Art and Technology - Part 1

The irony of using a computer and the internet to capture my thoughts on technology and its impact on the arts is not lost on me. I think that it is a very important relationship in these times and it is a relationship whose dynamic every artist has to create for themselves. There are plenty of books, websites, career coaches and artist reps out there who claim that they can do this heavy lifting for an artist, but I really think that we, as artists, have to do this work for ourselves.

A story that is demonstrative concerns the Scottish artist Paul Emsley, who recently unveiled his portrait of Kate Middleton, Duchess of Cambridge, which now hangs in Britain’s National Portrait Gallery. To make a short story shorter: the Duchess loves the portrait (at least in public) and the British art establishment and Kate’s fans hate it. Mr. Emsley, who has a significant body of work that can be seen by anyone, is a portraitist who creates non-idealized paintings of his subjects. He didn’t give us the airbrushed, “Fashion Magazine X” version of the Duchess, he gave us the truth of her beauty. Or is it the beauty of her truth? Machts nichts. More power to him I say. I don’t particularly buy into the notion of idealizing the subjects of my portraits either. I prefer to tell real stories with my art. Unless I am creating a fantasy painting, of course.

I recently read that, because of the uproar and hatred of the painting, the artist has been in seclusion at his home and he lives in fear that the painting will be defaced, if not destroyed, by one of Kate’s rabid fans. Apparently, he has received a lot of hateful and threatening e-mail about the portrait. For me, this story has inspired a lot of thinking and internal debate about art and how we use technology to present it to the world. Perhaps the artist should launch a major and very public counter-offensive and vehemently defend his creative decisions. Maybe he should say nothing. Should he paint a new version of the portrait that makes Kate look like a Barbie doll? I honestly don’t know what he should do, and I have no idea what I might do in his place. I do know this, the majority of people who are so vicious and quick to vilify the artist have not seen the painting in person, and only know it from the photos available on the internet. No photograph, poster or plate in a book or on the internet has EVER done the original work of art true justice. If there is a painting that you love, and you have only ever seen it in a book or on the internet, then you owe yourself the privilege of going to see it in person. A photo of a work of art is a very small thing when compared to the work itself. I’m willing to bet that the experience of seeing the Duchess’ portrait in person is revelatory. Wouldn’t it be silly to judge the taste of the Mac & Cheese by the flavor of the photo on the box? 

Now, I accept that this travesty is not completely relevant to me, except that I, too, have sometimes received negative criticism of my work. But I take Mr. Emsley’s story as a cautionary tale. Should it ever come to pass that my art is sought after on such a scale, wherein I am painting portraits of the rich and famous and am known beyond the region in which I live and work, then I will endeavor to control my own press. As artists, we can do that up front through the form and content of the web presence that we maintain. I am currently building a new website and online portfolio for my art, and, as you can see, I am trying to be more active in my blog writing. It is a contemporary necessity to control your digital avatar, which in these modern times is almost as real as the flesh and blood person that you stare at in the mirror. Be careful with yours.

PS - I just had a thought about Picasso. Can you imagine how many paintings he might have sold with the internet at his fingertips? Can you imagine the power of his reputation with such global reach at his disposal? It’s a staggering thought, and possibly an inspiration for artists who actively seek fame. I merely seek to create good art. If my work finds a wide audience, great, but I’m not going to sell myself out (Thomas Kinkade) to achieve that.

Now go make some art!
Chris Ingram

The Sickness - Part 2

Here I go again, my art material obsession continues. In today's action-packed episode, I'd like to share some thoughts on one of the best, yet most-maligned tools for art making in existence. I speak of the airbrush.

My relationship with the airbrush began in my pre-teen years. My parents used to enjoy making things in ceramics. I'm talking about the mold-made objects: canister sets, 2-foot tall bald eagles, nativity scenes, Christmas trees with internal lighting, etc. To paint (or polychrome for you art school graduates) their ceramic pieces, they had a Paasche H single action airbrush. When the ceramics phase ended for them, I appropriated the airbrush for my scale model hobby. I am an Air Force Brat, so I only ever built war planes and tanks.

Anyway, when I started college at UT Knoxville there was still one hold out professor who would teach the willing about airbrushing. So I bought a Paasche VL double action and started turning in work that I made with it. My Graphic Design teacher, in particular, hated it. Too much illustration she would say. Bite me, I would say. (Behind her back, naturally!) In the summertime, I took my trusty VL to Six Flags Over Georgia and worked as a t-shirt squirter for a couple of summers. I then moved up to caricature artist and switched to a Paasche V double action airbrush. During this time I also started doing some custom automotive and motorcycle art, you know, lots of flames, dragons, skulls, pin up girls, etc. Don't laugh, I made pretty good money doing this!

Eventually, I got out of the t-shirt, car and bike trade because there are just too many knuckleheads out there who want you to work for free, or darn close to it. "It's like free advertising," they'll tell you. B.S. I say. My advice to the aspiring custom car artist is this: GET PAID UP FRONT. Since then, I've been using airbrush to create fine art: works on paper, canvas and to paint certain sculptures.

Now that the history lesson is over, let's get to The Sickness. I own about 20 airbrushes currently. Do I have 20 arms? Can I use 20 airbrushes at once? NO. I just like them. Airbrushes are little works of industrial art to me. They are things of beauty to be admired as well as utilized. The craftsmanship and design of a good airbrush inspires me to make better art, worthy of the tools I use to create it.

I went through a Japan phase a while back in which I convinced myself that the only really good airbrushes were made by Iwata or Richpen. And, for a time, this was pretty much true. The main American manufacturers, Paasche and Badger, were lagging pretty far behind in quality. Thankfully, that has changed. Badger now offers their Renegade series, which I only have a slight familiarity with, and Paasche has their Talon, that I now own 3 of. (Sickness)

I have one stock Talon, and I keep the large (0.66mm) needle/nozzle combination in it for backgrounds and other large coverage uses. The other two are "tuned" and have the ultra fine (0.2mm) and fine (0.3mm) needle/nozzle combinations for fine detail work. (Consult google for articles on airbrush tuning) The tuned Talons come from an airbrush artist named Mike Learn who sells them as Mojo III airbrushes, and they are awesome. Every bit as good as my Iwata Custom Micron CM-B and a whole lot cheaper. The parts are much more affordable as well. As an aside, I'll say that I bought pre-tuned airbrushes because I don't like to do the tuning process myself, and I am perfectly willing to leave it in the hands of an expert.

In conclusion, I love to airbrush, I think that the airbrush is a valid means of creating works of fine art and I own too many of them. If you have never tried to airbrush, I would encourage anyone to seek out an opportunity to at least give it a try. Maybe someone near you would let you try your hand at it. I can promise you two things: One, it is really hard to master the airbrush and two, once you can use it you will be amazed by the airbrush and the ways it can enhance your works of art.

PS - If you airbrush, wear a respirator and avoid Rainbow Lung Syndrome.

Now go make some art!
Chris Ingram

The Art Studio

My art studio has always been in my home. From the corner of my childhood bedroom I have moved up first to a spare bedroom and now finally graduated to a converted "apartment" in the back of my 2-car garage. It is small, but it has a storage closet and a bathroom. It has been a blessing and a revelation to me as an artist to have this space dedicated solely to making art. On the other hand it has also gotten very crowded. I have lined the walls with various desks and counter tops that serve as different "stations" for the various media that I work in. I really have no complaints because this space serves my needs, houses my stuff and there is even a lock on the door to keep the heathens (my children) at bay!

Still, I do miss my academic days, and the huge, open studio spaces that I worked in. It is not only nice, but necessary to be able to step back from a painting to evaluate it. I miss 12 foot ceilings and huge flat files and large windows. Also, I have, as of late, been thinking a lot about the pitfalls of having a studio at home. It sure does make laziness a lot more convenient. Perhaps I might be more productive if I had more skin in the game in the form of rent and utilities?

So, I have been contemplating renting a studio space. I live in a small town that is desperate for revitalization. The downtown area is filled with sundry stores and laughable antique shops, and, sadly, a lot of empty store fronts. Now, I do not depend on foot traffic for sales, so I don't expect or require on-site sales to keep me in business. I just think that I need a workspace away from home. So my internal debate is something along the lines of this: "Rent a studio and I'll make more art. Yeah, but I'll have to pay rent and utilities! So what, if I am making more art, I'll be selling more art and generating more income!" I also think that having a separate studio makes a better impression on clients who can visit such a space and see the work hanging, rather than watching me riffle through file drawers, painting racks and portfolios.

To offset the cost, I have considered inviting a fellow artist or two to share the space and the costs. I am grappling with this idea though; artists are weird people! I suppose we could set up a time share sort of deal.

Anyway, I'd like to hear any thoughts you might have, Dear Readers. Stay at home, or rent a space? HELP!!!

Now go make some art!
Chris Ingram

The Sickness - Part 1

I've mentioned once or twice already that I have a passion, i.e. sickness for art materials. I think that oil paint is one of the most enticing odors on the planet. Anyway, I have decided that any post I make concerning art materials will be titled: "The Sickness."  When I get to The Sickness - Part 10,000, I may stop.

In today's dramatic episode I'm going to talk about sketchbooks. Oh how I love to buy sketchbooks. I can't help it, I'm always searching for the perfect paper, the perfect cover, the perfect binding, etc. Well, I have finally discovered a solution.

A couple of years ago, I discovered Rollabind. The Rollabind system is comprised of plastic disks and a special type of punch that punches a series of mushroom-shaped holes along the binding edge of the paper. There is no wire, like a spiral-bound notebook. There are no snap-rings, like a 3-ring binder. Yet, Rollabind offers the best benefits of the two traditional binders. The covers and contents of a Rollabind notebook can rotate completely around and lay flat against the back, exposing only the sheet of paper you are working on, like a spiral-bound book. Any page can be removed and put back into the notebook anywhere you want, just like a 3-ring binder. Rollabind rules. If you are interested, Rollabind has a website, a company called Levenger sells it as their "Circa" system and office supply store Staples now sells it as their "Arc" system. All three are compatible with each other. From Staples, I have purchased a notebook with black leather covers, a punch with an 8-sheet capacity, a set of 11/2" rings, a set of tab dividers, a set of pocket dividers and a poly zip pouch. This set up is now my sketchbook. I buy the drawing papers that I prefer, I cut them down to 8.5"x11" if necessary, and I bind them into my Rollabind sketchbook. I have a mix of white, gray and buff drawing paper, a few sheets of bristol, a few sheets of watercolor paper and a sheet or two of pastel paper with me wherever I go. All in one book. I have also included my Curriculum Vitae, a few sheets of lined writing paper and a 12-month calendar that I use for my scheduling. It doesn't get much more useful than this. I carry this sketchbook and my art supplies in a Studio on the GO sketchbook portfolio that I created.

Please understand, I haven't lost my love for off the shelf sketchbooks, but now I typically discard the manufacturer's binding and punch their paper for my Rollabind sketchbook.

As artists, I think that it is important that we remember the artist's journey. Part of the journey is making the tools work so well for us that we don't have to think about them when it's time to get busy, creatively. Now, I admit that I spend more time on this than I should, but I have had a lot of fun with the process. Based on my experiences, I think that many art supply manufacturers don't really "get" artists or our needs. That being the case, we artists can find a new outlet for expression in how we respond to the quest for the "right" art stuff. Another vital part of this journey is to share our experiences with other artists.

Now go make some art!
Chris Ingram

Running a small business is really hard!

So, genius that I am (insert sarcasm here), I decided a couple of years ago that I wanted to be an entrepreneur. I went to a small business development center in Cleveland, TN and I met with a counselor. She helped me develop a business plan, a rudimentary marketing strategy and she helped me apply for, and eventually get a business loan. Sounds good so far, right?

Well, that was the easy part. You see, my business, called Ingram Fine Arts, is based on my love of art materials. Paints, pencils, brushes, clays, knives, pastels, papers, easels, canvases....give me more! It is a sickness and any artist out there who does not suffer it should be truly grateful. Anyway, I love art materials and a few years ago I wanted to buy a sketchbook portfolio, some sort of binder that could hold a 9"x12" sketchbook and a bunch of art materials. I wanted something easier to carry than a tackle box, and something that I would keep more organized than a briefcase bag, canvas tote or backpack. I wanted a purpose-made sketchbook portfolio. Office portfolios don't hold enough pencils! Turned out, nobody made one. So, I made one for myself. I borrowed an old, old sewing machine from my grandmother and I bought some fabric and chipboard and elastic bands and a zipper and I made myself a sketchbook portfolio just the way i wanted it. You must understand that I had no idea how to use a sewing machine and it was pretty rough. But, it was functional and I was pleased with it. As I began to carry it around and show it to all of my art buddies I got a lot of really positive feedback on the idea. Light bulb! Maybe lots of artists all over the world would want one! It's a perfect blend of form and functionality, how could any artist resist? Turns out, "art materials" is a great big ol' world and its very easy to get lost in it.

My product is called Studio on the Go. You can take a look at it here: www.studio-onthego.com
I am very proud of it, I just can't seem to sell it. I have advertised it in art magazines, sold it through ebay and etsy, and I've tried feverishly to convince a few local art store owners to carry it. All with little success.
 
Some days, I really want to give up. I've got inventory in my garage where my car should be parked. I'm spending money on this portfolio that I could be putting away for college funds, or a sports car. I'm putting in a lot of hours that I could use to make art. Quitting is easy. But, I've always had a stubborn streak and I'm not throwing in the towel yet. I still believe that lightning will strike with this portfolio, and I am going to hang in there until it happens. Please wish me luck.

Now go make some art!
Chris Ingram

Gonna give this a try

It seems a bit arrogant to post to this blog and expect that anyone is actually going to be interested in reading it. But, these are the times and I can see the benefits of clearing out the mental cobwebs now and again. I never have been much at journal-keeping, so I'm hoping that writing a few things here will shake loose a new facet of my creative journey.

I am dedicated to my sketchbook and I try to make a daily habit of sketching from life, or from master artists. I also use my sketchbook as a place to record new ideas and work up thumbnails and preliminary designs for paintings and drawings. I know a lot of artists where I live, most of whom do not have the experience of an art school education, and I encourage the non-converted among them to develop the sketchbook habit. Keeping a sketchbook is, in my humble opinion, the best art training there is.

Now go make some art!
Chris Ingram