Being a Better Artist, Scientist, Mathematician, Engineer, Inventor: By Leonardo Da Vinci

Leonardo Di Vinci, a painter, sculptor, architect, musician, scientist, mathematician, engineer, inventor, anatomist, geologist, cartographer, botanist, and writer, who was born and iconified during the Italian Renaissance. He is known primarily for his paintings, amongst which include the famous Mona Lisa, The Last Supper, and the illustration of the Vitruvian man, which is seen as a cultural item in Europe, in which coins, textbooks and bags have been based on. Leonardo is further revered for his technical ingenuity, in which he conceived the ideas of a helicopter, a tank, concentrated solar power, and a calculator. Leonardo had accomplished so many things in his life, and as a tribute to the great thinker I did some research, and came up with clues that will bring us further towards how this great thinker saw the world.

Leonardo's genius can be analyzed by understanding where he grew up, his experiences, and also through the way he digested the world around him. In this article I focus on the latter, the way he digested the world around him, though the first two are obviously of paramount value in understanding how he came to be. It all began in 1452, where Leonardo Da Vinci was born in the Tuscan hill of Vinci. Interestingly Leonardo was not born with a sir name, his name Da Vinci simply means "of Vinci," labelled after his birthplace. His father was moderately wealthy and his mother a peasant, and throughout his childhood his father whom he lived with had married four different women. By the age of fourteen Leonardo apprenticed with the artist Andrea di Cione, it was here that he was exposed to what could be labelled one of the finest trainings in art Florence had to offer.

In order to understand the mind of Leonardo, we are going to utilize a theory commonly held by psychologists and various other mental health practitioners, that the world is commonly seen via three modalities, visually, kinesthetically (through emotion,) and auditory. The theory holds that people have a strength in either that which is visual, that which we can feel, or that which we can hear, and it is this strength which guides a significant part of that individuals work, personality and perceptions on events that occur around them.

"If you historians, or poets or mathematicians had never seen things with your eyes you would be ill able to describe them in our writings. And if you, O poet, represent a story by depicting it with your pen, the painter with his brush, will so render it as to be more easily satisfying and less tedious to understand"

Leonardo throughout his works has demonstrated a clear preference for things that are visual. This is the first step to understanding why he ended up illustrating art so well, the manner through which he saw the world. If one places a clear distinct preference of all things visual, his time would have been spent pondering visual images, drawing, painting, and illustrating. Saper Vedere ("knowing how to see",) this is what Leonardo placed at the forefront for how he analyzed structures, forms, nature, and the world. For Leonardo, knowledge was simply taking an idea, a concept, and then conceptualizing it clearly in a pictorial manner.

So how Leonardo drew so well does not only include looking at the world through a visual standpoint. This is an excerpt by Leonardo

"When you wish to know anything well by heart which you have studied follow this method: When you have drawn the same thing so many times that it seems that you know it by heart try to do it without the model; but have a tracing made of the model upon a thin piece of smooth glass and lay this upon the drawing you have made without the model. Note well where you have erred bear it in mind in order not to make the mistake again. Even return to the model in order to copy the part where you were wrong so many times as to fix it in your mind."

This is similar to a quote by Picasso made popular in our time by Steve Jobs, which read "good artists borrow, great artists steal." To me both artists agree that to learn a something one must first copy it, essentially everything we do is modeled after something we have seen or experienced in the past, thus every creation is built upon the copying of a previously seen illustration. Thus to be a great artist, or think in a way similar to Leonardo, it is critical that you allow yourself to be conscious of this idea, that all representations are simply just a result of what we have experienced in the past. To learn something, be relentless in copying the form in which it has been laid out.

If one is to learn how to speed draw, Leonardo suggests learning the various types of facial features by heart. For example, as quoted in his writings, "If you desire to acquire facility in keeping in your mind the expression of a face, first learn by heart the various different kinds of heads, eyes, noses, mouths, chins, throats, and also necks and shoulders... when you have to draw a face from memory, carry with you a small notebook in which you have noted down such features, and then when you have casted a glance at the face of the person whom you wish to draw you can look privately and see which mouth or nose resembles it."

Leonardo had believed that a good time to review study is between the phases of being awake and being asleep. Whilst lying in bed before you sleep, and just as you wake up are times in which if you go over what you are trying to learn, it will more easily be fixed into memory. This is now an explored concept in psychology, it is a state which is called trance, in trance learning unconsciously is much easier.

Leonardo believed that in order for us to understand something we must analyze it from various perspectives, as quoted when describing how he draws the human body, "therefore by my drawings every part will be known to you, and all by means of demonstrations from THREE different points of view of each part." When drawing the human body, he also believed it was essential to take into consideration all factors, including the purpose of the organ one is drawing, its origination, and also the state of the organ when experiencing death. His drawings were not just illustrations, they were also abstract maps of the systems he drew.

When judging your own picture Leonardo believed that it is wise to consider human psychology, we are more likely to draw faces similar to ourselves thus if we are ugly we may draw an ugly picture. He suggests that we are less likely to see the faults in our works as accurately as others can, thus, he suggests looking at your work through a flat mirror, or take a walk and then assess your work after relaxing. He also implies viewing your work from a distance will give a similar effect, it will allow you to see your work more so as it is, over what you want it be. "Simplicity is the ultimate sophistication," further promoted in today's generation by Steve Jobs. Leonardo recognized the power simplicity has on beauty, and class, it is an advantage to have something which is simple. This can be compared to the popularity of an iPad over many of Microsofts products, the iPad is in essence a highly basic device, its simplicity seems to market its appeal.

"It is easier to resist at the beginning than at the end," the first step can be the hardest sometimes. When starting something new it should be recognized that the beginning may involve the most inertia. And when working on a project it is wise to follow your experiences, not your mind, as "every instrument requires to be made by experience."

The last lesson I will present which I had learnt by reading the works of Leonardo, was his desire to create something extraordinary, as quoted "I wish to work miracles." The desire to create stuff out of air was written throughout his works, in which he compares himself to an alchemist on more than one occasion.

In summary, Leonardo Da Vinci's view of the world can be better understood if one decides to take time and focus on the beauty of all that is visual, if you take your time to understand the purpose of things you see. If you appreciate the idea that to learn something one must copy it until it can be done without a guide, and that the best time to learn something new is in a state of trance, right before sleep or just when one wakes up. When learning or analyzing something it is of utmost importance to take multiple perspectives, and that the desire to achieve miracles is also a necessary mix to the equation. Keep in mind the simplicity of your product when it has been completed, as it is the ultimate form of sophistication. Walk around with a notebook and keep in mind the importance of experience in your work, and the initial resistance which may be felt when pursuing a new venture.

Join me on the quest to help motivates those who are lacking the confidence to reach out and achieve there goals. http://www.onesuccessdaily.com, all we have to do is have the courage to share any success's we may have had in our lives, these success's will be used as an inspiration for others who may think that life doesn't get any better.
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10 Top Tips to Become a Better Artist

To become a better artist takes years of dedication, passion, energy and time. There are no short cuts but here are some art tips to send you in the right direction.

Tip 1: Learn the Importance of the Sketch

Sketching is one of those things that every artist MUST do and do often. Sketches don't have to be perfect, nor do you have to show them to anyone. They can be as rough or as scratchy as you like but the thing to keep in mind is it's readability. The purpose of a sketch is to quickly illustrate or develop an idea you have, to capture or study some form of reference so that it can be worked on at a latter date. Because of this, the sketch only needs to convey the right information to you and you alone (unless you are drawing an idea out for a client then the message needs to be crystal clear).

Tip 2: Draw, Draw and Draw Some More!

This is a similar tip to the first but what I mean by this is draw anything that comes to mind or visually interests you. Sketch on the bus, train, in bed and even on the toilet. Seriously! The more you draw from your mind and from reference, the better you will become and the quicker your skills will develop. Take the time to doodle lots of different subjects and in lots of different environments as this will all help build up a mental cataloge of images to draw upon latter when you may become stuck for ideas or inspiration.

Tip 3: Build a Reference Library

This is a great tip that I learned from years back. As you begin to fill sketch books with illustrations of ideas and reference material, you should build up that stack of books with more books. By this I mean buying art books, books on clothing, guns, tanks, other cultures, animals etc. The list of what you should look into is endless and should extend beyond your general interests. But it mustn't stop there. You should also collect images off of the internet and save them to your computer and organize them correctly. Take photos of things you see if you don't have time to sketch them. The purpose is to have a nice big collection of images that inspire you, inflame your imagination and, more specifically, if you need to draw something right, having the material there to draw from will add realism and clarity to your work.

Tip 4: Explore Different Mediums

This is when you take an idea from sketch to final painting. Exploring other methods of creating that end piece can really yield some unexpected results and challenge you to push yourself further into new situations. Playing with different types of paints such as oil, acrylic, water colour or gouache are the options most people would suggest trying, but there is more than experimenting with these. You could try air brushing, pastels, using charcoal or taking the leap into the digital realm. All these different mediums have their strengths that you can harness but you will never know them unless you try them out.

Tip 5: Learn Some Color Theory (At Least)

This is a big one. Color theory is a massive, massive subject and I can't do it justice here. What I would strongly suggest is investing time and money in a good color theory book and learn from that. Even learning only a little bit, will help your work massively. The more you push yourself to learn, the better and better you will become.

Tip 6: Play With Perspective

Now, by this I don't mean completely bend the fabric of reality or attempt to mimic the works of M C Esher (but looking at his work couldn't hurt). No! What I mean is take the time to learn about vanishing points, 2 point and 3 point perspectives and how to create objects in three dimensions correctly. As this is just a tip, I'm not going to go into the details here but there are numerous books and places on the web that cover this important area. Learning the rules of perception will open up the possibilities of what you can draw and will broaden your artistic horizons greatly.

Tip 7: Hunt Down Your Artistic Weaknesses & Destroy Them!

I was told this by an incredibly exceptional artist called Chet Zar. This tip is something you should approach regularly and be really tough and honest with your self. By knowing what your not good at artistically and making a conscious effort to attack it (them, could be lots of things), will enable you to systematically grow. For instance, if you draw a lot of humans but avoid drawing feet because you know your not that good at it, set aside time to draw lots of feet, over and over again until they look right (just be sure not to get a foot fetish). This links to a previous tip I did of Draw, Draw and Draw Some More! Drawing things that you don't draw often or at all will increase your repertoire and will enable you to paint and illustrate more complex pictures.

Tip 8: Ask For Help & Critiques

I heard this one from numerous sources and I have to say that this is something you don't have to do all the time. Joining online art communities and forums will give you access to professionals who do know their stuff and can really help you improve, but having thick skin is advised. At one point or another, you will get some harsh and unfair comments but that is the risk of being an artist who puts art out for viewer consumption. Never be afraid to ask for help.

Tip 9: Develop an Original Style

Ah, a real tough one this as developing your own style takes time and experimentation. By exploring lots of little different mediums and genres, you'll soon get to know what you like and how you like to do things. Over time, by doing things the way you want and in the subconscious way you approach a painting, a style will emerge that will be recognizable and more importantly, it will be your style.

Tip 10: Learn to Accept Failure as a Positive Thing.

Possibly one of the most important lessons an artist (or almost any professional) can learn. Not every picture you create will come out looking the way you wanted it too and the same goes with any experiment to try out. There is no such thing as a bad result... there are just results. Learning to take something positive out of everything you do will change the way you look at you next piece and how you approach it. If something doesn't work or you don't like it, don't do it again or use it as a bench mark to launch yourself from in your next piece.

So, I hope that that is enough information to digest and apply into practice, happy drawing!

Lloyd Harvey
http://www.shrunkenheaddesign.kk5.org

Plein Air Artist Workshop - What to Take and What to Expect Once You Get There

The purpose of going to any workshop is to get away from the daily routine, find new ideas, meet new people, go to a new or different place and come home refreshed, inspired and eager to resume life again. That truly happens when the teacher is sensitive to the needs of each workshop participant, gives demonstrations appropriate to the needs of the class and the participant is open-minded and willing to change.

The artist who paints en plein air, a French term meaning "open air", is one who takes his/her easel to a location and paints some of the scenery. One question arises: Why subject oneself to sunburn, bug bites and the whims of nature when it would be easier to take a photo and sit in a comfortable studio and create the painting? It would, but the painting will not have the energy and feeling of one created on site. Photos are great references, but do not show the depth of field that one can see when out of doors.

Most plein air artists use oils for their paintings, although a few use watercolors and acrylics and even fewer use pastels. We will limit our discussion here to oil painters. If the artist prefers to use a small support, say 4" x 6" to 11" x 14", he/she often uses a Pochade box. This is a small box which contains paint, an area with adjustable clips which holds the support (usually a canvas board or other board), palette, brushes, and a place to store the wet painting during transportation. Pochade boxes come in various sizes and sit on an adjustable tripod. They are light but relatively expensive. The artist might also bring another bag for tripod, paper towels, apron, brush cleaner and a trash bag.

If the artist uses larger supports, she will generally use canvas and a French easel. Inside this easel is room for paints, brushes, brush cleaner, palette, paper towels, trash bag and apron. It has three legs that open, are adjustable, and support the easel for the standing or sitting user. It will also carry the wet painting even if it is very large. A French easel is heavy when loaded with supplies, but relatively inexpensive.

To transport your paintings back home if you paint small, separate cardboard boxes are available for transporting wet paintings and will store several paintings at once. If you paint on canvas and all the canvases are the same size, one method is to put push pins in, say, the upper left and lower right corners of each canvas, put the canvases face to face and tape the corners together using masking tape. Then put them back in the original boxes. (You may have leftover canvases as not as many will fit in the boxes now that push pins are between them.)

Typically, the day will begin with the class assembling and each person introducing themselves. The teacher will give an overview of the class, where it will meet and the time, and do a demonstration illustrating the lesson of the day. Afterward, the members are free to choose their location within a given area and begin painting.

At first this is somewhat overwhelming because the artist might have and 8" x 10" canvas board on which to paint and a panorama of sights from which to choose a scene. To make it easier, the artist has a few choices. She can make a few sketches in her sketch book as to how she thinks the scene will look when painted. She can also use a view finder which will block out all but the desired scene and move it around to get the optimum positioning. The view finder can be as humble as putting one's thumbs and forefingers together to make an opening approximately the shape of her support, or as complicated as a small plastic with a slide that alters the shape of the view from rectangular to square, depending on the shape of the artist's support.

Often the workshop instructor visits each painter once or twice during each session to offer suggestions. After all, he/she wants the painter to be pleased with the finished product. If the instructor has a critique session each day, that's a bonus! Each member of the workshop has a chance to comment on all the paintings created. A critique session can prove to be very helpful to the artist because the many members of the workshop often have ideas that are totally new to the artist. If comments are offered in a positive manner, the workshop participant can go home refreshed and inspired and eager to begin painting.

At Mary's Art, Inc. we have a large variety of original hand painted oil paintings on canvas. these inexpensive, colorful paintings were created en plein air (French for "open air") to capture the feelings and emotions of nature and bring them to you for your enjoyment. They are modern in style, somewhat abstract, and with expressionism overtones. Please visit http://www.murphyartstudio.com and find paintings your whole family will love.

An Interview With Yeva Babayan - Artist

She designed one of the first campaigns for major fashion label, Juicy Couture and has side fascination with metaphysics. Just your typical California girl...or not. Graphic designer, Yeva Babayan brings a touch of exotic class to her edgy illustrations. Check out the interview from this bright young artist!

Tell us a little about yourself, where are you from and where are you living now?

I was born and raised in Armenia during the Soviet Union era, came to America at the age of 10 and have been happily living in Glendale California ever since. Frequently I fantasize of living in New York, but the weather keeps pulling me back to Cali.

At what age did you begin illustrating? And when did it become a profession?

I honestly believe I started illustrating while still in my mother's womb. I knew from a very young age that art, in whatever form, would be my profession. In high school I attended the Pasadena Art Center College of Design art program and decided then to apply to their graphic design program. A great way to produce commercially viable work infused with illustration.

What people (artist or otherwise), places or things inspire you, and how? Salvador Dali has always been my greatest inspiration. His work is very metaphysical and never ending, There are infinite worlds in one painting, up for infinite interpretations, which in turn makes it timeless.

Essentially I'm mostly inspired by nothingness, and the phenomenon of rising forms within the nothingness. I usually create best when I stop thinking and let things flow, with no control or premeditation, then whatever comes out I build on. Seemingly insignificant things yield the grandest inspirations.

I'm also inspired by ancient civilizations, African tribes, their traditions, languages and body art.

Are you professionally trained or were you self taught?

I think an artist intuitively possess all the skills they will ever need to create. I've gone through classes in college that teach the "appropriate" way to hold a brush or use certain tools, but I don't think art or creation can really be taught because it's so personal. A teacher can pass on their technical skills, experience and views, but you are you're own best teacher, and in that respect I'm self taught.

What are your most used 'tools of the trade' (i.e markers, pens, etc)

At the moment I love watercolors. It's one medium that carries a lot of freedom and can be used with the least amount of control, which is something I'm a big fan of.

The infamous black ink pen has always been one of my favorite tools. But overall, I think the project dictates the tools to be used. One time I accidentally left a cup of Yerba Mate tea on the stove and was too lazy to clean it up, the next morning when it was all dry, it looked amazing, so for a week I was obsessed with painting with tea.

What are you working on at the moment?

I'm working on a series of paintings exploring the composition of the human body as it is constructed out of the predominant thought patterns a person holds. This is a personal project.

Can you tell us a little more about your 'Juicy Couture' pieces?

It was amazing working on this project as the brand was just taking off and there was no point of reference as far as "keeping on brand", which gave me total freedom to literally do whatever I wanted. The only thing I had to work with was the brand slogans, other then that it was complete mayhem. At the time they were my dream client! Each poster was born out of my interpretation of the slogans, and each interpretation would spring out of the most random things I would hear, see, feel and encounter that day.

What are your other interests beside art?

I love metaphysics, and read everything I can get my hands on. The human mind and the possibilities of it's use have always fascinated me. Foreign cinema and discovering new music is definitely a favorite pastime. Traveling and eating is something I love to indulge in as well, I'm a total foodie.

What is the worst parts of being a full time, working artist?

Well, the worst is realizing that at times the work flow can be so overwhelming that it seems my entire life is spent in the confines of my studio while there is a whole world out there to see and discover. I get a little claustrophobic, then get over it and dive back into the work.

And the best?

The best part is doing what you love and getting paid for it. The work is never repetitive and its beautiful to always be faced with a new challenge to solve. New ways to look at things, and know that what I'm doing is in some way touching or influencing another's life.

Any advice to up and coming artists?

Don't ever compromise your vision.

And there you have it, thanks for your contribution Yeva! We hope to see more of you.

Check out Yeva's other work at Website: [http://www.yevalution.com/]

To view this article with the original images visit http://designtavern.com/2008/11/12/yeva-babayan-artist/

Design Tavern http://www.designtavern.com

Chinese Art and the Artist General Horse

Basically, the TV program was about a day in the life of a successful artist making tall wall scrolls in the Chinese style. His day started quite early with a simple cup of tea. With the discipline of a lifetime, the general was very much a morning person. There followed a lot of technical preparation for painting a wall scroll. The best paper had to be selected and properly laid out on a long and low wooden table. Inks, red and black, had to be persuaded out, hand rubbed from blocks upon stone. Several brushes were minutely examined, approved and laid by the inks.

But, carefully done as all this was, these were only the material things. The general had to properly prepare himself. He changed into a loose but paradoxically formal robe, obviously intended just for the coming task. Arranging himself carefully on a special cushion, the general kneeled facing the waiting empty paper, prayed a bit and then motionless, soundlessly meditated for perhaps twenty minutes. Quietly rousing, he gathered his tools and faced the paper like a cat preparing to pounce. Suddenly, all became a wild blur of highly purposed motion. A brush in each hand, the general hurled himself toward the paper, storming about, perhaps as would a hawk dispatching some dangerous viper.

Then, it was all over; it had taken five perhaps ten minutes at most. The now quite small man sagged back against his cushions, visibly exhausted by his concentrated efforts. After some minutes of quiet breathing, he slowly arose and pulled the paper upright. Now vertical, an angry black stallion reared back, mane wildly swirling about the powerful neck. There was no appearance of the plodding, drayage effort of the Medieval European warhorse, almost ox-like, too freighted with thick padding and iron armor. By contrast, this was simply a sentient dark power with purpose, more the wild caballo rampante of the Italian Renaissance. (Used today as the corporate icon of Ferrari automobiles.) This was not a servant, not a domesticated draft animal. If you were worthy, this might be your equine partner.

How did this frail old man accomplish this? And in only a few minutes! I had seen the brushes whirling about, had seen the black ink fly. But whence came this raging, fiery horse spirit bursting off the paper? From hell? From heaven? From both? How could he have done this? Unquestionably, a large part of the answer must be, because he had done it all before. Many times before. This latest time, the brushes had flown almost by themselves, as if by so-called muscle memory; as you and I might have ridden a bicycle. The general had pictured a horse in mind; his hands had painted it for him.

Per the TV, the rest of the general's day was really banal in its ordinariness. He put his tools away, took a quick shower, dressed smartly, coat and tie with a black homburg atop his white hair, and stepped out to lunch modestly with friends in a neighborhood cafe.

The general took little part in the disposition of his work. The narrator said yes, there was an agent, but the sales were astoundingly easy. The old soldier had become General Horse. His horses were snapped up as they became available, fetching as much as $10,000 in 1990, and often, through obscuring intermediaries, surprisingly even sought by some on the then tightly closed mainland. But, good art is good art.

What should I take away from this story? I believe it illustrates the value of focus, both tactically and strategically. (Or, maybe locally and globally.) On the one hand, the general brought his entire attention sharply to the horse just before setting brush and ink to paper. It had his full attention. Meditating, he concentrated deeply about his subjects. I imagine he pictured himself, eyes shut, standing close under the raised hooves, upheld hand wetted by flying saliva and near deafened by the shrieking stallion. He could see every taut muscle and every flying hair on the generous mane and exuberant tail. He had to work at blinding speed, to capture and tame the beast before he was trampled under those deadly weapons. On the other hand, he was General Horse. Just horse. Not also Colonel Tiger, Sergeant Rooster, and Admiral Shark. He did horses, focused on just horses. And so he had mastered them. Finally, General Horse seems not to be most interested in becoming an artist or being an artist. Not even General Artist. Instead he thought only of doing art, albeit focused fixedly on painting his horses. This freed him to be simply General Horse.

PS. A year ago, despite much research, I could uncover no trace of the ghostly General Horse. Despite e-mails, back and forth, with the local museums and TV stations, I learned nothing beyond what I could recall myself. But just today, my wife discovered the general's name, if not a great deal more. He was Yeh Tsui Pai. He was born in either 1909 or 1910 and died in 1999. Something of a Taiwan biography is available on the Internet. All together though, there is still little to be found. My personal General Horse is still almost a ghost, mysteriously accomplishing wondrous things in Chinese art.

Author Peter McReynolds maintains a website called Speaking of Art ( http://www.speaking-of-art.com ) that features reviews of art supplies and information about art history, art facts and free painting tips and techniques. You can also follow Peter on Twitter (@speaking_of_art), YouTube, Facebook and join his art supplies group in LinkedIn.

Yes, I am the Artist - No, Really, it's True...

I run my own business as a commercial artist and illustrator. In addition to event work and my web site, http://www.slushgem.com I also set up at art shows. I put up a large display of framed pieces behind a table and sell prints to the public. People often ask me if I'm the artist who did the work. This question always struck me as very odd. But I thought to myself perhaps it's understandable. Just because I happen to know that artists do this all the time, doesn't mean most people do. And maybe they didn't see that the name on the tag I wear matches the big sign behind me that says "The Art of Paula Tabor."

So, I made a little sign to clip on tag that says, "Yes, I am the artist." I thought this would be a slightly more positive sales technique than a blank look and a "Well, duh!" But they still ask all the time. One day, I was wearing the tag, the sign, a canvas in front of me, brushes in my hand and a guys asks me if I was the one who made all that art! That time I did say "Duh!"

I began to wonder why it would seem so very unlikely that I'm an artist. When I asked around, some of my fellow artists thought its because I'm female. The public must assume that I'm the artist's wife or girlfriend. I suppose it's possible that that might be part of it, but I don't think that's the whole reason.

So, if it's not some vast sexist conspiracy, perhaps it's because I seem so...well, normal. I'm not some surly French guy with a beret, two days stubble and an existential crisis. I wonder if they can't believe that this tax paying, professionally dressed person with an honors degree and a middle seven hundreds credit rating could possibly be an artist.

Why do so many people have such weird ideas about artists? Partly, I blame artists. Some in the creative community feel they have to shock the public, not only out of their complacency, but just to get their own existence acknowledged. America seems to have such a love/ignore relationship with its artists that, quite frankly, I can't blame them. I'm sure Dali had a grand old time 'putting the woof in barking mad," but he was right when he said he wasn't crazy. You simply don't achieve that kind of superb master craftsmanship by blithering in a corner.

Some artists are very unconventional. Some are tortured and some are creatively frustrated--not just financially, like me. There's nothing wrong with any of those things, it's just the stereotype that annoys me. It reinforces the concept that creativity is not attainable by the everyday person. Is suffering necessary for greatness? I have no idea. I just decided long ago that if anonymous anguish was necessary to achieve greatness, I would unabashedly rather be mediocre and happy.

Yes, history is filled with juicy, dramatic stories of suffering, unappreciated masters. But dull historical truth contains LOTS of artists who were productive, successful, admired and lived to a ripe old age. Obscure artists? Try Da Vinci and Michelangelo. Too archaic? Norman Rockwell and Maxfield Parrish are a bit more recent. There are many, many more.

So why don't I play the part? I could, I've actually done quite a bit of performing. I could simply "act" like what people might expect an artist to be. But if I could be happy being something I'm not, I'd be an accountant. I'd have money, a large home and lavish things like...health insurance. Yet, I work my ass off in this crazy, risky, frustrating profession because I am an artist and because I love it. The fact that I'm also very organized, fairly punctual and rather good at my own bookkeeping helps my business a whole lot more than quirky flakiness.

I don't think it's just my conventional appearance that people find so unlikely. I suspect that some simply cannot believe that a creator of art could possibly be the flesh and blood creature before them. No, the Great Master must be off in his studio, while this lowly lackey takes in the cash. Newsflash people: most artists do their own marketing. Not because they like it or because they're necessarily even good at it. It just has to be done. If you can't afford to have someone do it for you, you do it yourself. It may not always come naturally, but we can be taught.

There's a reason they call it "art work." It takes work. I mean a LOT of work! People tell me all the time that I'm talented. I suppose I might be, but I'm much prouder of my skills than my talent. All the talent in the world won't help you a bit if you don't practice. Maybe I was "given" talent, but the skills I worked hard for. Don't get me wrong. I appreciate compliments, but they just don't pay the rent.

On the other side of my "Yes, I am the artist" sign, it says "That's very nice, now BUY SOMETHING!" It's not that I'm greedy. There are many reasons to choose a career in the arts, but a deep abiding attachment to material gain is not usually among them. Having someone fork out hard earned cash for your work is the ultimate professional validation. I absolutely LOVE it! It also makes my business accounting a lot easier when there's actual cash flow.

I suppose that must be another misconception about artists; that we all have rich patrons with nothing better to do than support us. Not in this century! What is the saying? Oh yes; "The real National Endowment for the Arts in America is unemployment compensation." I don't know who said it, but they were right on the (lack of) money. Oh, well. I guess I'll just have to do more art work.

Paula Tabor is a freelance commercial artist and illustrator in the Tampa Bay area. Samples of her commercial work and event art on http://www.slushgem.com Her award winning illustrations and portraits can be viewed at http://www.slushgem.com/fine.htm