Copyright conundrum and personal consumption.

I have talked before about copyright as it applies to painting an image that you do not have the rights to, and here is a prime example.

In one season of the Starz production of Outlander [based on the Diana Gabaldon book series] I had seen a picture of an actor (Sam Heughan) and liked the lighting. As a result, I decided to paint the image. Here’s where copyright comes in. Copyright law dictates that I cannot display the finished painting in a gallery, sell the original, or make prints of it until I get back permission from the actor and from the owners of the movie. It’s too bad really, but I completely understand it. Intellectual property, whether it be the creation of who you are and your place in the world, or the intellectual property of the person who made the movie or owns those rights, must be respected. I enjoyed painting it and I share it here at an angle in my home so you cannot reproduce it. The photo doesn’t do it justice as it lacks the quality that seeing it truly does. I had fun, and it was good practice. 

Painting something like this makes me wonder about the folks who do fan art, and whether or not they worry at all about such things? Perhaps it’s because I have aspirations of notoriety someday, but I do worry and I sure don’t need to have the wrath of lawyers down on my head. If you’re a friend of the actor or know who to ask about the movie permissions, let me know. 

So for your enjoyment, in a voyeuristic kind of way, I give you Jamie looking contemplaitively out the window at Lallybroch.

Introspection and an "ah-ha" moment

This post is going to take a slight side step from my usual path of talking about my work or travels. I am about to philosophize at length so feel free to pass on this one if you aren’t in the mood or short on time, I will not take offense. 

I owe this post to a playful challenge from a friend to take 7 days and list 7 favorite books on my personal Facebook page. My 1st instinct was to do it because it sounded fun, but changed my mind and decided not to play. No, it doesn’t mean I don’t support literacy, or care about my friend, or anything else. I just don’t tend to copy&paste, play the game, take the test, or find out ‘the real truth’by clicking ‘next’. 

I have a pretty fair idea of who I am at this point in my life. I know I have a huge list of things I truly love like art, and beauty, and truth, and love, and light, and kindness. I know I have a shorter list of things I hate like cancer and dishonesty and loss and hate and emotional manipulation, just to name few.  I celebrate the fact that my love list is longer than my hate list. I tend to talk about the good list and shun the bad one. As a librarian I absolutely support literacy, books, writing, and all tangential topics of enrichment of the human spirit. 

That being said, I’m going to indulge myself and talk through one of my personal revelations of the past few weeks. I think I know I have always wanted to be an artist. Some may say that I am already an artist. OK, that can be another discussion another day. I do often get asked when I started drawing. I usually laugh and say that as a child I would sit in a corner and color to stay out of trouble. That is only a partial truth.

Let’s start with the book challenge. I can’t do it, I am too busy over thinking it. I couldn’t begin to pick 7 books that represent my tastes, or what might have influenced me. I would need to qualify a moment in my life, an event, an emotion, an interest … so where would I start? My bookshelves from the time I could read would reveal a golden book sitting aside a zoology textbook, and couldn’t begin to make sense. What is the common thread? Maybe it should just be a fun thing, but it started me thinking.

Another friend of mine wrote me earlier in the week because he saw the cover of the book I just finished illustrating and said, “I’m immediately reminded of the paintings Wesley Dennis did for Marguerite Henry’s many horse and dog books.” It hit me like a ton of bricks. The common thread is the illustrations.

Illustrators who influenced me such as Dennis, Pyle, Wyeth, Muth, and Pinkney …to name a few.

I looked up Wesley Dennis and ran down the list of books that came up and realized I had read them all. I had owned most of them and read them over and over growing up. Horses, dogs, foxes, donkeys, and then I moved on to anything animal related. I wanted to be a zoologist, then a veterinarian, and took all of the pre-med courses because I thought it was about the science. I considered medical illustration, and eventually cartooning and wound up illustrating manufacturing catalogs for industrial hardware for 20 years. My next career was in Library science and as a cataloger I would spend way too long processing the books with illustrations, especially children’s books. I am a visual person. I wanted to paint Misty… and Golden Sovereign … and Brighty of the Grand Canyon. I wanted to be Dennis and Froud and Muth and N.C.Wyeth and Pyle and Pinkney and a dozen other illustrators that made stories come to life.

When I was a toddler my greatest joys were to sit in a corner and watch the dust float in the beams of light, or on the back steps watching the light change the colors of the yard. Now, when I look around me I am always painting. What I mean is, I am always painting in my mind. Always. I see the world in the fluid motion of continual analysis. The motion can be unnerving so I try to capture everything I see in visual images or illustrations of that precise moment in time. I have spent my life trying  to capture fleeting bits of color, light and movement and falling short because it all moves too fast. Plein Aire painting tries to capture the impression -tries  to slow down the speed of the image in an effort to remember the moment. A photograph captures the exact moment mechanically and allows me to hold that image still with hopes of painting a picture of it as filtered through me.

I think I may be at a point where the pieces are all coming together, finally. While I have always thought of myself as an illustrator it never felt like it had the credibility as that of calling myself an artist and the struggle is to come to grips with the terminology itself. I wanted to illustrate the story that is my life. I don’t know where to go with this thinking or with my next steps. Perhaps this is merely the next step of a woman stepping forward in faith.

Opportunities continue to arise.

Today I am so pleased to hear that the book I illustrated for author Michelle Minor Smith has come off the press. She is a horsewoman with a passion for God’s creatures and her story is about a racehorse who was no longer earning his keep – considered past his prime. 

I am proud to have illustrated the book and to help her in her efforts to help with racehorse rescue awareness. 

It will soon be available on Amazon, Barnes & Noble, and a Christian bookstore near you. Michelle will also do book signing events at bookstores and libraries, and I hope perhaps I can join her on occasion.

Growing and learning in public view

This year has been a continuously challenging, learning experience for me as an artist as I have pushed out of my studio more and more and find myself doing my learning in the public view. It boils down to this being somewhat daunting – to reveal that I am actually an emerging artist at this point in my career. While I was extremely experienced in the handling of pen and ink back in the two decade long industry phase of my career (the days of pre-CAD drawings of nuts, bolts, and screws for the automotive and aeronautics industry) or studio painting illustrations, painting plein air is not something I am adept at…yet.

Last weekend I was at the Autumn Harvest Festival event at the Spring Valley Nature Center and Heritage Farm in Schaumburg, Illinois. 

I dressed as a 1880 Victorian era woman, impressionism painter. I must admit I had fun. I will also heartily admit I was in new territory since it was not rooted in lecture or art show. Having people scrutinize my work as I discover new techniques and then ask me how long it takes to do a painting was unnerving. I had to tell the truth but it made me think about what that might mean in an era when we want to equate value with hourly wage. How do I explain that an artists wage is based on years of training and accumulated knowledge and experience and not on an hourly minimum wage set by an employer or the State of Illinois. 

Their follow up question was often  “…when this is done will it be for sale … and how much will it be?”  I had to answer in all truthfulness that I didn’t know? I threw a couple prices out there to test the waters but that’s not the most professional way to determine worth!

Working loosely, making color and light choices, even the mechanics of structure and layout are not things that I am at all fast at. Perhaps it is ingrained in human nature to avoid showing fear in the form of lack of self confidence, lack of experience, or to basically avoid any show of weakness. I bring that fear into my art development and I suspect that many artists do. It’s why we make a drawing that gets thrown away before anyone sees it. It’s why we paint over canvases in the studio. It’s why we only bring out the best when we want to show someone our work. But as I’ve said in this blog before, that’s not honest. It is deceiving anyone who is beginning to walk the path of art and they think that somehow when a person is an artist farther along that surely they make no mistakes, they have no failures and they’re already at some nirvana place in their career. Well let me be clear. I am still learning and always will be. If I’m not, then I am doing something wrong. Case in point is the personal growth begun the last couple of years by incorporating the plein air style to improve my paint handling techniques and increase my speed. I look at my work when I’m around other plein air painters and I feel blatantly amateurish but I also know that those elements of my art that are strong will eventually blend with this new labor and I will improve. I don’t know if I’ll ever be competitive at the plein air competitions, or can even get good enough to be invited into them, but the romantic notion of being at some event painting shoulder to shoulder with other artists that I admire, is appealing. When that day comes, I will be painting in public, baring my learning process to the viewer, and growing.