"There are many ways of seeing things. When you saw the thing and it looked beautiful to you, you saw it beautifully. Paint it as it looked then." -Robert Henri

Hey guys, I just wanted to share something that has GREATLY improved my digital painting setup.

For several months now I have been using the Razer Nostromo, a keypad designed for games, specifically for digital painting. It lets me compact all my most-used hotkeys into an ergonomic gadget.



I would consider this a must-have tool for the serious digital painter. I can hardly work without it now.
It was about $50 on Amazon a while back.  Apparently there is also a new model out, but it is much more pricey. I would probably stick with this one.

Note: this may not work for you if you are left-handed

I recently had the honor of a short interview with Alive For Art. The blog is fairly new, but has already featured a great variety of artists. Here's a [link]

If you guys have any extra questions about me or art in general, lets talk!

Be happy with how far you have come, but not satisfied with where you are at.

In 2008 I thought my work was pretty good, now I cringe at the sight of it.  In the future, I hope to have a similar reaction to the work I'm making now.

I once thought that you should "paint what you know".  Each artist has a unique background from which we can draw from. This is a sure way to create art with authentic detail and intimacy. In theory this is great and sometimes true, but more often than not it leads to boring and uninspired work.  To simply paint what you know, is far too limiting!

Now I am of the opinion that you should create the art that you would like to see. The real thrill is in exploring these new horizons, and blazing your own trail.  For me, this is vital to the enjoyment of being an artist. Allow your art to surprise you, and let inspiration be your guide.

"There are moments in our lives, there are moments in a day, when we seem to see beyond the usual. Such are the moments of our greatest happiness. Such are the moments of our greatest wisdom. If one could but recall his vision by some sort of sign. It was in this hope that the arts were invented. Sign-posts on the way to what may be. Sign-posts towards greater knowledge." - Robert Hernri

The world is a most beautiful place by design, but sometimes it is shrouded in a thick coat of "the usual".  You know... the usual dirty streets, the usual filthy air, the usual concrete buildings with no sense of aesthetics, the usual people who never smile, the usual garish billboard ads, and the usual folks who have settled with "just getting by". I find all this "usual" to be very depressing. What's worse is, it seems to be contagious.

It is in these most "usual" circumstances in which I truly begin to realize the value of art. Art, as the pursuit of beauty, stands as an ideal for more than what is simply necessary to get by. It separates us from the beasts of the Earth, evokes our passion for living, and defies mortality. Where there is all function without form, there is only life without living.


-Lane



PS- My art is most often inspired by the beauty of the world, and therefore it is to my great benefit that there is much beauty to be found in creation!

Critique, on any art forum, has always been very welcome in my eyes. There's plenty of praise and nice comments going around, which is always a joy to hear, but it won't make you a better artist. Although I don't always like to hear critique of my work, I know that it is what I need. It prevents me from becoming complacent with my level of ability, and often pushes me to work harder than I would under my own initiative.

However, I recently heard from a group of artists whom I greatly respect, that to critique someone's work who had not asked for critique, was a rude thing to do. If this is the case, then I have been a most despicably rude person.

There are situations in which I understand critique may not be appropriate. Say for example you have an actual gallery show, in an actual building with walls. That is a formal setting in which you may not want me to walk up to your framed artwork... and proceed to point out your shortcomings in front your admiring fans.

Now if we relate online art galleries, such as DA, to brick and mortar gallery shows, then I suppose I can understand why posting a public critique may be considered rude. It's effectively the same 'rude' act, only I can't physically see the look of disapproval on your face.

I would like to hear what you all think of this matter. Is it rude to openly critique someone's artwork when they did not specifically ask for it?

I feel that an honest critique of my art, is one of the most valuable things that I can receive.  It is also the best I can give to other artists.  If I take the time to critique your art, it's because I care! Or... perhaps I truly am a despicably rude person. You guys let me know!

"People do not lack strength, they lack will."

That's a quote by Victor Hugo. It's a fairly general statement but if we replace the word 'strength' with 'talent', then it applies well to us artists. People often blame their shortcomings on a lack of talent. I do all the time, as a matter of fact.  That's why I'm writing this. However the sad truth is what I really lack is the willpower to work harder! I believe we are all capable of becoming masters, if only we have both the desire and will to make the necessary sacrifices as masters do. Yep, sacrifices. No ripping out of hearts over a temple altar, but perhaps some nearly as painful. Like a social life, a sun tan, a few days of sleep, or anything else that a few extra hours of painting requires you to miss out on. Now, of course we will not sacrifice such things permanently, or much at all depending on how we manage our time. But if we desire to become greater artists, then we must prioritize our work accordingly. In a few years, perhaps we'll look back and realize we are better for it.

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As always thanks for reading and sharing your thoughts!

So I just invested in a new monitor to replace the one I've been painting with for 5 years now. (the old one now serves as a secondary monitor)  The colors are much more accurate.  Perhaps too accurate!! I was shocked to see how different, and in many cases 'worse', some of my art looks through this new lens.  The main difference is that white is much more white, on the new monitor, versus the yellow-white (creamy) of my old one.  The white however is the most crucial, as it affects the color temperature of all colors.

But here is the intriguing part.. (warning, the following ramble may confuse you as it did me.)

The art looks more yellow on my new monitor than on the old one.  You'd think it would be the other way around if my old monitor is the one with yellow-white. Not so. I have decided that this is an illusion created by the 'relativity' of the colors, due to the differing white balance.  When I look at the images on an all yellow-white screen they appear cooler and more natural. Relatively, the blues are cooler compared to the yellow-white. Because the yellow-white permeates everything, it seems natural.  But, when viewed from the new monitor, which has a cooler and more white white, all the colors appear more warm/yellow. So I've been overcompensating the yellowishness of my colors.  Thus, the images appear more yellow on my new monitor, and not the way I had perceived them for the past 5 years.


However, what is perhaps more concerning (and relevant to any kind reader who has made it this far) is the realization that all computer monitors are different. No matter how color accurate our screens are or aren't, viewers around the world will each be observing the digital art through a different lens.  This is, for me, the most negative attribute of digital art.  We can't completely 'control' how the viewer sees our art.

It is comforting to note however, that value (the range of light/dark) is ultimately what makes or breaks an image. Colors are secondary.



The new monitor is not anything super fancy or pricey by the way. It's a Dell u2412m: [link]
If you are in need of a new monitor, I would recommend this one. Price vs. performance, it is very nice.

"Project your mind into your subject until you actually live in it."  "Throw your heart into the picture," he said, "and then jump in after it." -Howard Pyle

It's easy to get emotionally disconnected from your illustration. Remember that in order for your art to have life and vitality, you must imbue it with yours.

I just wanted to share this thought provoking quote from the great art teacher Robert Henri:

"A public which likes to hear something worthwhile when you talk, would like to understand something worthwhile when it sees pictures. If they find little more than technical performance, they wander out into the streets where there are faces and gestures which bear evidence of the life we are living..."  

Imbue in your art a piece of yourself, give it expression beyond the technique. An image can not possibly be worthwhile to your viewers if it is not even meaningful to you.

The strengths of  the digital medium is that we can change anything at anytime in any way.  The weakness (or crutch) is that we can change anything at anytime in any way. Whereas with a traditional medium you would be forced to pre-plan your actions, and then afterwards live with your decisions.

So a lot of times I catch myself painting in Photoshop without any conscious direction.  I may scribble or smudge, push a pixel over and move it back for hours. This is because I know I can always change things later on. There is no risk of stray marks or wasted materials. However, I feel that method of working slows artistic development. While most of my finished illustrations are digital, I try to practice as much as possible with traditional mediums. It forces my brain to think and to learn from my mistakes, rather than press Ctrl-Z and pretend they never happened.

Of course the learning process is different for everyone. I've seen a few great digital artists who never touch an actual paintbrush or sketchpad.  (Very rare)

There is of course the matter of material worth. Unfortunately, a digital print cannot match an original oil painting in this regard. However it seems that digital is becoming more and more common in art galleries.



This was originally a response to 's journal.

"Whenever you achieve sufficient technical ability, there will be income waiting for you. From that point on your earnings will increase in ratio to your improvement. In the fields of practical art the ranks thin out at the top, just as they do everywhere else. There is not an advertising agency, a magazine publisher, a lithograph house, or an art dealer's that will not gladly open its doors to real ability that is new and different. It is mediocrity to which the door is closed. Unfortunately most of us are mediocre when we start out; by and large, most commercial artists of outstanding ability had no more than average talent at the start." - Andrew Loomis

I believe this is still very much applicable to today's industry, though you may replace the likes such as "lithograph house" with more modern forms of studios.

In some ways it is liberating to know that as artists, our success is directly proportionate to our abilities.  Abilities which we can freely and indefinitely improve upon, no matter our age or position in life.  On the other hand, it is often the source of major anxiety.  Sometimes it seems that the fight against mediocrity is a war with no end.  However, there is a point of "sufficient technical ability" that will begin to open doors.  Perhaps then, victory is not found in a definite end, but rather in constant improvement past our previous milestones.  I suppose the trick, and the cure to the anxiety, is in learning to enjoy those small victories.


I have long had the free PDF [link] of Andrew Loomis's "Figure Drawing for all it's Worth" but now that I have it in print [link] , it feels much more handy and readable.

"Draw, Antonio, draw – draw and don't waste time!" --Michelangelo

"Complacency is the womb of mediocrity." --Jason Manley

"A worker or painter should enjoy his work, else the observer will not enjoy it." – Robert Henri

"Just keep swimming." --Dory

This is an excerpt from Petar Meseldžija's blog post which can be found here: [link]

"I believe that it is not possible to make a convincing painting of an object, or an event, if we are not able to identify with it within ourselves. If you can't  feel it from inside, you can't paint it properly. In case you are a skillful professional, without identifying with the subject you paint, you will probably end up with nicely executed surface, but there will be no soul or spirit inside. It will be an empty shell, in technical terms perhaps brilliantly painted, but still empty, not much more than that… What is this material world of ours, if there is no spirit within…? The best things are coming from the inside."

Meseldžija is without a doubt a living master.  His book and blog are treasures of information and inspiration.

Even with a great start on a painting, I will eventually reach an "ugly stage" about half way through the process.  It can be very frustrating but I find that if I just keep on working at it, things will come together.  

...and then some times it's just going to be ugly.

Unless the artist has painted his picture under the influence of the deeper feelings the scene was capable of producing, it is not likely anybody will be so impressed when they look at his work.

And the painter deeply moved with high ideals as to subject matter, who neglects the form and color through which he is expressing them, will find that his work has failed to be convincing.

-Harold Speed

In the realm of art, it is evident that I owe my successes to my failures.   I believe the same goes for all challenges in life.  Though troubling or even heartbreaking, they are put there to better us, to teach us, and ultimately prepare us for future success.  Be prolific in your endeavors, and do not fear failure.

"Color is my day-long obsession, joy and torment." Claude Monet

Motivation is key, the trouble is finding it.