Featuring the oil paintings and pencil drawings of Jana Botkin and the photography of Brett Harvey
P.S. When you comment on the blog, I have to approve the comment before it appears. This doesn’t mean that your comment didn’t “take”; it means I am not near a computer to release your comment. Thank you to those who go to the trouble to comment; I appreciate you sharing your thoughts!
Sometimes my pencil art doesn’t sell. It might win awards, sell as a reproduction print, garner much praise, get borrowed by someone to decorate their vacation rentals and second homes, but just not sell. It is a mystery.
Sometimes I can look at a drawing and see what it is lacking. Sometimes it needs a bit of perfecting or polishing. Other times I see that although it is technically well done, the subject doesn’t speak to anyone in my circles.
This is one of those drawings that lots of people have been happy to buy a print or borrow the original but not willing to actually buy it. Some people say it is because my prices in general are too low; other people say it is because the price is too high. By now, I don’t even remember what I asked for it back when it was out in the public eye.
Recently, I pulled it out of its frame, studied it and made some subtle changes. Next, I’ll rephotograph, and reframe it and touch up some scratches on the frame.
Why?
There is an opportunity to put some art in a county building, a juried show where the pieces need to be relevant to Tulare County, larger than 2′ in either direction, and finally, for sale.
So, why not? No one can see it on a shelf in my storage area. New people will see it inside the county building. I don’t know what purpose the building serves, but it houses offices. People who work in county offices ought to be reminded of the good things of Tulare County.
Since April of 2008, I have been posting to this blog, in an irregular fashion at first (I knew nothing about blogging), and then consistently 5 days a week.
Current blog wisdom from the Internet-Know-It-Alls is that 5 days a week is too often. Since I am not seeking a multitude of “Likes, Followers, or Friends” (none of those words really mean what they appear to mean), current blog wisdom doesn’t drive much of what I do.
Instead, I have the distinct privilege of knowing most of my readers, or at a very minimum, having met them in real life. Some subscribe (the means for that is on the main blog page that gives excerpts from each post), some check in occasionally. All are welcome.
Many of my readers aren’t very techie, and might be a little nervous to click on things. (If that is you, today’s Blog Idea might be a little too much for your careful self, but there is nothing to worry about because you can’t wreck my blog or your device by clicking here.)
My Blog Idea is that you can go to a particular category that interests you and see a whole lot of information on old blog posts. Some people only read my blog to learn about Mineral King, others read because they want to know about drawing or murals or oil painting or lessons or Three Rivers, and a small handful read my blog because they are related to me.
I have noticed that if reading my blog on a cell phone, the category list doesn’t appear. There must be a way to see the list, but that is beyond my current abilities.
“General” is a category automatically assigned if I have neglected to uncheck that box while posting. If I had nothing but time on my hands, I’d go back through the list and change the categories on those posts, but I’d rather be showing you how to enjoy the blog or telling you about current events in the life of this Central California artist. (But wait! What category does this post belong under??)
THANK YOU, BLOG READERS, NO MATTER THE REASON FOR SHOWING UP HERE! (unless you are trying to sell me something like fake brand-name purses or sunglasses or your “grow-your-subscriber-list” services –all y’all can just go bother someone else)
A year or so ago I bought some new colored pencils. Blackwing manufactures something called “Blackwing Colors”, and I am a sucker for new pencils. With the box of 12, I did this 5×7″ drawing.
I posted it on Instagram (if you like Instagram and want to follow my very occasional posts, I am JanaBotkinArt) and also emailed it to Pencils.com (where I bought the pencils). Someone from there emailed and asked if they could use it on their blog. I said okay, and then nothing happened.
Last week I got an email from someone at a magazine called “Colored Pencil Magazine” (How’s that for over-the-top creativity? I think they were going for easy-to-find-on-Google rather than cleverness, which is probably smarter than being cute and calling yourself something like “Cabinart” which no one can remember.)
I am writing to let you know that we are interested in using your Pumpkin piece as an example of Blackwing Colors in the June 2019 issue of COLORED PENCIL Magazine in the Spotlight section.
Being a sensible person (in spite of making a mistake in naming my art business something that no one can remember), I said yes. Then I looked at their site and see it is both online and in print. I’ve never heard of this magazine before.
I wonder if it will be wise to show colored pencil work when I am now primarily an oil painter? I wonder if it will be wise to show colored pencil work when using colored pencils hurts my wrist? I wonder if it will be wise to show colored pencil work when it rarely sells? I wonder if it will be wise to show colored pencil work when I prefer graphite (ArtSpeak for regular pencil)?
Life is full of unanswered questions. I think this falls in the categories of It Never Hurts To Try, and We Regret More of What We Don’t Try Than What We Do Try.
As usual, more will be revealed in the fullness of time.
Yesterday I told you of some good ideas that came to me while I was organizing my storage shelves. Today I will tell you of two that aren’t complete. They are good ideas in terms of how to spend my time and energy with my art business, but will take more thinking on how to bring them about.
Lately I have preferred to work in silence instead of listening to podcasts, music, or the radio. I seem to need lots of quiet in order to think. I don’t have an agenda; instead, I just let the thoughts roam freely, and sometimes good ideas show up.
When I photograph my paintings on the easel in the painting workshop, I am often appalled by the state of the storage shelves behind the painting. What am I storing? Why is it such a mess? If the things aren’t useful, why I am keeping them?
Last week I went through those shelves, moving things that seldom get used to the upper levels, consolidating things, and evaluating their usefulness. I had some thoughts while doing this task, some new, some old.
A friend wanted to hear my thoughts on plein air painting, so I wrote to her about it. Several other friends said they hadn’t known what the words meant until I started my detour down that road. (Or maybe it will become my main road. More will be revealed in the fullness of time.)
Plein air means “open air”. (Thank you, Dan!)
There is a snobbery in the art world, an attitude that real artists paint plein air. Studio artists? Meh, anyone can do that. I had a college professor who belittled those of us who signed up for photorealism studio painting; I quit at 1/2 a semester because he didn’t teach what he dismissed as “smoke and mirrors”.
Plein air is difficult for several reasons, including bugs and weather. There are no boundaries to the scene that ultimately will be enclosed by specific borders. Artists have to be able to see and decide what they plan to paint, ignore what they will not paint, and arrange those things in a pleasing manner. In order to “erase” the unnecessary details, they squint so that nothing remains except dark and light masses. When mixing the colors, the artists come up with an average color for various areas. They simplify textures, and memorize light when it appears in order to put it in at the end. And, it is assumed that a plein air painter will finish the painting “alla prima”, which means in one session.
An aside about the art world: why the extra languages? Plein air is French; alla prima is Italian. Go figure.
In order to finish something alla prima, one has to work very quickly and finish an entire painting within 3-4 hours. Artists who are honest will tell you that many paintings are finished in the studio later. This is possible even without photos, because very little is done with tight detail. The proportions are usually in place, so it is probably just values (the darks and lights) and color correcting that happens later.
The art world loves to throw around the term “painterly”, which I have concluded simply means “messy”. Since I was 8 years old, I have worked hard to see details, to have distinct, clear edges to things, and I find it completely counterintuitive to purposely blur things. But, I am willing to learn, to try, to improve (but how will I know if I have improved or if I have added more details than are allowed?)
Painting plein air is a great skill for several reasons:
Since taking the 3 day workshop in Georgia 2 weeks ago, I have been able to produce many paintings. (I haven’t shown them all to you.)
So, my conclusion is that the skills are very valuable and that I will practice them: painting quickly, focusing on good composition and correct colors (not entirely perfect, just colors that look right together in a scene). Some of this will be done while looking at a scene in person; some of it will be done looking at photos. I won’t be able to paint like Laurel Daniel, but I can paint more simply than I have in the recent past and still add enough details to retain my own “voice” (and some dignity).
Leaving for a trip involves lots of preparations. Whether or not there are specific deadlines, there is a need to finish things. This is mostly due to not knowing what else will be stacked up when I return.
Besides, if I am learning to paint plein air, maybe I’d better finish all my working-from-photos-in-the-studio paintings because what if I hate them all when I get home?
To top it off, I discovered that I thought I had mailed 5 Mineral King Wildflowers: Common Names but I didn’t actually send them. What a goof. I am sorry, and you know who you all are because I emailed you and then sent you your delayed orders.
And, FINALLY, my business phone is working again. I wonder how many missed calls; there was no voice mail the past 4 weeks, so I’ll never know. The number remains the same as the previous 17 years. (It is on my contact page.)
I might need a secretary. Or a nap. Or some calming knitting.
“Determination gives you the resolve to keep going, in spite of the roadblocks that are before you.”—Denis Waitley
“I will persist until I succeed.”—Og Mandino
“You cannot escape the responsibility of tomorrow by evading it today.”—President Abraham Lincoln
Listening to podcasts pulls me through painting days that feel as if I will NEVER finish ANYTHING. (This feeling may simply be a result of starting 32 paintings at the same time.)
As I worked on these paintings, I was entertained by the slightly raunchy podcast “By The Book”, where 2 women read self-help books and then live by them. I got tired of their cussing, so I switched to the fabulous motivational speaker Brian Buffini, where I heard the quotes above.
In spite of not finishing any paintings, it was a productive day. I WILL get to the fun parts of drawing with my paintbrush, putting in the details that make me like to paint, and then signing the paintings. Why? Because I am determined, persistent, and responsible and because I have podcasts to listen to while I push ahead.
Thanks, Brian Buffini.
The beginning stages of 32 paintings at the same time is a rather lengthy undertaking. Why would anyone begin 32 paintings at the same time?? This Central California artist chooses to do it this way for multiple reasons, none of which are very interesting. It is more fun to see the process than to read about the reasons behind it. (This is a high-falutin’ way of saying, “I don’t know why and don’t want to figure it out right now”.)
But wait! There’s more.
That is not all 32 paintings. They are spread out all over the painting workshop, so I am only showing you the latest ones in each post. I don’t work on all 32 every day.
Now I know the likely reason for 32 at once. When I was a kid, my mom read Cheaper by the Dozen to us, and the idea of being the most efficient possible really captured my imagination. So, an assembly line approach appeals to me for 32 paintings.