The art college foundation course I attended was run by a crazy & wonderful sculptor called Keith.

Keith had the looks and scariness factor of an old tattooed biker. He didn’t give two hoots for authority or “the rules” and did things his way.

On our first day (all wet behind the ears, nervous 17 and 18 year olds) he announced that for the first month of our course we would do absolutely nothing but life drawing. Cold fear struck our hearts. None of us could draw very well, having only just barely negotiated A level art.

For the next month we continuously drew models clothed, unclothed, walking, running, dancing to The Firebird and on one memorable occasion, suspended naked from the ceiling by clingfilm whilst some discombobulated and blushing men with clipboards from the local council attempted to measure the wall.

There were frustrations, dramas and tears but by the end of the month everyone had got a great grasp of drawing.

What Keith had done, with his rough hewn wisdom, was forced us all kicking and screaming through “The Dip”

Navigating The Dip

Learning a new form of art or a new technique starts out as exciting  fun. Then it gets harder and more serious until it hits a low point where it is no fun at all and you wonder if you will ever master it or manage to make it work. It’s frustrating and depressing. You cant see yourself ever getting better at it.

This is what Seth Godin calls The Dip.

Recognising you are in The Dip is half the battle.

Godin says that there are only three ways to deal with The Dip.

• Get stuck in it
• Quit it
• Cross it

Harsh but true…

Masters of their craft struggled across to the other side

How do the people who are masters of their art get to be there? Did they wake up one morning with the knowledge of how to sculpt a perfect body in marble or paint a stunning portait in oils?

No, they struggled through the mental and spiritual wilderness that is The Dip, always keeping the goal in the forefront of their focus. The Dip is there to weed out the uncommitted. When you cross to the other side you are joining the masters of their craft who REALLY wanted to master it.

The Dip is powerful. The bigger the barrier the greater the reward for crossing it.

And maybe sometimes, quitting is the right option. If you realise something really isn’t for you then maybe it is time to stop struggling and find something you do REALLY want to commit to. The Dip can make you realise where you truly want to focus your energy.

Your Navigational Map

There are some tools that will be useful as you struggle across your own personal Dip

• Understand your strengths and weaknesses. If one way over just doesn’t work for you, take a step back and see if there is another way you can achieve it more suited to your ways of working.
• Cross with friends. It may be easier to cross in a team if you can find alllies who are attempting to learn the same thing and who can help you when you fall. Joining a group or class to learn may really help.
• Study failure. Look at the people who didnt make it. Why did they fail? Study what stopped them and then you can attempt to avoid making the same mistakes.
• Just RECOGNISE that The Dip is there and focus on getting through it. It’s not forever and you will emerge on the far side with your newly fought for skills.

So, next time you are expanding your creative repertoire, recognise The Dip and use these strategies to help yourself across it.

I’m truly grateful that Keith & my old art school helped me to recognise that The Dip was there to struggle across and the bold would make it to the far side….

Opportunities for artists have changed radically over the last 10 years or so.

Widespread use of the internet has begun a process of democratisation of the artworld as never before. New opportunities have been tempered by new challenges. It is a huge sea-change which has altered the art landscape forever. More and more artists are finding that it IS possible to make a living from their creativity. You no LONGER have to starve for your art…

What is less clear is that how do we fit into this new landscape as artists?

HOW are people doing? WHAT are they doing? WHERE are they going? Just HOW is it all panning out for YOU?

Introducing The Enterprising Artists Survey.

To get a little more of an idea, Artonomy has partnered with www.rightbrainrockstar.com to create The Enterprising Artists Survey.

Your opinion and experience counts…

We need YOUR EXPERIENCE to understand what is going on.

In return for 10 minutes of your time filling out the survey, you will be emailed the summarized results and get a more detailed picture of today’s entrepreneurial art landscape.

So please help us  by completing the survey here

Thank You

Artonomy & Right Brain Rockstar

Hi, my name is Dan Avenell, and I’m an artist, illustrator and graphic designer based in London, UK.

This is some of the art and design I’ve done over the years. I usually create my art with pen and ink, then scan it into Photoshop and finish digitally. I also work in traditional media such as acrylics, oils, and the silk-screen process.

I enjoy working on a wide range of different projects, and if I am not working for a client I am probably doing something for my own amusement – as such, the pieces on this site are a mix of commissioned work and things I did for fun that I thought were worth putting on the site or selling as prints.

You can view more of Dan’s work {and his fabulous Laser Monkeys} and get in contact with him via his website www.danavenell.com or here on Facebook

Do you ever feel just OVERWHELMED by what you are trying to achieve?

I’m currently trying to learn a new and complex creative skill which will take my art in a radically different direction over the next few years. At the moment I am in “depressing beginners phase” where each piece of work is “wrong” in some way, knowledge is guarded and hard to find and it feels like I will never be able to climb the precipitous learning curve to achieve the sweet upper slopes of mastery before retirement age. Great!

However, one thought keeps me going. The Japanese concept of KAIZEN or “continuous improvement”.

Kaizen – 改善

Sounds pretty dry and business oriented eh? But basically it means “getting better at stuff every day and not stopping getting better at stuff every day”

Well, that’s my take on it and Kaizen is not just for business. It is important in all aspects of life…

If you have heard of Kaizen before, like me you may have thought that it was originally an age old Japanese concept. Well interestingly, I just discovered that Kaizen was actually introduced to the Japanese by an American quality-control expert called Dr W Edwards Deming. He was brought to Japan after the second world war to try and help rebuild the war ravaged industry of the country. After the war, inflation, shortages and unemployment in all areas of Japan seemed overwhelming but by introducting the concept of Kaizen and continuous improvement every day, the Japanese people were able to overcome seemingly insurmountable problems to pull themselves out of the mire and become economically prosperous in a relatively short space of time.

Kaizen, creativity and your big plan…

When creating, it is easy to become overwhelmed by the scale of a task.

• Perhaps you want to create monumental sculptures.
• Maybe you want to create art works with collaboration on a global scale.
• Possibly you want to learn a new and difficult creative skill.
• Maybe you want to earn a living from your art in the next few years.

Whatever your big plan, utilizing Kaizen in your beliefs will help you achieve it.

In order to succeed you must have a long term focus. The beliefs you hold control your decisions and therefore your future. If you can hold on to the belief that you can constantly improve every day, each step forward takes you nearer your goal.

Persistance, trial and error and the zillions of tiny improvements you make along the way are what success is built on in the end.

Monitor your progress

At the end of each day, in order to monitor progress, ask yourself three questions…

• What did I learn today?
• What did I enjoy?
• What/where/how did I improve?

The answers will allow you to take charge of your progress and to enjoy the fact that you are constantly moving forward, even when it seems little progress is being made. You will get there in the end.

I will leave the final word to my hero Thomas Edison

“I am not discouraged, because every wrong attempt discarded is another step forward”

Have you used Kaizen to improve your work or achieve a goal? Do you think it will work for you? Let us know in the comments.

Post image by Nimbu under creative commons licence

Commission

My name is Sam Dunford, I am a Landscape Oil Painter from Poole in Dorset. My style is very traditional yet quite simple.

Commission

I aim with my art to help people viewing it to realise the beauty in our world and to hopefully inspire them to travel and witness this beauty first hand. I enjoy experimenting with my art to try and evoke a real emotion. By looking at my paintings you get the sense of how it would feel to really be there…

Blar Jokull

Sleepy Mountains

View more of Sam’s peaceful paintings on her website www.samsart.co.uk

I belong to a local art group that consists of art represented by the five different districts in our county. Artists are invited to participate by featuring their work in gallery shows, submitting to an online user gallery or featuring their work in a newsletter.

When we post a call to art I have noticed that many of the artists that submit are from communities within the county that would be considered middle or lower income while the upper income communities routinely submit almost nothing.  I’ve discussed with this with a few others and we all ask, “Why is that?  Why does there seem to be more artistic energy in struggling communities and less so in areas with little economic struggle?”

Is art more inspired when there is struggle?

Is art more inspired when there is struggle? Is art more inspired when there is less money in schools, neighborhoods, city organizations or churches? What opportunities are different in wealthier regions that seem to suppress artistic creativity? And if artistic creativity is suppressed then what is not suppressed? What replaces artistic expression? What is encouraged?

I have spent time in each type of community. I have seen the décor in the homes of those with less money and those with an abundance of money. The homes with less money seem to express more personal style, a creative reuse of material and an appreciation for things that are gently used. Homes with more money have decorators; style is developed through high end retail sites. I do not see as much personal style in these homes, including the art that hangs on the walls. In fact the homes of those on the lower income scale follow trends less than the high wage earners. For example the Old World Tuscan look that has been over-saturated in our retails shops, architectural styles, fabrics and paint colors is expressed quite often in wealthier communities. Many home developments are designed in Old World Tuscan with the complementing floor tiles, fresco-like textures on walls and ubiquitous vineyard wall décor. I rarely, if ever, see this decorating style in the other communities.

What makes one economic group suppress individual style to follow the crowd while another one with less means is so much more willing to push the envelope?

Have you seen the dearth of galleries in upper middle class suburban towns? Have you seen the number of small galleries in urban communities that dot nearly every block? Do urban communities value self-expression more than the suburbs? What draws people to one or the other?

This is merely an observation that lends itself to so many questions. I think this should be invites a conversation about how to open up artistic expression in all communities so that ideas, energy, creation and talent can be shared.

What does this mean for artists? Have you noticed similar in your community? Please share your thoughts with us in the comments.

Copyright 2012 Jan Weiss

Artist Bio – Jan Weiss

Jan Weiss, a northern California native is a freelance writer and artist specializing in home decor. With a strong background in art publishing and art trends, Jan shares this knowledge with the trade as well as individual artists.

Weiss has just completed her first eBook for artists, titled: The Coexistence of Art and Money; interested buyers can find this book as well as her art through several on-line galleries such as Artist Rising, Image Kind and Etsy.  Jan’s style is a mixed of collage, digital creations and abstract landscapes that will appeal to the hospitality buyer. She lives with her husband, cat and dog in the Bay Area and enjoys organic gardening, cooking, reading and making stuff.

You can find Jan at
www.theartplanet.com
www.etsy.co
You can buy Jan’s beautiful work here

Defined by Merriam Webster, to Collaborate means: to work jointly with others or together especially in an intellectual endeavor.

Collaboration in art takes the idea to a new level. It is the opportunity for artists to contribute to one piece or to a multitude of pieces in a particular project that may or may not have the same theme. Sound confusing? It can be if there is not some kind of leadership involved; someone to grab the reins so to speak. However, once a group of artists decides on a project there is no stopping the energy that builds when these groups get together; when one idea is presented often times many new ideas spring from this one.

I have involved myself in several collaborative efforts—most notably through mail art groups. These groups can be local, national and international. Usually one person comes up with an idea and posts their Call to Art–artists from all over contribute a piece to the group. Sometimes the art is returned but more often than not, it is gone for good. I actually like that part because now my art is in the hands of another who may love the piece or discover something in it that I didn’t. The act of sharing is vital to collaborative art and you must be able to let go. Artists can get so stuck in doing things their own way – especially when one works alone in a studio, but don’t we learn more by be inspired by others? This is what collaborative art projects truly are…an opportunity to share and learn in the presence of like-minded individuals.

One project that made a huge impression on me was the 1001 Journals project. The website explains it best, “The 1000 Journals Project is an ongoing collaborative experiment attempting to follow 1000 journals throughout their travels. The goal is to provide a method for interaction and shared creativity among friends and strangers.” These journals traveled all over the world and individuals wrote, illustrated, painted and collaged their art inside it. Then they sent it on to the next person. Most of the journals were returned back to the individual who began the project. Some did not. Launched in 2000, “The project officially launched in August of 2000, with the release of the first 100 journals in San Francisco. I gave them to friends, and left them at bars, cafes, and on park benches. Shortly thereafter, people began emailing me, asking if they could participate. So I started sending journals to folks, allowing them to share with friends, or strangers. It’s been a roller coaster ever since.” This is a timeless story told through art where individuals unselfishly shared their talent, and many times their soul.

A Northern California collaborative art group, Kunstanke embarked on an artistic journey inspired by the works of the 17th century artist, Claude Lorrain. A book containing his drawings was cut up and the drawings in the book were distributed among the artists. The artists were to combine the original book page and their art to recreate the image into something new. It was a composition of sorts with the new and the old. 45 pieces were completed. While there were actually more, the group felt that not all of the images succeeded and it came down to this number. The final pieces went into an exhibit where “The result is a diverse and nuanced conversation about ideas, subject matter and materials.” For more about this project please visit the Kunstanke web site.

And just today I came across a collaborative project by the online publisher, Society6. The final project will be a limited edition Zine called “Us and Them”. The rules are simple…create an inspired piece using the theme Us and Them and set the image up as a print on Society6. Society6 will curate the collection and notify the artists if their piece has been selected for the limited edition Zine.

An enjoyable aspect of the idea of collaborative art is the freedom of expression and free flowing ideas that are conveyed. Anyone can start a project, anyone can join a project. And you do not need to be an artist to join. The 1001 Journals project was less about art and more about expression. The last collaborative art project I started consisted of three 11×14 pieces of white paper sent out with a list of instructions. Draw anything, anywhere on the 11×14 sheet then send it off to the next person. The 10th person should return the completed sheet back to my address where I will scan it and have it made into a poster. I love the idea. However, it’s been three years and I haven’t gotten it back. This may be one of those times where we learn to let go.

Copyright 2011 Jan Weiss

Artist Bio – Jan Weiss

Jan Weiss, a northern California native is a freelance writer and artist specializing in home decor. With a strong background in art publishing and art trends, Jan shares this knowledge with the trade as well as individual artists.

Weiss has just completed her first eBook for artists, titled: The Coexistence of Art and Money; interested buyers can find this book as well as her art through several on-line galleries such as Artist Rising, Image Kind and Etsy.  Jan’s style is a mixed of collage, digital creations and abstract landscapes that will appeal to the hospitality buyer. She lives with her husband, cat and dog in the Bay Area and enjoys organic gardening, cooking, reading and making stuff.

You can find Jan at
www.theartplanet.com
www.etsy.co
You can buy Jan’s beautiful work here

Have you worked on a collaborative project or in a group? How did it work out? Please tell us in the comments…

Post image by Jan Weiss

How do you define being a “successful artist”?

Many artists definition of success rest solely on being able to support themselves entirely from their artistic endeavours without having to do any other work to make ends meet.

However, is this a realistic view of success?

The majority of artists will, in reality, have other work too as part of the rich pattern of their everyday life…

This, contrary to what some people say is NO BAD THING!

The truth is, successful artists often have lots of strings to their bow

Just because you have another job doesnt mean you are not a “real ” or successful artist. In fact, working in other areas separate from your art can have distinct advantages…

• Having a defined and confined time for you creative work can focus your art and make you achieve more in the shorter space of time that you have to work in. Faced with unlimited time it’s easy to take your eye off the ball and lose focus.

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• Our economy is changing {see my recent post – The Revolution Will Not Be Televised} In this new and shifting economic landscape, having multiple income streams is a very important survival strategy which will enable you to surf the vagueries of the art market.




• If you are combining raising a family with your art, you may not be able to spend 100% of your time creating but may be able to find a balance which works for you.




• Your “day job” may provide inspiration which feeds into your art and helps to fire your creativity.

We really need to change and widen the definition of SUCCESS in the art world…

The down side…

As in all things there can be a down side…

The common problem with other strands of work, comes when the “day job” takes over and hurts your creative energy leaving you too tired to do anything else.

Many years ago, when I worked in advertising agencies, my job was pretty creative but I was expected to start at 8am and leave at 8pm or later – After a sweaty commute on a crowded tube I had barely enough energy left to eat, let alone create. Life was pared down to a bleak cycle of getup-commute-work-commute-eat-sleep. In that situation it is really easy to make yourself ill by trying to draw out more energy than is “in the bank”

Like everything, it is important to find the balance between work and art which is sustainable and right for you. This can take a long time to get right.

If you are struggling with this balance at the moment, keep taking small steps to getting yourself into the right situation and position. Don’t give up. Creating may be difficult at the moment but if you keep fighting for it you will get there in the end…

Artists on Twitter say…

I wanted to find out how artists combine the spheres of work and creativity so I threw the question open to my friends on Twitter. The replies that I received were positive proof of the fact that it is possible and also very normal to be a “real artist” and juggle other commitments and income streams too.

Many many thanks to everyone who replied. I hope you find their thoughts enlightening and reassuring.

My question…

Artists. Do you have a “day job” too? Please tell me what u do. Do you love or loathe it? Does it help or hinder yr art? For a post..

And the answers from artists around the world…

For 3 days a week I work as a research consultant on education/technology projects – the geekiness offsets/informs my art

@iamcreative

http://letcreativitybegin.co.uk

I’m studying an MA in Art, and find it difficult to find work alongside this. I’m freelancing for a website and doing bar work.

@MelanieK__

I have a day job as mgr at an accessories boutique. I love it but it eats up a lot of time. I do all the creative stuff there

Himself & I share studio space in our petite apt. It gets messy….

@mizelissa

http://msalzmanart.wordpress.com/

I do, I work in Human Resoures, don’t love it, it helps financially but hinders taking time away from creativity

@pulpsushi
http://www.pulpsushi.com

I used to be a software engineer manager. It consumed my life and made me sick after too many long hours. Almost no art made.

@violentbloom

www.trollop.com

Programming || depends on the day – a zen-ish like is the average || ++ discipline, supplies$, – steals time to work

@babaheath

http://www.windyhilldesign.org/theheathergarden/

Hey. Got a day job. LOATHE it. Totally. Work in accounting. Go figure.

@thefadderly
http://fadderly.blogspot.com/

Other job: web designer. Sort of a neutral effect on my art; doesn’t take away creativity, but doesn’t contribute either.

@smlacy

http://smlacyart.com/

Hi Helen, working as a pt teaching assistant + artist gives security of regular £s + people to talk to

@JaneCarlisleArt

http://www.braemoor.co.uk/ajc/

My day job is tattooing. It helps. And yes, I love it!

@justteejay

http://www.whitetigertattoo.com

Policy Writing pays the bills and buys my art/photography supplies!

@AkrotiriArt

http://www.redbubble.com/people/akrotiri

Art is my day job, and I fully expect to be paid accordingly for this. Still waiting for the world to realise this!!!

@Blackbird1976

http://www.helendblackbird.co.uk

Web strategy/editing. Like it. Hinders only b/c it takes most of my day. I steal time to write. Early am, train, late night…

@petercrowell

http://www.lifeismaking.com/

It helps…. IF I make the choice to let it be a steppingstone rather than a stumbling block.

@zahndrew

www.zahndrew.com

My ‘day job’ is tattooing, I love it and I think they help each other.

@BiueStarr

http://www.blue-starr.com

I work for the FAA as an electronics technician. I love it but it does hurt my art and energies because it’s often like 2 jobs

@parachutepromis

http://www.parachutepromise.com

I’m an art teacher for a secondary school.. I love it. I feel like it encourages my own creativity! I do get tired, though…

@ArtistThink

http://www.artistthink.com

I hope you find these artists inspirational. They are absolutely REAL ARTISTS finding their own balance.

Do you work alongside your art? Please share the work you do with us in the comments below…

Bob Marley para a Rolling Stone | Lobo | Brasil

Lobo is a Brazilian plastic artist. In addition to his original paintings he also works as an illustrator.

Oscar Freire | São Paulo | Lobo | Brasil

Woody Allen | Lobo | Brasil

Rita Lee para a Rolling Stone | Lobo | Brasil

You can find out more about Lobo’s colourful work on his website - www.lobopopart.com.br

And also on Flickr

Lori Nix | Imagined cities in decay

I recently discovered the surreal and beautiful photography of Lori Nix. Lori creates magical worlds in front of her camera. Here she describes her work…

Steve Jobs: ‘Death is life’s best invention’

In 2005 Steve Jobs  made an inspirational speech to Stanford University in which he said his mortality was what helped him to make the big choices in his life… He’s right…

Why are Americans leaving good jobs to go solo?

The BBC reports on the growing number of  Americans who are quitting their jobs to start up their own businesses to do something they enjoy. How are they fairing in their new ventures?

“I started recognising that my talent wasn’t just a commodity, it wasn’t a thing separate from me. I want to hitch my own star to my own wagon.” Tara Street, co-founder, Braid Creative