out why it was so out of my norm and then I realized, hey, I was sitting down. Most of my plein air painting is done while standing! I seem to have fresher results when I work quickly and stand to give me some distance from my work. I also usually force myself to use brushes that are much larger and that day I used smaller brushes. For me, it does not pay to get too comfortable!
I’m not sure why you’ve chosen El Greco’s painting style for ‘habitual tendencies’ – I find that very odd. Unless he actually declared it a habit, I would certainly not have defined it as one.
And no, he wasn’t astigmatic.
Stadium Site Study 4 mixed media photo collage, 20 x 27 inches by Iskra Johnson, Seattle, WA, USA |
Wonder what would happen if you started at the feet. (Welcome home. Delores in Cary, NC)