atelier

Jeff Watts’ video about training to be professional artists

Some brilliant observations are in this video.

In another of Jeff Watts’s videos, he mentioned that his wife was worried about publishing the video above because of all of the things he said. And I can see why she had concerns. People don’t want to hear it that this is a long process. Too many of us want instant gratification. We don’t want to hear that some dreams only can be achieved through struggle, time, and sweat equity.

But he’s 100% right.

Some people assume art should be “fun” and will come easily. They don’t realize, it’s not about being “born” talented. He says in the video that the less-talented ones who aren’t lazy will get farther ahead than the naturally more gifted who are lazy.

When I was attending art school, I instinctively was trying to do what he talks about here. Lots of repetition. I couldn’t do it as efficiently as the students are able to do at Watts, alas. But, at least I was going in approximately the right direction.

I devoured every class available that had anything to do with drawing from life, drawing figures, anatomy—anything related to that. It had always been a weak area for me. I’m still not “there” yet with figure drawing, but thankfully I’m farther ahead than I would have been, had I taken the “recommended” amount of semesters in school and left it at that. (I’ve continued to take figure drawing classes—off and on—all through my life. This I certainly don’t regret!)

That’s why many college grads lack traditional art skills—they take the standard foundation classes, but never are encouraged (or realize the need) to continue to the next level in those areas. They are given the impression that those classes are all they need, and when they complete them, they’re “done.” But without the added repetition, they’re not done.

Another thing he talks about is the ability to choose our classes and more importantly, to choose our teachers. I was too poor to get in a degree program, so just took continuing education (at a fancy art school, but still!). Because of this, I got to pick which teachers I wanted to study from, and got to cherry-pick my areas of interest (drawing and anatomy, especially) and for this I am eternally grateful.

I’m currently taking online classes at Watts Atelier because…better late than never. I always knew that I wanted to get better, to learn more, but the opportunity didn’t present itself, until now. I could tell as soon as I saw the artwork on the site and the YouTube videos that they were going in the right direction and I only wish a school like that was available when I was attending college way back when.

To whomever graded my copper pot painting, bless you

The first assignment in the online Still Life course at Watts Atelier. 8×10 inches, pickout.

Thank you, thank you, nameless instructor at Watts Atelier, thank you for your kindness. I enjoyed painting this (more than I anticipated) and liked how it turned out, but you clued me in (in a kind but professional way) to the different problems with it. You are totally right! I see it now! The reflected light on the left side is too strong. I should have left in the fabric folds in the background to strengthen the composition. The lip of the pot is a little too wimpy and should have been sharpened. And so forth and so on.

But you still passed me and called it “a successful painting.” I like it, even with its flaws, and had a good experience with it. But reading all your comments was so helpful. Sobering, but in a good way. I don’t feel crestfallen or chagrined; I feel optimistic because I’m getting really “meaty” instruction which will help me greatly. I feel sobered because this isn’t going to be super easy; it doesn’t matter that I’m not a beginner, it’s not going to be a course I’ll “coast” through (not that I expected that). I’m going to get my money’s worth, that’s for sure!

Thank you so much again.

First grading at Watts Atelier

Oh my gosh, I’m so geeky. I know I’ll calm down soon and become a slug about updating this blog. But it’s still all new to me, so here I am…posting again so soon.

Apparently, the best of the bunch, with the fewest problems.

I got graded on the first set of paintings from the Oil Fundamentals course. I got a score of 100%, but I think they are taking into account that we’re not experts here. (They say in the assignment notes that they are not expecting “mastery.”)

The portrait was okay (but with a few problems), and the other painting (a guy with the sombrero, which I will not show here) had more problems, but apparently not bad enough to ask me to do it again.

I LOVE IT!!!

You know what was so great about their brief critiques? THEY TOLD ME WHAT WAS WRONG. This can be in short supply in many art classes elsewhere. They just won’t tell you anything.

Yes, there were problems with the paintings! I expected that, and wanted to hear what they had to say. Oh, I’m sure they’re not telling me every flaw, but whatever is appropriate for whatever level I’m at.

I get so sick of art classes where the teachers are too hesitant or timid to tell difficult truths. I’m not talking about teachers being needlessly cruel, but saying nothing and allowing the student to continue as they are, without useful advice to help them improve—that is cruel.

(I understand why some teachers might choose to be close-lipped; often because other students in the past have pitched such a fit that it doesn’t seem worth the bother anymore. What an indictment on the students who complain in such a way.)

Anyway, suffice it to say I’m very happy to get this advice and look forward to more.

Starting with an atelier has confirmed to me…

…that drawing skill is not optional.

This post says it all. Why learn to draw when you can trace?

There are always going to be “tracing vs freehand drawing” debates, but for those who want to really “dive deep” (meaning, the way that Watts is teaching), avoiding lots of drawing practice is not going to be possible.

I’m gonna ramble

Edit: Because this is my anonymous blog, I’ll vent my spleen.

The BAR IS SET IN HELL right now, and most colleges and drawing classes teach (and settle for) the bare minimum when it comes to traditional art skills, like drawing, painting, color.

But with ateliers like Watts, there’s hope, because they’re raising the bar and we’re seeing what can and should be possible.

“Drawing Privilege”

I’m feeling my “drawing privilege” right now because Watts assumes you will be doing all your assignments freehand. And I can! Not incredible, but “okay.”*

I say “drawing privilege” because too many artists struggle mightily with freehand. I’ve had teachers just resign themselves to the fact that most of their students can’t handle freehand. (One teacher told everyone to just trace so he didn’t have the hassle of correcting all their drawings.) Too few of us can draw with even a modest level of competency.

There’s obviously plenty of room for improvement, but I’m relieved that I’m not starting from zero. Starting from zero (or almost zero) is too often the case, and I blame the art schools and colleges for this mostly.

Some of the other students at Watts scare the hell out of me, they’re so good. And the teachers! Some of them are so young, they’re basically embryos! It warms my heart.

*It may sound egotistical to say this, but because the BAR IS SET IN HELL, my skills have often been considered above average. To be called above average is wonderful, and I’m grateful. But when I get into an environment like Watts, what I’ve always known in my gut has proven to be true—”okay” but just that. So much room for improvement. I’m shocked and chagrined to discover how much improvement is needed. Truly humbling!

Oh, my sweet summer child, your MFA doesn’t prove that you’re a good artist

“I speak with authority, I have an MFA!” says someone with low art skills EVERY DARN DAY. I mean they don’t say that word-for-word, but that’s the gist. They proudly mention their degree as “proof” of something, but that’s not how it works. The artist’s actual body of work proves their expertise better than anything else. Mentioning one’s degree shouldn’t even be necessary; the quality of work should be doing all the talking!

I’m in the not-so-unique position of having attended a fancy ooh-la-la art school, while not having a degree in art. In retrospect, it was an advantage, because I got to choose who I wanted as my teacher and what I wanted to study, and fortunately I didn’t waste my time on “fluff” classes, but stuck to the fundamentals.

“Your portfolio is your degree” said one teacher at the fancy school, when I asked him if it really was okay to just get the schooling without the degree. And he has proven to be right.

No one changes their mind and suddenly wants to buy an artist’s work as soon as they find out they have an MFA. If the quality of the work grabs them, they want it. If it sucks, an MFA isn’t going to suddenly make it less sucky.

That’s why ateliers are on the rise. Because the good ones teach you the skills that many of the ooh-la-la colleges won’t, and for a lot less money.

For further reference, please read Noah Bradley’s “Don’t Go to Art School!”