Mark Kohler

The Good, The Bad, & The Ugly

noreply@blogger.com (Mark Kohler) — Fri, 30 Sep 2011 18:18:00 +0000

Pam and I just spent two long, hard days of driving from Pray, Montana to our doorstep in South Texas. We were invited to participate in the Buffalo Bill Museum Art Auction, and spent the last 10 days in beautiful Cody, participating in the Auction & Sale, before traveling to spend a few days with good friends in Montana. On the trip home I was reminiscing about some of the adventures and experiences that have come our way during the 16 years of this art journey.

Sixteen-hour days of driving gives one lots of time to reflect on the good, the bad, and the ugly of one’s career….hence the name of this blog. Let’s begin with the "Good".

Artist John Potter

After the Artist Preview event at the Buffalo Bill Show last Thursday evening, Pam and I were invited to attend dinner with a couple of artists and their wives, and the Director of the Art Show. At dinner, I met, for the first time, a fantastic Native American artist named John Potter. I felt an instant connection to John; we were both Illustrators at one point in our early careers. In fact, the other artist in attendance and my good friend, Mikel Donahue, also has an Illustration background.

Along with our wives and hosts, we had some great round table discussions about the Economy, Art, and our careers. But the most moving part of the night was John’s prayer before we began dinner. I believe John is member of the Sioux tribe, and his words (though I could not understand them) were moving and heartfelt. This wickedly funny, and creatively sarcastic man momentarily transformed us as a group. Reverence is the best word to describe the spirit of the moment. Heated and passionate discussions about Politics, the Economy, and Art followed, but that Native American prayer set the mood for the evening. It transformed us and bound us together. It definitely represents the "Good" in my reflections.

"Rosebud Repose" by John Potter

As I continued to drive and Pam dozed, I happened to pass a sign for Highway 40 to Vegas. I was instantly transported to my early Art Career days with a fellow artist named Red. Red was the first friend I met in my first year of participating at Cowboy Christmas during the National Finals Rodeo. We were the first group of artists to participate in the tent at Cashman Field the year the show outgrew the main facility. A 100-yard long tent was set up in the parking lot to accommodate the extra artists added to the show. And Red and I were the first wave of new exhibitors to show in the parking lot in the tent. (This is before the show grew so large that it is now housed in the Las Vegas Convention Center).

Anyhow, Red and I hit it off and we set out to conquer Vegas. Actually, he set out to do Vegas. I was mostly in charge of logistics. I was the guy behind Red, telling him such and such wasn’t a good idea---rarely with any success. Our first year ended spectacularly. The last night of the show we decided we would skip the teardown crowd and the madness and chaos of 500 booths trying to load out all at once. We would be smart and get an early dinner and break our booths down the following morning, when it would be much easier. (I must interject that this wasn’t solely our idea---our artistic mentor Buck Taylor advised us to take this route.)

Cowboy Christmas at NFR in Vegas

So we hit Binion’s, in downtown Vegas, for a rare Rib-eye and short night of Black Jack. I lost my self-designated $30 limit early, and headed for the hotel. I knew Red would gamble to the wee hours of the morning. I was up at 6 sharp, grabbed a quick breakfast and headed for the show tent to start my teardown. When I topped the hill, I was shocked to see that the entire 100-yard tent was gone! Totally and completely gone!

The only things in the entire parking lot were our two booths, with paintings still hanging. So there is my booth with 20 original watercolors (that I had spent months painting); they are hanging exposed to the elements, theft and wayward birds. I phone Red and verbally illustrate our predicament. The F---ing tent is gone!

Six minutes later, Red flies over the hilltop at breakneck speed in an old 1982 Isuzu Trooper. We quickly tear down our booths, dodging construction workers who are loading the stacked poles of the tent. This experience would start a long friendship that was based on clearing this hurdle with little more than a heavy layer of dew on our paintings. This was definitely an example of the “Bad” I’ve incurred.

I then asked Pam about the ugliest moments in our career. We agreed that all in all, we’ve been blessed with a fantastic adventure, but there has to be an “Ugly” to finish out this blog, right? Try this one on for size.

We had just finished the Phippen Museum Western Art Show & Sale in Prescott, AZ and were headed for home. We’ve made this run so many times that we know where the cleanest bathrooms are, the best gas stations, the friendliest Subways, and the safest motels. This is a run we own.

We know when it’s the best time to hit traffic in El Paso or Tucson and we know the back roads around Phoenix; we know this run. One thing we didn’t know was the best place to blow a tire with no spare.

Iraan, Texas is in the middle of nowhere; right between Fort Stockton and Ozona, on the desert floor. I have to qualify our location---we weren’t actually in Iraan. We blew our tire at the Iraan exit sign. I heard it pop and when I looked in the side mirror, the entire fender of my little Wells Cargo trailer was blown skyward by the separating belts of the tire. The twisted mess of metal that was my fender flew about 30 feet in the air, directly at the windshield of a Lincoln Town Car behind me. The fender missed the top of the car by what seemed inches. The Boss Hogg driving the Lincoln never knew how close he was to eating his cigar for good.

I backed out of my pedal and eased off the 80mph speed that was customary on I-10. The silence at Exit 325 was deafening. I unhooked the trailer and left Pam on the side of the road to guard it (adequately armed, I assure you) while I drove to Sheffield, Texas and the only tire shop open on Sunday.

I had visions of purchasing a $187 used LT205/75R15 more commonly known as a P.O.S. trailer tire. But the tire man was looking for a Sunday friend, and let me off for $65. We changed out the tire, hooked up, threw our dead fender in the truck bed, and headed for home. It was definitely “Ugly”.

So there you have it. And I wouldn’t change a thing about any of it. The Good Lord has definitely taught me some lessons along the way, and I am grateful for all these experiences. And a simple moving prayer to the Great Creator sets the tone for all Life’s offerings.

Atmospheres & Backgrounds

noreply@blogger.com (Mark Kohler) — Wed, 07 Sep 2011 18:09:00 +0000

Welcome to my 200th post! I hope I have been able to offer you insights into the world of a professional artist, and to give you valuable and useful suggestions to make your own art successful. Thanks for sticking with me!

One of the greatest attributes of watercolor is its’ ability to create lifelike atmospheric effects. On a vignette this adds a realistic feel to the subject. One of my blog friends, Shelley, has asked for some suggestions and help on her painting of a polo player.

I had originally planned to repaint her photo to the point where Shelley has hit the “background wall”, but I opted to use one of my photos that presents the same basic problem, and show you how I solved it.

Here’s Shelley’s painting of the polo player. Her questions to me were based on her uncertainty about adding the background.

Shelley's painting

I will show my progression, without much fanfare, to get to the same point as Shelley. I thought you might like to see the process.

So here we are with a painting very similar to Shelley’s. It’s a finished subject floating in a sea of white. So where do we go from here?

The first consideration before we ever get to this point in Shelley’s painting is to start integrating our background washes as early as possible. Let me stress this again: The way to integrate a background into a painting is to start early.

My first step towards resolving my background problem is to just start the process. I start with a wash of Burnt Umber to indicate dust being kicked up by the horse and calf.

I let my first wash dry and prepare for another layer. You should understand this will be a multi-layered approach of adding glazes of color to create my final effect.

My second wash is Burnt Umber again, but I add some textural brushwork to break up the color and give it a painterly feel.

Here’s the painting after glaze #2 of Burnt Umber is complete and dry.

Now I add Ultramarine Blue to the background I created a basic cloud-like shape so the Burnt Umber would appear to be in front or in the foreground, in relationship to the blue. No pre-planning was needed for this shape. Dust clouds are rather random in nature --- keep it that way.

I also added a touch of Cadmium Orange around my cowboy subject. I want an interplay of colors working together. (If you want to study a master of cool and warm washes, get Thomas A. Daly’s book “Painting Nature’s Quiet Places.” Daly is a master of glazing warm and cool washes to create this interplay of color).

The details are hard to see in the photo, but I darken the shadow under the horse’s neck and add a weak wash of Cadmium Orange over the entire background. This serves to unify the atmospheric effect and bring the total painting together.

Shelley, I hope this helps. If you have problems with your background, don’t hesitate to contact me. Good Luck!

Authentic and True

noreply@blogger.com (Mark Kohler) — Wed, 24 Aug 2011 17:42:00 +0000

Don't Ask your Mom ....

noreply@blogger.com (Mark Kohler) — Thu, 18 Aug 2011 15:06:00 +0000

One piece of advice I received from my first art teacher, Amado Peña, was “Don’t ask your mom if it’s good.” At the Anderson High School Art Department, Peña ruled with an iron prisma color (a weak attempt at art humor). He was no bullshit. If your art was crap, he would tell you straight away. He expected every piece to progress nicely from the last.

We’ve discussed self-critiquing before, but this bears repeating. Your ability to critique your own work is of paramount importance. If you only show your efforts to a small inner circle of friends, you will only get positive feedback. I suffer from this dilemma myself ….. and it is with my wife, Pam!

Art Critic by Norman Rockwell

Sometimes I know she’s reluctant to give her honest opinion, because I usually take it poorly. But I have to admit, she is usually right! She knows my work better than anyone else, and can honestly critique it from many angles. Sometimes I just don’t want to admit she’s right on the mark.

Did you ever write a paper in college that took so much out of you that words like the and dog start looking wrong? The same phenomenon happens to artists after 20 hours of drawing or painting. We artistically forget how to paint the – and others can see that it is not a correct representation. The question is will they tell you?

Chances are they are reluctant to hurt your feelings, or they feel the overall effort is fantastic from their limited art perspective. Either way, you are going to get bad information and think you’re “the gift”. My advice is to find some inner circle of art friends who aren’t afraid to tell you that your painting has broccoli in its’ teeth. Your job is to learn how to take the bitter pill in a civilized and gracious matter … something I, myself, have yet to perfect.

Look at the critique with serious introspection. Are they right? Could their suggestion make the painting better?

This goes both ways. When you are providing an opinion, please do it with a professional attitude. I don’t offer an opinion unless someone asks. Then I preface my opinion with a disclaimer: “Don’t ask me unless you want the truth.”

Michael Bane, a TV host on the Outdoor Channel, gives wise counsel: generally, people will love you if you tell them something like the truth, but if you tell them the truth they will despise and disdain you.

Hard Candy by William Matthews

So my advice to you is stick with professionals and artists who act like professionals. And don’t be afraid to praise your peers. Let them know they have impacted you and your work … it’s why they do it. I remember two years ago at the Coors Western Art Show in Denver when Willie Matthews and I were discussing his work at the show, and I mentioned that I really liked his painting, titled “Hard Candy” (a painting of a buckaroo with a tootsie roll pop). He got animated and we had a great discussion about the painting. It was executed beautifully and is, in my opinion, an iconic painting by a master watercolorist.

So there it is …. be a critic with a light hand and a helping heart, but speak the truth. And if you want to honestly know if it’s good ….. Don’t ask your mother, ask your wife.

Break Some Eggs!

noreply@blogger.com (Mark Kohler) — Thu, 04 Aug 2011 21:28:00 +0000

At least once a week, I break an artistic egg. In art vernacular that means chunking a $10 piece of watercolor paper (with 10 hours of drawing on it) in the big round file, commonly known as the trash can. At the beginning of my career, this really hit me hard. The loss of a $10 piece of paper, when I didn’t have $10 to waste, was a bitter pill to swallow. Then the loss of the time invested in my drawing, and the mental set back, all helped to convince me that I had failed.

My response to this perceived failure was usually manifested in a fit of rage, happily married to a string of colorful expletives. Usually this occurs because I made a snap color decision that turned out to be wrong.

Green has been particularly adept at beating me about the head, then sending me packing. Me and Green have an old ongoing rivalry where, for the most part, he continues to win on a routine basis.

I have, to some extent, started to embrace my failures as something worthwhile. No one likes watching their efforts reduced to a crumbled mass of 140 lb. cold press debris, but I have come to realize that this process (of screwing up) is making me a better painter. How is this possible?

Well, the first and most obvious benefit will come when I redraw my painting. My second attempt will give me an additional 8-10 hours to contemplate my original failure. Some of us require multiple failures to “tune in” to the painting process. I’m afraid I fall into this category. Also, I won’t try the method or technique again that brought me to this point in the first place. Even an artist won’t put his hand on the hot stove twice.

The real growing opportunity lies in a larger philosophical outlook, and it is this…..I’ve come to realize that when I experience failures, it’s because I’m expanding my painting knowledge and pushing myself to a new and higher level.

Typically, after a catastrophic mistake, I produce a painting that is obviously of a higher quality. The real secret to this process is to maintain a positive attitude during the first failure. If I fly off the handle in a fit of artistic rage, I ruin my chances of pushing to the higher level. You must become a mature artist who embraces his monumental failures with grace and a spirit of learning (kind of a WWJDFA – what would Jesus do for Artists).

It sounds easy, but when you blow that first effort, everything in you wants to come apart. This is tougher for firebrand personalities, and guys, in general. But trust me, it is an artistic truth. Now go forth and paint in a calm, controlled manner. And learn from your mistakes!

FOOTNOTE: Socks, the cat, is still refusing to find new owners. He has sunk his taproot with Pam and me (and four dogs who are still intent on pressing the nine lives issue). However, he has started earning his keep with the following “captures” under his belt:

-- 2 lizards

-- 1 Cicada

-- 1 Gecko

-- 1 Coral Snake

-- Numerous grasshoppers

-- 1 Failed Rabbit Stalk

Gaucho Demo & Finished Painting

noreply@blogger.com (Mark Kohler) — Thu, 28 Jul 2011 20:28:00 +0000

Today, I will give you all the information to finish your painting. In this next image I start establishing my early light washes, which I will build on. I used Cadmium Scarlett on the stripes of the pants, and then laid in some weak washes on the reins and breast collar of the Gaucho’s gear.

The next step is to start building the folds of the shirt. I want to get every portion of the painting moving along at the same pace. The scarf is a weak wash of Cobalt Blue that will serve as the lighter color of the Panuela, or scarf.

Here’s my painting after I’ve put in three background washes!

The first was Ultramarine Blue over the entire background. Next was a light wash of Raw Umber to knock the blue back a bit. The lower portion of the wash is Light Red. I will wait to see how the rest of the painting moves along until I add further washes.

I’ve jumped around the painting, working in different areas, still trying to maintain an overall working method instead of working from one area outward. I tend to have better value control. As I bring up different areas in intensity, I personally make better value and color choices with other portions of the painting blocked in.

The painting has neared the finished stage and I take one final moment to evaluate my progress.

The painting is now complete after darkening some crevices and adding a unifying wash of Cobalt Blue over the entire background. Very little of this wash is perceptible, but it works to neutralize and unify.

Thanks for tuning in for the demo and let me know if I can help with any specific problems you might have run into. Remember, there are no bad paintings if you learn from the process. Good luck!

Gaucho Demo - Week 2

noreply@blogger.com (Mark Kohler) — Thu, 21 Jul 2011 19:08:00 +0000

Our next step is to add the first layer of skin tone to our subject. This will be a mixture of Alizarin Crimson and Burnt Sienna, with a touch of New Gamboge to keep it warm. (Below)

I apply this as a bold wash that covers everything I’ve done so far. Scary, but we all chose watercolor for a reason. Now we must play its’ game. Don’t be shy here. We will paint over the whites of the eyes and all of our previous work. Let this latest wash air dry completely.

Now with our initial skin tone wash in and completely dry, I go back over my shadow areas in the face with another wash of Alizarin Crimson and Burnt Sienna. I also put in the darks of the Gaucho’s hair, as well as his facial hair. This is a mix of Burnt Umber and French Ultramarine Blue with a touch of Alizarin Crimson to darken it. (Below)

It doesn’t appear in this photo (below) that much has changed. These are subtle modifications but they are important. I added a very light wash of Cadmium Orange over the entire face. This wash infuses realistic warmth to my subject’s skin tone. I also add a very dark wash of Ivory Black and Alizarin Crimson to the hat. (I want to get the dark tone of the hat closer to the image of the photo).

We’ve accomplished a lot in this phase, so we’ll stop here before tackling the clothing of our subject. Be sure and contact me if you have any questions. Good Luck!

Gaucho Demo - Day 1

noreply@blogger.com (Mark Kohler) — Fri, 15 Jul 2011 16:01:00 +0000

OK, we’re ready to start our painting! My first wash is a mixture of Burnt Sienna and New Gamboge. I take this mixture towards the Burnt Sienna side, since the Gaucho’s complexion leans toward a darker, more ruddy tone. Keep this the consistency of tea, and the value rather weak.

My next layer will be a purple mixture made from French Ultramarine Blue and Alizarin Crimson. With this mixture, I’m going to be establishing some form in the face. This next step will be slow and deliberate because I want to make sure that I create a likeness to my subject. This is no time to rush or get flippant with paint applications or color decisions.

I want to focus a lot of time on the face. Let’s agree that if the face isn’t a dead ringer of my subject, then there is little point in moving on.

I also decide that I will work on the Gaucho’s hat. With that bold, dark addition to my central point of interest, I want it established before I start the next critical stages of the face.

We’ll stop here so that you can concentrate on getting this important phase of the painting locked down before we proceed. Good luck!

Headin' South....Way Down South!

noreply@blogger.com (Mark Kohler) — Thu, 07 Jul 2011 17:52:00 +0000

OK, it’s time to abandon thoughts of cats and the economy, and get back to serious Art. I’ve decided to take you along on a little journey to one of my favorite places on the globe….Argentina!

Over the next 2 or 3 weeks, I’m going to do a painting demonstration and our subject will be an Argentinian gaucho. This painting will be my donation piece for the 2012 South Texas Charity Quail Hunt at the King Ranch in South Texas. The photo is from my 1998 trip to Corrientes in Northern Argentina, and is an iconic representation of these master horsemen.

If you’re going to work alongside me, you can pull this line drawing off this blog, or I can email it to you, if you prefer. You will have a week to complete the drawing before the next stage and blog post.

I will be painting on Arches 140 lb. Cold Press, and will be using a mixture of Gouache and Watercolor. You’ll be able to see how using Gouache/Watercolor and a dry brush technique in the final stages will greatly enhance your painting.

Good luck and I hope you enjoy the process!

A Cat This Way Comes

noreply@blogger.com (Mark Kohler) — Fri, 01 Jul 2011 17:21:00 +0000

You know the old axiom, “If you want to make God laugh, just tell him your plans?” Well, I pretty much stepped in it this past week.

It all started on Monday when I was watching a commercial on TV about cat litter. This “cat lady” lets her cat come up and rub her face. I was absolutely repulsed by this spectacle, and boldly declared, “I would never own a cat!”

You see, there’s some history I need to explain. When Pam and I used to live in Sabinal, TX, I thought it would be a great pastime to raise quail. Quail are raised in a glorified chicken coop or pen, and it goes without saying that quail pens and cats do not go together. They do, however, attract each other like the poles on a magnet.

It also goes without saying that if you raise quail; you are going to gain a reputation as a gunfighter of cats. Mine is rather impressive. That is until last Tuesday, when a half starving, mange-dappled barn kitten, with a pretty good hitch in his giddy-up (from direct contact with some type of moving machinery) showed up on my studio deck.

He openly declared, “You are now my new owner…. I just adopted you.” My first thought was, “Reach for the gun and send this little flea-infested Third World kitty to his ninth level of Nirvana.”

Then God tapped me on the shoulder and reminded me of my declaration the night before. I felt like Moses—giving Him every excuse why I couldn’t raise this cat. (The most obvious being the four dogs in my kennel that are all glazed over with visions of a cat sandwich dancing in their heads.) I have a terrier, a pit bull, a black mouth cur hunting dog, and a Labrador retriever, who lets all the aforementioned lead her weak mind down some very dark roads.

“This will not work, God!” I have this comical vision in my head of God laughing at my previous cat declaration on Monday, as I slowly turn and walk away, muttering something about going to the Dollar Store for cat food.

So now I find myself sitting in the shadows of a bold statement, humbled by God’s finger, while a malnourished barn cat eyes me with adoration and thinks I hung the moon.

P.S. I am in the process of finding Socks (yes, I named him) a new home. He's been put in my charge, and I just can't let him meet an early demise at the whim of my dogs. He found his way to me, and now it's my responsibility to see that he gets a fair shake. I'll let you know how the story ends.

Keep The Economy Out Of Your Head and Off Your Paper

noreply@blogger.com (Mark Kohler) — Fri, 24 Jun 2011 14:45:00 +0000

The Economy.... As I approach each day in the studio, it’s the single most recurring thought that pervades my mind. And I’ve had to learn how to keep a handle on it. Whether it’s the stock market, Bernanke, the Dollar, or all the less-than-professional idiots running this country, they all contribute to distracting factors in my day.

Cortés scuttling his fleet

But I have a responsibility to wade these dangerous waters. Pam and I have worked hard for our little piece of life that we enjoy so much. And much like Hernán Cortés, upon his expedition into Mexico, we have scuttled our fleet and there is no turning back. We must press on and defeat the discouraging rumors about the relevancy of art in today’s economy.

We firmly believe we are on God’s path for us and are determined to remain faithful, which means trusting and using the gifts He has given us. I dare say it’s no different for you. This world has been in turmoil since the beginning of time, and it will remain in turmoil. So at some point you need to make up your mind to get on with life and achieve your goals.

I’ve found that talking with other artists can be good, BUT be careful about putting too much stock in the “downers”. You know whom I’m talking about. Some of my friends might think that describes me. However I consider myself a realist; I discern the situation as it is and prepare to deal with it accordingly, and get on with things---like painting.

One technique that consistently works for me is to maintain the image of my finished work in my head. Visualizing how I want my final work to look is the single most powerful tool I have for focusing my painting efforts.

Waiting to Start the Night Guard

Generally if I can keep that image in the forefront of my thoughts, and deliberately slow down my painting process, I can raise my proficiency level, and thereby produce more and better work.

Call it Zen or Yang or some other neo-harmonic crap, if that works for you, but put your brain into your painting game.

The so-called experts say we only use 10% of our brain, and the other 90% remains untapped, which I don’t necessarily subscribe to. But if I can keep my meager 10 clear and uncluttered with the world’s intrusions, I find that every now and then something good happens.

Good painting!

The Quiet One

noreply@blogger.com (Mark Kohler) — Thu, 16 Jun 2011 14:30:00 +0000

Ben Kimble is a good and humble man. I could stop right there with this perfect, succinct summation of my friend and superb cowboy. Ben is a longtime permanent fixture in northern Arizona, and Beano, as he is known in the cowboy circle, is the quiet type.

He is solid and gets his work done with the competence of a top hand. Beano has worked on most of the big ranches in Arizona, including the Diamond As, O RO, 7-Up, and the Old C.V. Beano has grabbed hold of all the cowboy life has to offer and carries the traditions of the working cowboy right there on his sleeve for all to see. And he makes no apologies for it.

My favorite recollection of Beano is the special care he doted on the older cowhands at a branding several years ago. His respect for those who have gone before him; those who refuse to give up the lifestyle they love, was most admirable.

Arizona Fast Loop

Beano has a strong connection to the men and country of northern Arizona. The long highway keeps our friendship at bay, but we only need one handshake to pick up where our relationship was cut short. I realized that I have been painting him for nearly 10 years now, and nothing has changed. The saddle leather and trappings come and go, but the man remains steady and true.

Lessons From A Fighter Pilot

noreply@blogger.com (Mark Kohler) — Thu, 09 Jun 2011 23:05:00 +0000

During my high school years I shot skeet competitively, and I had a coach who clarified something for me, and this piece of advice has stuck firmly to this day. His name was Art Sideras and he was an Air Force Colonel, fighter pilot, competitive shooter, as well as first-class mentor.

He has passed away, but not before (like most good men) leaving a positive mark on the world that continues to bear good fruit. My youthful problem originated on Station 2 High House, also known as High 2 in “Skeet Speak”. This particular station had never really given me a problem, but after losing a 4-H match in Dallas by one target, I had let the shot into my head. Art saw me struggling with the target and came over with his low key and patient manner to help me with my problem.

“Mark, you’re taking yourself out of the moment. Don’t recruit your brain to the wrong thing.” He reminded me of a shooter we both knew who was constantly throwing temper tantrums when he missed targets. He explained to me that top shooters don’t do this. When a top shooter misses, he goes on without incident; no whining, no verbal excuses, and no tantrums. He doesn’t take himself out of the moment.

As a former fighter pilot, he explained that in a dogfight, if you take yourself out of the moment, it would get you killed. He pointed out that I was recruiting much of my brainpower to worry about the shot, or how it could affect my score, instead of directing that power to making the shot.

Earlier this week I was doing much the same thing with one of my paintings. I had let an unresolved issue get in my head and shut me down. The white noise of the studio was getting in my head and made it hard for me to even start the painting. What if I mess up this $10 sheet of paper?……what if I waste three days on this, and it doesn’t work?......what if, what if…..

Painting is much like competitive shooting. A series of mental exercises combined with fine motor skills. Painting watercolors demands that you be in the moment.

Watercolor, unlike oil painting, suffers no haphazard fools. Any mistake you make can’t be covered over, and excuses or whining will only impact your efforts in a negative manner.

We all have our artistic Station 2 High Houses to deal with. It will eventually come, but make your studio a haven, clear your mind of all the white noise, and get in the moment. You all have great watercolors in you----so get started!

The Strength of MOLON LABE

noreply@blogger.com (Mark Kohler) — Fri, 03 Jun 2011 14:27:00 +0000

     “MOLON LABE!” – These are the words spoken vociferously by the Spartan leader Leonidas to the Persian invaders and their leader, Xerxes. Now, Xerxes had asked Leonidas, quite politely as a matter of fact, to surrender his weapons at Thermopylae.
     The defiant Spartan king, with the moxie to back it up, made his position quite clear. “Come and Take Them!” Xerxes eventually made Leonidas eat his words, but not before the 300 Spartans exemplified what it meant to be Spartan.

     The Greek historian, Herodotus, guessed the number of Persians at 2,000,000, while most scholars today put it at 300,000. Somewhere between 20-25,000 Persians were run through by Leonidas and his men.
     Just this last week, I read that the Spartans were one of the few cultures that refused to build a wall around their city. Quite frankly, they just didn’t need it. Their reputation and training preceded them, and that dedication and pursuit of perfection made invaders really weigh the consequences of their actions.
     While this same dedication can be tied to your training as an artist, it can also serve in any aspect of life. This is where I go back to my old fallback position, exemplified best in The War of Art, by Steven Pressfield:

A Professional is Prepared. “I’m not talking about craft; that goes without saying. The professional is prepared at a deeper level. He is prepared, each day, to confront his own self-sabotage.
     The professional understands that Resistance is fertile and ingenious. It will throw stuff at him that he’s never seen before.
     The professional prepares mentally to absorb blows and to deliver them. His aim is to take what the day gives him. He is prepared to be prudent and prepared to be reckless, to take a beating when he has to, and to go for the throat when he can. He understands that the field alters every day. His goal is not victory (success will come by itself when it wants to) but to handle himself, his insides, as sturdily and steadily as he can.

A Professional Dedicates Himself To Mastering Technique. The professional respects his craft. He does not consider himself superior to it. He recognizes the contributions of those who have gone before him. He apprentices himself to them.
     The professional dedicates himself to mastering technique not because he believes technique is a substitute for inspiration but because he wants to be in possession of the full arsenal of skills when inspiration does come. The professional is sly. He knows that by toiling beside the front door of technique, he leaves room for genius to enter by the back.

     Whether it’s art, or life, or shooting, or cooking, or any other endeavor, we can learn from the Spartans. Being Prepared and Mastering Technique are the roots of success. Add Persistence to these two and you’re bordering on unstoppable.

TEOTWAWKI, Art and the Zombie Apocalypse

noreply@blogger.com (Mark Kohler) — Wed, 25 May 2011 15:03:00 +0000

Hang on to your hats for this post! My imagination went wild on this one!

Did you know that last week the Center for Disease Control (CDC) actually gave us, the brain-dead public, a written primer on how to prepare for an invasion of brain-eating undead, commonly known as Zombies? I find it rather ironic that they talk to us like we’re Zombies, hanging on to their every word, about the threat of real Zombies. Can you believe it?

Look, you may not have as good a seat on “the crazy train” as I do, and have no idea what TEOTWAWKI really is. Well, fire up that Google search because this post is way beyond Survival 101!

So, after the CDC article, I’m thinking to myself, “How does this affect my art career?” Don’t worry; I’ve done the heavy lifting here. Preparation is my middle name. I actually quit Cub Scouts in the Third Grade because my lefty-leaning, patchouli-stenched instructor, Ms. Pillsbury informed me we wouldn’t be learning to start fires with a bow drill, or any other form of bushcraft. So, adios Ms. P and good luck with your bake sale. (And I want to know, where were the male role models for this impressionable group of 8-year olds? But that’s another lament for another time.)

So, flash forward to the present, and the alarming warning from the CDC regarding the aforementioned Zombies. If I want to paint a plein air landscape, I must not only consider my palette choice, brushes and easel, but must now contemplate what type of firepower I might need during my painting experience.

No artist wants to fend off a poorly dressed member of the Undead, who is wearing a Frankie Goes To Hollywood RELAX T-shirt (slightly blood-tinged) using only a tube of Van Dyke Brown and the sharp end of a Kolinsky Sable Winsor Newton Series 7 brush.

Keeping with the Zombie theme, let’s break this down into small, edible chunks of logic (Sorry about that!). Here’s the heart of the matter: The problem with defending yourself against Zombies is that they are only firing on one neuron and it’s in their head, so you have an impossibly small target. Logical thinking leads us to this conclusion: Big bullets release more kinetic energy on pea brains.

So, here’s my advice to you: If possible, consider the 9 mm as a minimum weapon of defense, with the .45 ACP as an even better choice, or my personal favorite….the Remington Model 870 pump shotgun.

I proudly consider myself a member of what Michael Bane calls Gun Culture 1.0, and as such, would never consider a day of painting without a large caliber weapon within reach for defending myself against Zombies or other undesirable elements. I’m capable of sending copious amounts of hot lead down-range faster than you can say “Arches 140 cold press and Ultramarine Blue”.

In a couple of weeks I am teaching a workshop here in my studio to a good friend whom I will call Calamity Deb. As host of this event, I feel a sense of responsibility to provide a safe workshop environment for my wide-eyed students. However, I happen to know that Calamity Deb has a rather good seat on the crazy train, herself, and is known to be quite capable of sending her own hot lead down range.

So with Pam providing eyes and ears, and back up with her new 9 mm Gen 4 Glock, Calamity Deb and I will be able to venture down the art path safely and unimpeded. And I am providing fair warning to any of the Undead who dare to limp, glassy-eyed into our Day of Art. OK, girls, let ‘em have it!

Don't Drop The Roast!

noreply@blogger.com (Mark Kohler) — Thu, 19 May 2011 19:01:00 +0000

I was 18 when it started. It came like a thief in the night, and then proceeded like a runaway freight train. I knew I’d been dealt a bad card. The same arrow nicked both grandfathers and my Dad. I didn’t stand a chance!

Resignation makes the bitterness of the pill a bit easier to swallow, but for young men it’s the bane of existence. How could I be born in August and branded a Leo? A Leo is identified with Pride, Power and a Full Mane! And yet by the time Pam and I married, I was in full folic freefall at the young age of 23.

I knew then, that there was only one way to play it. No mullets, no comb-overs. The guys who desperately hang on, look ridiculously pitiful. It’s better to stand deliver, take your lumps and attach the No. 1 guard to the Wahl trimmer. At least with the buzz cut, you stand on common ground with soldiers, athletes and the like.

Now, all these many years later, I have no complaints but one. For it seems that my uncovered bean catches more than its share of punishment. I’m not sure if hair is a great impact deterrent, but I don’t remember having this many cuts, abrasions, lumps, hematomas or gouges.

Four years ago in Sabinal, I walked headlong into a brace for the garage door. It knocked me out, but I came to upon impacting the ground. My art trailer has an aluminum trim with a sharp corner that catches me at least twice a year. My framing saw is living in a shed that predates our move to this property. It was built for midgets at the turn of the century, and it has taken its toll on me over the last three years we’ve lived here.

This week has been especially noteworthy. First, while caulking an outside seam on my studio (in preparation for painting the exterior), I was indiscriminately attacked by yellow jackets while standing on a ladder. Somehow they know to proceed in full assault when you’ve reached the highest point on any given ladder.

I bailed off in an arm-swinging frenzy, only to fall between the metal braces for the deck I am also building. Ouch! And last night, I ambitiously cooked a chuck roast in my #10 Dutch oven. While walking to the house with my head down (to avoid stepping into any hidden holes in the yard), I slammed full speed and head on into 11 inches of a Live Oak limb. Tree wins again! All I could think was, “I know I’m bleeding, but don’t drop the roast!”

If You Don't Have Books, You Can't Stop The Hemorrhage

noreply@blogger.com (Mark Kohler) — Thu, 12 May 2011 18:34:00 +0000

I've spent the past week working on one single painting for the upcoming Buffalo Bill Museum Show in Cody, Wyoming. When I stop and reflect on the process I pursued in completing this painting, I realize that the single most important aspect to its success were my art book references. I know I've spoken of this before, but I can't stress enough how my library contributes to the success of ANY painting I present to the public.
For the most part, I use these valuable references for two different reasons: 1) Seeing how another artist handled a specific problem I am encountering, and 2) Seeing how to simplify an element in my painting that is difficult or over-detailed.

   These are the books that I used to resolve a series of challenges that I encountered in the painting. And you will find that every painting presents a unique and specific set of problems. The process to resolve this is usually found in good drawing and referencing Master works.
   For early ateliers, copying Master works was part of the learning process. I think the strength in this method was they were able to follow in the footsteps of a Master and see exactly how he mapped out the complex steps and translated it into brush strokes.
   I've found that things like foliage or repetitious patterns present chances to shine as competent painters. Riding the fine line between too detailed and too impressionistic are where I run into trouble. Once my point of interest is established, then the foreground and background must be appropriately incorporated into the painting, and compliment the subject.
   Painting, according to Richard Schmid, is nothing more than solving a series of problems to completion. When there is nothing left to solve, you have neared the end of the painting process.
   For me, and most professional artists, my book collection isn't just for looks. I would even venture to say that if you are a serious artist who refuses to purchase, study, and reference every art book you can find, then you may want to rethink your commitment to your craft. If you don't know where to start, then drop me a line and I will give you a good starting point. I'd love to share my inspiration with you!

P.S. I will reveal this painting in September, prior to the opening of the show. It will be worth waiting for, I promise!

Rant 2.0: What the !#?*! Is an Aglet?

noreply@blogger.com (Mark Kohler) — Thu, 05 May 2011 15:10:00 +0000

AGLET: a metal or plastic tube fixed tightly around each end of a shoelace.

My niece, Kaylee, used this word in a conversation last Saturday evening. I instantly called B.S. on it and now I’ll need copious amounts of salt and ketchup to get down the rather large piece of crow I must now swallow.

By my very nature, I immerse myself in studying those things that interest me, and I tend to study them with total commitment. That would include Drawing, Painting, Shooting, and Dogs. But never in my studies or travels have I stumbled across the word aglet.

Kaylee

(I think if I chase that chunk of crow with Strawberry Kool-aid, it might be a bit more palatable.) The bitter truth is that my niece has inadvertently taught me a valuable lesson. It’s something akin to that old adage, “Keep your mouth shut and let them wonder if you’re a moron, rather than opening it and confirming all doubts.”

Now I know if I played Cranium or Balderdash or Twenty Questions, then I would have placed this pointless appellation into my hard drive for use on some witless idiot, much like myself. But as it stands, I still can’t find a reason to clog my vocabulary with such drivel. When would one use such a term unless you owned a freakin’ shoelace factory? “I’d like to go to dinner with you, but I busted my aglet, so I’ll be sitting this one out.” ….. “Doc, I think my dog ate my homework, as well as my aglet!” …. “Does this aglet make my butt look big?”

So where is this entire diatribe leading us? While rummaging through my flat files last week, I found 3 Salinas Rodeo Posters that I designed in 2000. (By the way, they happen to be sold out and are now collectable). I will give away one of these posters to the reader who provides me with the best usage of the word aglet in a sentence.

Also rest well knowing that all family members of the artist (including Kaylee) cannot win. Uncle Mark gets in the final cheap shot!

Good luck!

Something Wicked This Way Comes

noreply@blogger.com (Mark Kohler) — Thu, 28 Apr 2011 15:07:00 +0000

Even those of us who aren’t “plugged in” 24/7 can feel that there’s a change in the wind. Our spider senses tingle and our gut tells us that the world is changing.

Corrupt politicians, a Federal Reserve Bank out of control, and a slipping dollar all have us teetering on the precipice. It’s an easy time to forget who we are, and we tend to want to pull in to our shells and isolate ourselves. It’s easy to let those little cracks of doubt seep in and take over our thinking.

Let’s face it, the Art Market is a scary place to tread without a flailing economy, and it’s very easy to let fear and doubt drive our decision-making.

Sometimes, I even come dangerously close to convincing myself that it’s all for naught. Here are the thought patterns that threaten to undo all I’ve worked for:

“Art is the greatest of luxuries; only 1/100 of 1% appreciate art enough to actually purchase a painting. If the economy were to tank, art would be the first to go.”

I can go on and on for two more pages of fear and doubt, but to what end? I can only lean on what gifts God has heaped on Pam and me. He made me to be an artist, and set me on this path. And that is comforting and builds confidence, at least for us.

So what’s my advice, among all this doom and gloom? No matter what you wish to accomplish in your life, STAND UP STRAIGHT AND GET INTO THE GAME! You were made to be an artist, or a cowboy, or a mom, or whatever your passion is.

There is no doubt that we are in scary times. But as a group, Americans aren’t good at lying down and giving up. I wake up every day and paint to the best of my abilities. So my recommendation to you? Press on my friend, THIS TOO WILL PASS.

The Power of "Runt"

noreply@blogger.com (Mark Kohler) — Thu, 21 Apr 2011 15:58:00 +0000

About this time last year, I was on a search for the perfect pit bull puppy (a statement you won’t read on many art blogs). I waded through the many possibilities, but my requirements weren’t easily met:

--- Female

--- No undershot jaw and a good disposition

--- A nice paint job, preferably brindle, blue paul, or mouse colored

--- Smallest dog in the litter, i.e. “the runt”

--- Not overpriced

The first three categories were easy to meet and I knew if Category 4 could be obtained, then Category 5 would fall into place. After several months, Pam and I stopped in Lockhart, Texas where a very nice older woman was selling a litter of pups. Both parents were present and were well-socialized, well-mannered dogs.

I immediately saw my pup in the whelping box, but negotiated from the top. Two blue male picks of the litter at $1500 each. Double WOW! There were three black and white paints with blue muzzles at $850 each. WOW! Then there is a smaller female with a white snip at $250. Better! One little chocolate brown runt acting very well mannered in the corner, all by herself. PRICELESS!

The lady quotes me $150. I say “I’ve never paid more than $50 for a bulldog pup.” She agrees to meet at $100 – done! I put the pup in Pam’s lap and off we go.

Fast forward one year to today, one empty blog post, and here we are. I worked on a painting for an upcoming show most of this week. I struggled with paint application (second layer lifting), paper sizing issues, compositional problems, and an early drawing mistake that had to be repaired. All of these problems were hardly leading me to a winner or “pick of the litter.”

I initially thought about ditching this effort, but I had seen a Gordon Snidow painting with a similar dark background and felt I could still make this a special painting. I pressed on, tackling each problem systematically, and hoping for a winner in the end.

The reasons I’m fond of runt pups are diverse and wide-ranging. They are tough by necessity, and survivors in nature. They are appreciative of a good home, and fiercely loyal. But you must see past the “runtness” to the possibilities.

I needed to view my painting exactly the same… it was a runt. My left-brain logic was screaming to call it dead, but my gut kept fighting back, saying, “Yes, this is a runt, but it will pay off in the end.” My gut was right.

"Yerba Mate"

When your work in progress feels like the pick of the litter, it is easy to go forward. But sticking with the runt is an uphill struggle. Take it from me, “Master of the Runt Painting”---it will come back and gift you a thousand fold.

Parallel Planes

noreply@blogger.com (Mark Kohler) — Thu, 14 Apr 2011 19:37:00 +0000

Did you ever meet someone with whom you have a special connection that you can’t explain? The connection moves beyond just a friendship. It’s almost like you knew them on a whole other plane or in a different time. My friend BJ Wacob and I share this gift.

Before you accuse me of some “Bromance”, I’m speaking from a cosmic parallel plane/ big picture view. I spoke with BJ last night, listening to him rail on the ups and downs of the Elko County (Nevada) weather. (It was 39 degrees and spitting snow).

Just so you understand, BJ is as cowboy as they come. His left hand is as rope wicked as you will see, and he is the type you want with you if things go bad. If cooler heads really do prevail, BJ will be the last man standing.

Our cynical humor finds common ground in almost every aspect of today’s world. And our sarcastic banter can rapidly get out of hand.

BJ has an unexplainable longing for the sage country of Nevada, most probably rooted in the freedom this lovely, hard country provides. In his early years, he buckaroo’d for the YP and IL Ranches, and has now settled on the famous Maggie Creek Ranch, just outside the lights of Elko. When he was in his early 20’s, a runaway horse nearly took his life, dragging him by the foot towards a black brush thicket. The fast action of fellow buckaroos saved him at the last minute, although he suffered a severely shattered leg that nags him to this day. (When the hard work’s done, BJ leaves the romance of tall top boots and large roweled spurs for the comfort of his Nikes.)

On my trip to Nevada last year, I knew I wanted to photograph BJ for my central painting at the upcoming Buffalo Bill Museum Art Show. This painting will be something different and quiet; no thundering horses or dusty pens. It will be a painting that shows the depth and honor of my friend.

When I saw the tack room door at the Maggie Creek Ranch, I knew I had my image. I know this will be a tough painting for me, in a new direction. But I look forward to showing BJ in a real light. His light.

Spring 2011 Newsletter

noreply@blogger.com (Mark Kohler) — Sat, 09 Apr 2011 01:24:00 +0000

I wanted to share my online Spring newsletter with you. Just click the link below and see what's going on in my life and in the Studio. Enjoy!

Check out my @constantcontact newsletter

How To Cheat

noreply@blogger.com (Mark Kohler) — Fri, 01 Apr 2011 02:13:00 +0000

I wouldn’t say I was a “master” cheater in my school days. First of all, there is no reason to cheat if you’re not in class. My truancy problem was much more significant than my cheating problem. This was due to my unique ability to pen my father’s signature better than he does! So now we have forgery combined with truancy.

It was a perfect little storm for a 7^th-grader who was absolutely terrified of anything having to do with Math. Thank you, Mrs. Bernal, for your exemplary teaching methods. If that’s the truth sounding like a grudge … I’m just sayin’.

So here’s the one cheating episode I can remember. The class? World Geography. The assignment? Name every freaking country in the world!!! The Solution? Carry a flair pen with the answers written with a #000 rapidograph pen and rolled up and stored in the back of the pen. By cutting the ink-filled fiber insert in half, and then cramming a piece of #2 pencil eraser between that and your piece of paper with the answers, you can create a workable space for every country you’re never going to visit, care about, or see on a test again. Boom! Winning!

So, is it possible to cheat in watercolor? Well, for those wacky European Traditionalists, all you have to do is use Ivory Black or White paint. That alone will send them skyward. I really get tired of these elitist snobs.

Hell, if you want to paint your watercolors with flower pollen and water, be my guest. But don’t keep setting up your rules for me to live by. Here’s the deal. I will use any reasonable means necessary to create the image of my painting that is in my head.

I don’t want to go all Zen on you, here, but I visualize my finished painting in my head. The tough part is getting there. Making the jump from the painting in my head to the painting on my paper is where I sometimes use other methods and materials to reach my goal.

So what are some of these “Cheater” tactics? Nothing terribly exciting, and I have advised you on some of them in previous posts. I think you should have them all loaded as part of your ammunition, and be adept at incorporating these materials and techniques into your work:

1. Gouache – I keep a set of transparent watercolor and a complete set of gouache on my palette most of the time. I am not too proud to bump my color intensity or darks with gouache, if I feel it is needed. If you try it, you will be a fan.

2. Masking Fluid - I am not a fan of masking and I try to avoid it, if at all possible. But there are times when I must use it to get to the picture in my head.

3. Ox Gall - This solution makes your paint flow with less surface tension. If you need atmospheric effects, it can be deadly.

4. Gum Arabic – This reduces blooming on wet-into-wet washes. Have you ever had to do one of those 22 x 30 washes that you want to look uniform? Don’t go crazy with this solution, but it has its place.

5. Table salt - Need mottling and texture on leather? This is a good place to start. Experiment before you move to your good work.

6. Watercolor pencils and Prismacolors – Sometimes I need to bump a highlight or just add a bit of reflected light. These work beautifully.

So, now you know my stable of “Cheater’s Tools”. Here are some others you may wish to consider: oil-painting palette knives; razor blade scratches in my paper; squirt bottles and spritzer bottles; crow quill pens loaded with watercolor or gouache. Also check into Nita Engle’s stamping method. She is a master at “cheating”. And she does kick-ass paintings!

I know I’m missing some of my techniques, but I just want to tell you not to be limited by your materials. The fabulous painter Oleg Stavrowsky once said one of his favorite paint application tools was the heel of an old shoe. If it’s good enough for him…. The only limitations on painting are the ones you put on yourself. Good luck…..cheater!

What's Up With All The Bitch-Biting?

noreply@blogger.com (Mark Kohler) — Thu, 24 Mar 2011 15:55:00 +0000

I’m going to make a statement that you might find surprising, and here it is:

As a group, artists can be amazing. People will stand for hours watching us do painting magic. On the opposite hand, as a group, artists can be among the nastiest, intolerant, opinionated bunch of whiners you’ve ever seen.

I’ve been to several shows this year where the congregation of art minds was truly inspiring and uplifting. The Coors Show in Denver this last January is a good case in point. Fellow artists Gil Dellinger, G. Russell Case, Joel Ostlind and David Griffin are the epitome of class and positive input. These artists help each problem-solve, and stand as examples of artists I choose to surround myself with.

However, other negative opinions can rule the day. Here are a few of the criticisms I often hear about my work and that drive me crazy:

1. Paints too loose or paints too tight

2. Paints too realistic or too impressionistic

3. Watercolor has less value

4. Works of art on paper or behind glass are less desirable

5. This work of art is too western or too contemporary

6. These paintings don’t say anything

7. This work is too “Wyeth” or too (insert any Master painter)

8. He has a limited subject --- all he paints is cowboys

9. He paints too thin ..... he paints too thick

10. He glazes everything or it's too palette-knife impasto

I could do two more pages of art gripes that you can hear at any given minute at any given art show. Don’t get caught in this negative wave of opinion. Politely move on, and find safety among other artists of like mind.

You won’t find this spiteful commentary among collectors. They are more succinct. They either like it or don’t, based on subject and quality. Only artists get specific and nasty.

It is time we stop all this “throwing of hate darts” and start working to help and support each other’s efforts. I know our past indicates this won’t be the case. I don’t know if our fragile egos are the root of this problem or if it’s just that we’ve invested so much of ourselves in our work and process that we must skewer all other attempts at paint on canvas.

I just plan to paint what I enjoy----paint it at the highest quality I can and speak as positive as I can about my fellow artists and acquaintances. Sometimes part of being a professional is keeping your mouth shut and opinion to yourself.

I won’t be steam-rolled by anyone, and make no mistake…..I will stand up for myself. But we can keep it professional, even if we disagree. I enjoy throwing artistic curveballs as much as the next artist/guy, and I refused to be boxed in artistically. So for those critics who say “all he paints is western art or cowboys”, check out my painting foray from yesterday.

The Fallen

I can hear it now…..”I can’t believe he painted a dead bird” ….. “It’s too much like Chardin” ….. “That teacup is so feminine”……

It Happens In The Fire!

noreply@blogger.com (Mark Kohler) — Thu, 17 Mar 2011 15:45:00 +0000

I would venture that most of you don’t know that I made a short foray into the craft of knife making. To this day, I still yearn to bloody my hands with this grueling but satisfying craft. After making a serviceable and sellable knife, I realized it was going to be a long and cutthroat climb to any kind of meager subsistence.

However, some of my best life lessons were learned during this time period. The most impressionable knowledge I gained would, ironically, parallel the task of tempering. Let me explain: once a blade is fashioned and the edge ground, it is placed in a forge or heat-treating oven and hardened so that it can best perform its task. Steel, in its earliest stage is annealed (or at its most malleable, soft stage). This is the point at which it can be formed into a tool for cutting.

But until it is baptized by fire and tempered, it remains useless as a cutting tool. This holds true for us as artists, as well. The tempering or fire stage is the most difficult to surmount, but until we walk through the artistic fire, I submit that we will remain at an elementary level.

The Good Life

So how do we progress? One word --- PERSISTENCE! I remember my first real jump into the fire. I had captured an astounding photo I knew was the basis for a spectacular painting. The problem was that my skill level wasn’t up to the task. I painted the image and failed; redrew it again; and again, I failed. I redrew and attempted the painting 13 times! No wonder 13 is my lucky number.

For two weeks I put the full court press on this painting. I never really got frustrated with my effort because with every attempt I was making headway; solving problems and creating a painting better than the last effort. When it was all done I realized my tenacious persistence was a great ally. My advice? When it isn’t working, press on into the fire!