". . . a brush with nature"

What if it fails? Yes, what if it does? Is anything in art ever really a failure, or is it simply another opportunity to learn more? More about your subject, your medium of choice or even your “style” (the one you already have or the one that is still evolving.) Is the “failed” piece your chance to sort out what you might enjoy trying again or to realize that, “Well, I’m glad I’ve gotten that out of my system! Now I am dying to try fill in the blank here.”

You might even consider saving your “failed” piece to be revisited and repurposed at a later time either in its entirety or by selectively cutting it down. I have done that myself many times through the years and with great success.

Recently I decided to embrace experimentation to the max. Although I was using art tools already in my studio, I had never combined them all together and in such a visible way before. Many had been relegated as underpainting choices only for years and I loved them for that, but now was an opportunity for me to see if I could let them shine as individuals or, at least, as part of a very visible ensemble cast.

Here is “Finch Filigree,” a painting that could have gone so wrong, becoming yet another “failure”, but didn’t. I’m very happy with the detail and depth I was able to achieve. It turned out just as I envisioned it.

Although it might look deceptively like “just another pastel painting”, it’s anything but. It is actually mixed media to the nth degree, combining watercolor with graphite, colored pencils, watercolor pencils and pastel pencils, as well as soft pastels to create the overall effect I desired.

While working on this, at any point in time, it was (in my mind) either a dismal failure or raging success. I’m so thankful that I continued through the discouraging “down” times turning this potential failure into a successful learning experience AND a painting I can be proud of.

Quite a long time ago I read an article on what to do if you are feeling like you don’t have an idea for a new painting. In it there were quite a few suggestions that might spark an inspiration. Some forced you to think outside of the box and explore new concepts, while others challenged you to experiment with different methods, medium or size. There were many recommendations offered. 

Since reading that article I have challenged myself to try some of the suggestions made, not so much because I was lacking an idea for a painting, but mostly because they just sounded like something new to try. For the most part it has been fun and I’ve added something extra and unexpected to my normal “toolbox” and/or art routine. 

One of those suggestions was to work in black and white only, which I had already been doing to some extent with my scratchboard artwork, but seldom with my painting. I found it to be a great starting place for me and I have since modified the initial premise to include shades of gray or a “pop” of a single color to add additional interest to my piece.

Eventually, carrying it even a step further, I  chose to paint an entire series of paintings on an extremely dark background (not really black, but it can certainly appear that way to viewers.) So far, these pieces have all been small works in similar formats, all framed with a basic black molding and all featuring whimsical animals and birds. I’ve painted a lot of them and I’ve had so much fun doing it. It turns out that I really love these little critters and the stories that they tell!

I believe that this just goes to show that even if you start out with a suggestion that was meant to help in one way, you just never really know where it might lead you. I’m so glad I decided to explore a different path and then followed where it led me!

I read a lot of art related articles and newsletters sent out by art organizations, professional forums and other artists. There is so much to learn from these simply by taking a few moments of your time to read them. Then, I’ve found it helpful to keep notes of my favorite “tidbits” to refer back to later.

A recent newsletter article I read spoke to “What To Do If You Don’t Have An Idea” and then went on to give about 20 or so suggestions to help with the problem. Although I don’t often (or hardly ever, actually) experience this specific problem, I did keep the notes of the discussion. (Lots of good information there and you just never know…) One suggestion, in particular, spoke to me because I often do change things up and challenge myself by painting in a completely different size than I usually work. 

The article suggested to “Work small . . . and do a mini painting.” I have been doing that and it isn’t as easy as it might sound. Working tiny, and with precision, can be difficult.

In fact, I have been painting a few actual miniature pieces (adhering to the strict guidelines outlined) along the way and have even started entering some of them into the juried shows specifically dedicated to miniature work. It’s fun, it’s a challenge and it’s an accomplishment when you get it right. That’s why I was especially excited to receive an award for my work at one of these shows.

My pastel painting, “The Nest”, received the Board of Directors Special Recognition Award at Parklane Gallery’s 33rd Annual International Miniature Show in July 2025. 

What an honor and most definitely motivation to continue painting small now and again. I am up for the challenge!

I AM an artist. Not a famous artist like some, but certainly not a hobbyist, either. I am very serious about my art. I am driven. I feel a great, often overwhelming need to go to my studio every day to work on a piece . . . to be involved with my own creative process. I need to take the tiny steps (often tentative at first) that eventually become more comfortable to me as I put the time in. Those small steps eventually begin to feel natural as I practice them again and again on the new painting that is in front of me.

I am an artist teaching myself something new each and every day, by exploration, experimentation, trial and error (LOTS of that) and hours spent in front of my easel or at my drawing desk creating art about the subjects I love. 

As an artist, I strive to capture the essence and spirit of those subjects in my paintings. I want to learn what makes them unique . . . what makes them special. I want to “hear” their stories and then I want to be able to share those stories with you through my work.

I recently read an article that said, “Real” artists never stop learning to paint.”

I think that’s true. I AM a “real” artist that still has so much to learn. So much to learn about my subjects, my techniques and about creating art in general. It’s a good thing that every day presents a brand-new opportunity to do so.

I’m always reading stuff. Much of the time, I’m reading stuff about art. Newsletters, emailed articles, blogs, painting tips and advice for different artistic scenarios whether it applies or is actually necessary at the moment or not. It’s all interesting, and who knows, someday that little “nugget” of advice may actually be of some value. Sometimes it suddenly becomes valuable, but not in the context it was originally intended. That’s what happened here with the suggestion to “work small.”

The article I read was originally written to provide suggestions on how to get out of an artistic slump. In other words, “try this if you are having trouble painting.” One of the ideas was to paint very small in only one corner of a very large canvas. Well, I am not in an “artistic slump” nor have I run out of ideas for things to paint. (In fact, that list is so long I hope I get to everything in this lifetime!) But I glommed onto that “work small” phrase and decided to challenge myself now and again to paint a miniature piece. See what I mean about using something you read (or maybe something you hear), but changing the context of it to suit your own situation as an artist?

I am still painting what I love to paint, just challenging myself to do it much smaller. Believe me, working on a “canvas” that small and still trying to achieve the level of realism I like to strive for is certainly no easy task. One might think smaller means easier and less time consuming, but that would be incorrect. 

Generally, miniatures are no larger than 25 square inches and the subject is rendered at 1/6 its actual size. Many artists who specialize in miniatures work even smaller, creating masterpieces that may be only 3”x2”, for example. That’s amazing to think about.  I have a lot of respect for the artists who can master that!

Although I have no intention on focusing solely on miniature paintings, I do enjoy the challenge they offer now and again. And I forgot to mention the fun. They are always fun!

With that in mind, I will be heading to my studio later this morning to start work on a little 4.5”h x 5”w mini of our cat, Lucky. I have a wonderful photo of him, drenched in sunlight, in what used to be one of his favorite spots to hang out in our home. We miss him so much. . . It will be fun to paint him in his “happy place” again.

Diversify your portfolio is a phrase we frequently hear used, but not often in any context relating to art. As an artist, do you think you should diversify your portfolio?

I know there are arguments that can be made for either side of the debate on this question. You can certainly find a multitude of articles written that advocate that once you find your artistic “style” you should stick with only that in order to cultivate a level of recognition amongst art professionals, the art buying public and collectors of art. It is something to seriously consider if you are trying to build a long-term career from the foundation of your love of creating art. But there is another side to consider.

An equally compelling argument can be made that it is just as important (and maybe even more so) that you continue to “grow” as you travel along your artistic path. Becoming stagnant is never a good thing, whether you are a professional artist or creating work solely for yourself and your own enjoyment.  

I believe, as creative people, we need to continue to challenge ourselves. This exploration can manifest itself in many different ways. For some it is taking classes from another artist whose work they admire. Perhaps it is a long-term mentorship or simply the exploration of a different medium while still maintaining a favorite theme. For myself, that is the direction I have chosen. Although I routinely work in both pastel and acrylic, the predominant style of my work remains the same.

I believe exploration is what keeps our work fresh and exciting for us and interesting to those who view our art. I believe you CAN maintain a level of quality and “style” in your art without being locked into painting the same subject over and over again using the same materials. I believe you CAN diversify your artistic portfolio without jeopardizing your career. 

What do you think? 

***Further important disclaimer here. I DO believe that you should still maintain and utilize several different artist portfolios that best represent the different types of work you do.
For example, if you paint western themed pieces and florals, as well, it would serve you well to have a portfolio specific to each genre ready to present as needed when applying to a show or approaching a gallery for representation. It is important to know your “audience” beforehand and be prepared to best represent yourself and your art in order to show how you will be a good “fit” and work well with the vision they have already established.***

"IN THE END... We only regret the chances we didn't take, the relationships we were afraid to have, and the decisions we waited too long to make." 

Lewis Carroll said that. Powerful, isn’t it? 

Those words can apply to any aspect of anyone’s life, and most certainly they can have great relevance to that of an artist or other creative person. It’s scary (sometimes downright frightening) to put your work “out there” for the world to see and, sometimes, criticize harshly. But we still do it. We share the work we feel driven to create. We submit to juried shows. We offer our work for sale. We explore new mediums, opportunities, venues and the like. We continue to challenge ourselves . . . or, at least, we should. Sometimes things work out and sometimes they do not, but we can certainly gain something from each new experience whether it turns out to be a resounding success or not. Even what initially might feel like a failure can be turned into a success if something is learned from it. (Side note here - I have found that something learned can be as simple as, “I have now tried this once and I am not going to do it again because it just isn’t right for me.” That is still a big win because it is something I now know that I didn’t know before.)

The take away here is to step up and accept challenges even though they might be scary. You really don’t know what you can accomplish until you try. You also don’t know what you’re missing out on.

And, please, don’t procrastinate. Time, and chances, pass by so quickly.

In the end, you will regret the chances you didn’t take.

Sometimes it’s fun and challenging to revisit a favorite painting subject over and over again. I know of landscape artists (plein air painters) that like to revisit the same location multiple times to capture the site in a different light or season. Sometimes artists are just so fond of a particular subject they never grow tired of painting it, whether it be a treasured still-life piece or a favorite model. Often, as in my case, it is a much-loved pet that has become an important part of our family.

Here I am sharing two quite different “takes” on the same subject . . . one of our beautiful cats, Cappuccino. This handsome boy spent much of his time looking at the outside world through our large living room windows. I painted him several times in this particular pose. 

As you can see, the two pieces are alike in some ways, but extremely different, as well. The basic pose that I started with is the same (it was his favorite, after all), but one piece is cropped in much more closely than the other. Of course, that isn’t the only difference. The most obvious being that one painting is done in pastel and the other in scratchboard completed with a few color highlights in ink.

Each of these pieces were challenging and fun. I am happy with both of them for different reasons and I couldn’t say which I like better. 

If you are another artist, I hope this encourages you to revisit subjects you most enjoy painting. Look for ways you can change and expand on your chosen subject either by trying another medium, exploring different lighting or even time of year. Take the challenge to discover a unique way to change things up on a theme you have already explored in the past. I bet you will be pleasantly surprised and even learn something new along the way.

A long while ago I  read the book “Show Your Work!” by Austin Kleon. There was much to consider when reading the book and so much content that made sense to any of us that are professional artists or those that want to be. I have kept much of the advice in the back of my mind over these past few years, but I actually saved one excerpt from it to Notes on my iPad because I felt it was especially significant and important to remember. I have referred back to it on a regular basis and I would like to share it with you now.

“Be ambitious. Keep yourself busy. Think bigger. Expand your audience. Don’t hobble yourself in the name of “keeping it real,” or “not selling out.” Try new things. If an opportunity comes along that will allow you to do more of the kind of work you want to do, say Yes. If an opportunity comes along that would mean more money, but less of the kind of work you want to do, say No.”

I think this is so important to the growth of any artist. Keep yourself busy and allow yourself to experiment along the way. Try new things. Realize they may not always work out exactly the way you expected, but many will and may turn out even better than you anticipated! By not “hobbling” yourself you will be open to new opportunities and new markets along the way.

That being said, don’t create work you are not comfortable with simply because it is a fad. As an artist, you must stay true to yourself. You can certainly achieve greatness while still experimenting with new ideas and mediums that fit with your own unique vision.

Here is an example of what I recently painted, exploring a new look and color palette while still staying true to myself and the subjects I love to paint. 

Be ambitious in both your growth and aspiration as an artist. Continue to learn, experiment, embrace appropriate opportunities and reach new horizons every day through your art. Don’t hold yourself back . . . achieve!

As an artist I often find myself saying, “I don’t really (insert whatever particular artistic activity here.)”

For example, I don’t paint with watercolors. I really admire watercolor artists and the wonderful work they produce, but I feel totally out of control when I attempt to use them. They frustrate me. I’ve had a grand selection of professional grade watercolor paints in my studio for years that I never used to create any work . . . But then I did.

Now I routinely use a watercolor under painting as a starting point for the pastel work I am so passionate about.

For years I was primarily known as an animal artist. Feeling much more comfortable with critters of any sort, I often said, “I don’t really paint people.” . . . But then I did.

Once I decided to approach a human portrait or figure just as I would any of the animals I so enjoyed painting I discovered I COULD paint people, too! I just needed a different mindset, a creative approach, a new level of comfort to start from.

I am so impressed with still life paintings. So much thought and planning goes into each piece, from placement to lighting and beyond, before any of us get to see the artist’s true vision take shape on paper or canvas. I have always been fascinated with them to be sure. But I don’t paint still life paintings . . . Then I did.

When I had the idea of combining birds or animals (alive or of the “toy type”) into an unusual still life setting a new series of pastel paintings was born! Then came another and another after that. The challenge of the painting itself is only part of the fun. I am now forever on the lookout for unusual pieces to pair together in a grouping that will be interesting to both myself and hopefully others who view my art.

Anyone who knows me or my work knows I don’t paint florals and I CERTAINLY don’t do landscapes . . . But then I did!

Sometimes a bird just requires a flower behind it. I have painted them a couple of times now and I guess they didn’t turn out too bad. In fact, don’t be surprised if you see blooms again in the future. I am pretty sure the flower still won’t be the “star” of the piece, but more supporting roles are a definite possibility.

As far as landscapes go . . . I don’t . . . But I did!!

It isn't easy painting green . . . or any of the other colors really.  But green in all its glorious splendor seems especially difficult for me. In fact, my husband accuses me of having an aversion to the color green, but that isn’t it at all. It is just hard for me to get it “right” and natural looking.

I am often reminded of that cute little green fellow, Kermit the Frog, as he lamented, “It’s not easy being green.” He went on to sing about the many beautiful things in nature that happen to be green and therein lies the problem for both Kermit and me.

There are so many lovely shades of green surrounding us in nature. Although I am not a landscape artist per se, the landscape often plays a big part in my wildlife paintings. Looking out my studio window I am always struck by the variety of green that makes up the woodlands. Looking closely anyone will soon discover hues ranging from moss to fern to pine green and everything in between. Wandering further afield one will soon stumble upon lime, pear, mint and basil, not to mention olive or sage. All so different, but still a green occurring in our natural world. And let us not forget about the wonderful green colors appearing on the plumage of birds (parakeet, for example) or even the skin of the ever-mysterious crocodile. The possibilities are endless.

It seems to me that the natural occurring greens are never harsh. Some are bold or bright, to be sure. Some are grayed almost to the point of not being recognized as a green at all. Some appear more yellow or blue than green at first blush, but when studied more closely their true alliance is revealed. There are so many subtleties and nuances to consider before selecting the perfect shades for your painting. You should never use just one (why would you when there is such an abundance around you?) but select a few for your palette that work well together. Harmonizing them will make your painting “sing” and be more pleasing to both you and your viewer.

Although many shades of green are available to use straight from the tube, I always suggest mixing your own. You then have control to “tweak” the color allowing it to work best with the rest of your palette. (Please note, I don’t recommend using any paints straight from the tube. Mixing them always seems more natural to me no matter what the color.) For help with this a color wheel is an inexpensive must-have tool for any artist. Color mixing is great training and great fun!

So, you see, I really don’t have an aversion to green I just want it to feel real. I don’t avoid it or put aside an idea just because it involves a palette rich with greens. I do spend time studying nature and the setting I will be painting. I do spend time mixing what I think translates to an authentic color scheme that works for my subject. I do try to address the transitions within the landscape that supports my main subject. And I do have a tremendous admiration for those who paint beautiful lush “green” landscape pieces.

In the end, Kermit the Frog sings, “… I am green and it’ll do fine, it’s beautiful!” and with some artistic license taken I add, “Green is beautiful and it’s what I want to paint.”

Okay . . . when I say "paving a road less traveled" I am playing with words and a phrase we are all familiar with. I mean to convey that with this painting I most certainly struck out on unfamiliar territory with subject matter I had never painted before. Thus, the "road less traveled" for me. Although I have done portraits or paintings that included figures in the past, I had never considered combining them with machinery before. As most of you know, I am more about fur and feathers . . . the softer side of things. So when I was approached about painting an asphalt paver and crew I had to consider for a moment. Then I accepted the challenge and am so glad I did!

I learned so much more about road construction and the "make-up" of the large machinery involved. (I was constantly in touch, asking questions about specifics of what I saw on the reference photos, but didn't understand.) I learned to look closely, listen carefully and to grow with each artistic challenge I am presented. Every new venture is an opportunity for learning. Sometimes this is true on many different and unexpected levels. I surprised myself by finding out I CAN paint the "hard" stuff . . . meaning hard surfaces, such as machines, asphalt and the like. I CAN travel new artistic roads if I choose to.

Although my heart still leans towards the "softer" direction it has always taken . . . my passion for painting animals, children and the like . . . I am now certain I will feel more relaxed the next time I try something totally outside of my comfort zone.

I would like to invite you to try a new artistic challenge for yourself. Enjoy what you do. Take from it what you can. You never know where the road might lead you.