The Artist Inside All Of Us

I firmly believe that all people are born artists. Everyone can
remember how, as children, we all loved drawing,
finger-painting, etc. The wonderful thing was, we didn't care
what others thought of our efforts, we were just having fun!

Somehow, as we age, we often lose that creative innocence and
exuberance, and in the process, lose a very gratifying part of
our lives. I see people every day that are unhappy and don't
know why. I believe that if they could "rediscover" a creative
outlet of some form, it would so enrich their lives that they
would return to it again and again. Often I hear adults say, "I
can't do that! I can't even draw a straight line!". Well, the
straight lines don't matter; it's the curved and crooked ones
that are more interesting!

I personally have never had any formal art training. Neither has
my husband, Kris, or our daughter-in-law, April. We all three
just need a creative outlet to help us stay sane, and now here
we are! When you browse through the Artisan Shops on Ruby Lane,
you will see many very talented Artisans with different forms of
artistic _expression. Each and every one of them is exquisitely
beautiful in their own way, and all are uniquely different. That
is the wonderful thing about art. What you create is a very
personal part of you, and that carries over to your work. There
are three of us that contribute to our shop.

I started painting fifteen years ago. I had always wanted to
paint, had never pursued it, and literally just woke up one day
and said, "Today I start painting!" I did, and two months later
sold my first piece. Next thing I knew, I had a custom artwork
shop going out of my home, and later, opened a brick and mortar
store that I had for over a year, until my mother became ill, so
I went back to painting from home. Kris started out designing
book covers in elementary school for extra money. April started
out scrap-booking about two years ago, and has taken off with
her own designs and techniques. I also work in ceramics, clay,
and jewelry, and have sold items through wholesalers in Texas
and Colorado. All because I decided I wanted to paint! Go ahead,
give something a try! "If you can dream it, you can do it"!

Reproduction Rights for Fine Art

You paid $10,000 in 1989, for an original painting at a gallery in Santa Cruz, California. Now it's 1999 and your friend wants to use a reproduction of your art in an advertisement of their landscape business in a garden magazine. She asks you if she may do so and you respond,: "Sure. It's a beautiful painting." This is no problem under California law? True or False?

False. Under California Civil Code 982, when a person buys a work of fine art, the reproduction rights remain with the artist or the artist's heirs, legatees, (persons taking under a will) or personal representative until it passes into the public domain unless there is an express written agreement otherwise. When you make prints of your artwork and/or use reproductions of it, you are infringing on the artist's rights and the artist has a right to be compensated. If you anticipate such a use, it is best to request the reproductions at the time you purchase the artwork. Usually, artists will grant such rights unless they have intentions to make prints for their own purposes.

Fine art and right of reproduction defined...

Fine art is defined as any work of visual art, including but not limited to, a drawing, (including an etching, lithograph, offset print silk screen, or a work of graphic art of like nature), crafts (including crafts in clay, textile, fiber, wood, metal, plastic, and like materials, or mixed media (including a collage, assemblage, or any combination of the foregoing art media). Right of reproduction is defined as including but not limited to, the following: reproduction of works of fine art as prints suitable for framing; facsimile casts of sculpture; reproductions used for greeting cards; reproductions in general books and magazine not devoted primarily to art, and in newspapers in other than art or news sections, when such reproductions in books, magazine and newspapers are used for purposes similar to those of material for which the publishers customarily pay; art films, television, except from stations operated for educational purposes, or on programs for educational purposes from all stations; and posters, billboards, films or television.

The exceptions listed above where the artist's right to reproduction is NOT infringed are consistent with the "fair use" doctrine of copyright law where a person has the right to use an image for educational and critical purposes.

When you said, "Sure" to your landscape friend, you gave away a right to reproduce that you did not have. However, it is the responsibility of the landscape friend to ascertain that you did actually have the reproduction rights and it is she who will have to compensate the artist unless you have deliberately misled your friend in some way as to your ownership of the right to reproduce. Remember, however, that laws vary from state to state. Check your local state law regarding its right of reproduction.

Encaustic painting (or layering with wax!)

Encaustic painting is painting with heated beeswax to which colored pigments are added. In an era when collage is being explored deeply, encaustic is a natural medium, since it allows both painterly explorations of color and the possibility of embedding objects and layering. The technique has been around since (at least) ancient Egypt, when it was used to create mummy portraits.

In 1955, Jasper Johns used this technique to create one of the first of his flag paintings. The Metropolitan Museum of Art describes the process:

“The painting consists of three separately stretched panels of cotton fabric joined at the back: the forty-eight stars area; the seven upper stripes to the right of the stars area; and the long area of the six stripes below. The painting is predominantly in the wax-based medium of encaustic. Johns worked on each panel separately, first laying down the overall flag design in charcoal. After applying a thin ground of unbleached, translucent beeswax, he built up the stars, the negative areas around them, and the stripes with applications of collage: small cut-out pieces of newsprint, other paper, and bits of fabric. He dipped these into molten beeswax and adhered them to the surface while the wax was hot. He then joined the three panels and painted over the entire surface with short, deliberate strokes of more unpigmented beeswax and touches of white oil paint.”

I have been poking around the internet, gathering more information on this technique. The most fascinating bit that I have found so far is a 12 page booklet titled, “Examples of Stencils and Masks” by Linda Womack from the 2008 National Encaustic Conference. Linda is the author of a book on the topic, Embracing Encaustic (which I have not seen yet) and the teacher of a recent workshop at the John C.Campbell Folk School. She has posted lots of exciting photos of the workshop on her blog.

The Second National Conference of Encaustic Painting at Montserrat took place June 6-8, 2008. Several bloggers have posted their comments on the conference, including an online presentation of the talk, “Encaustic with a Textile Sensibility” (Thanks to Joanne Mattera for this list!):


* Linda Womack’s Embracing Encaustic: Conference, Day 1; Conference Days 2 and 3; Linda’s Critique with Kay WalkingStick)
* Judy Wise’s blog: Encaustic Conference, Part 1; And Judy’s close encounter with Norman Laliberte
* Deanna Wood’s Artist Emerging blog
* Nash Hyon’s Encaustic Process blog
* Supria’s Encaustic Musings blog
* Daniella Woolf’s Encaustifiberopolis blog, which features an excerpted look at her talk “Encaustic with a Textile Sensibility” She begins, “I opened the door to encaustic from my perspective as a textile sculptor. The encaustic “medium” energized my work, and forever changed me.”

I’m not sure that I am ready to take the plunge into encaustic, but the layerings give me some inspiration for ways to take my acrylic paintings and textiles!