The 5 Tools *EVERY* Artist Needs

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What tools does every artist need to have at their disposal? I’ll give you a hint. They can’t be bought at any art store. Let’s get right down to it…

 

1. Vulnerability

This is very important, so I’d like to cover it first. Every artist must be vulnerable at some point in their creative lives. Vulnerability is the key to inspiring others. When we are vulnerable, we put our true selves in front of the world. By sharing our art, we are exposing our inmost ideas, beliefs, hopes, and flaws. Of course, being vulnerable is not the easiest thing to do, but we must do it if we want to build an audience for our art.

Take my new Youtube channel, for instance. It takes a lot of guts and faith for me to put myself out there like that. Now people from all over the world, souls whom I’ve never met, can listen to my voice and watch me paint. It’s a crazy thing opening yourself up to being vulnerable, but there is so much beauty in it. And by seeing your own vulnerability, it allows others to open up and be who they are.

https://www.youtube.com/channel/UCoDaJL5tkFEHCzrC_yYrmcA

2. Failure

Why do I dare list failure as an addition to every artist’s tool belt? Simple. Because when you pursue your dream, failure will be a close companion. You are going to fail, a LOT of the time. That’s the bottom line. But it’s not the act of failing that truly matters, it is how we use it. After all, failing can be a incredibly significant resource. It grants us the liberty to learn, grow, stretch, and multiply. 

I’ve personally failed more times than I’ve succeeded. I’ve been rejected from multiple national art contests and magazines. I’ve been mocked and laughed at while selling at art fairs. I even received an email from a lady a few years ago saying that my art was “ugly and boring!” But all of these failures have molded me into the man I am today. Not to mention they have made me a more sensitive and effective artist. So the moral of the story is this—don’t be afraid to fail. It is nothing personal. It simply means you need to approach your goals from a different direction.

View my site here: 

http://www.ryankimbaart.com

3. Persistence

This goes hand in hand with failure, in my honest opinion. Persistence is the ability to go from disappointment to disappointment without losing steam. In other words, persistence is the tool that will help you go on, even when you don’t want to. That may not be Webster’s definition of the word, but it is true nevertheless. I had to be persistent when starting my own business, and you will too. You must keep attacking your objective until it is met.

Here is my question to you; how long should you keep working to achieve your dream? 

The answer is,

as long as it takes.

4. An Open Mind

This tool is often overlooked, but it is so crucial. Not everybody is going to like what you paint, sculpt, knit, photograph, draw, or craft. And that is okay. That is what makes the world special and unique. But no matter what you like to create, know that there is a market out there filled with people who will love what you do. All you have to do is find them. Keeping an open mind will allow you to view your efforts objectively. Not to mention that having an open mind will be invaluable when dealing with criticism. Even if somebody does like you art, they may think about it much differently than you do. And again, that is okay.

And last but certainly not least, we have patience.

5. Patience

The reality is that it takes weeks, months, and years to build a healthy following of loyal supporters. There are hardly any “overnight successes,” and of the few artists that do hit it big in a relatively short amount of time, it usually doesn’t last. The hype will die and the dust will stagnate because their careers were not constructed with time and experience. For in the end, time and experience reign supreme. So if you are an artist that doesn’t like to wait, then don’t. I’m not telling you to sit back and wait. To achieve success you have to take action. But even with consistent action, it still takes time to realize lasting achievement in the art world. So give your dreams time, and they will surely be realized.

Well, I hope you enjoyed my 5 tools. Don’t be afraid to drop a line and tell me what tools you believe are most important. Not only do I want to help other artists and demonstrate my painting techniques with my blog, I also want to hear from you. We artists have to stick together! I believe that with all of my heart.

Don’t forget to check out my latest paintings on my online shop!

http://www.etsy.com/shop/RKBeachPaintings

Until next time,

let’s bring some color into the world.

And as always, do what you love to do.

Ryan Kimba

http://fineartamerica.com/profiles/ryan-kimba.html?tab=artwork

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“Reach for the Sky”–Painting a Commission: Step 2

Working on clouds is always an exciting and challenging ordeal. They are soft and need to be blended quite a bit. But some clouds are bright with harder edges. And the variety of clouds is endless…which makes them so fun to paint. We can do whatever we want with them!

My commission painting is going well so far and we will now begin livening up our sky a bit. If you missed part one of this commission series, here is the link:

https://ryankimba.wordpress.com/2017/01/16/beneath-the-surface-painting-a-commission-step-1/

Here are the colors I will be using for our clouds.

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For our violet I mixed some Alizarin Crimson, which is a bluer red, with Ultramarine Blue. This color will be dark, so don’t forget to mix in some Titanium White. We will have a few shades of pink also, some warmer and some cooler. The base of my pink colors is Bright Pink from the Old Holland line. Use the palette knives to mix the paints on your palette and use the fan brushes to apply to the support.

 

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First let’s start with a mid-tone pink color, smudging it in with the palette knife. From there we can scrape these mounds together with the fan brush.

 

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Here is what our canvas should look like, with some pink at the horizon and also where the two blues intersect. The next part of the process will consist of getting rid of that unsightly border line between the blues.

 

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In this phase I simply added in some Cadmium Yellow Medium to warm up the bottom of our pink clouds. This is where the sun is setting, so we want a bit of a gold lining. To achieve this let’s mix in a tiny speck of the yellow to white and rub the filbert brush along that dark blue border line. This will literally make our sky shine!

 

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Now the fun really begins as we add in our lovely violet color to make the darkest clouds, the ones that are closest to the viewer. When painting them, make sure they don’t all look the same. I like to do several types of cloud when I am working on a sky in oils. It adds interest, especially when our focal point is the actual sky itself. For painting these clouds I like to use a soft-haired filbert brush, a #2, to be precise. But that is just my own personal preference. You can use any brush you’d like.

 

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We will wrap up the sky by adding in some of the finer details to make the sky look polished. The key here is to blur the edges of the clouds to make them look puffy. I must say this commissioned painting is looking nice so far! I hope you are enjoying watching the process unfold as well.

Stay tuned next week for the last part of our series, in which we will be working on the tree tops at the bottom of our sky.

Commissions are great for any artist. They really allow you to stretch yourself mentally and artistically, being able to create something beautiful from another person’s life. Not to mention the nice payday that commission work can bring.

As always, do what you love to do. There is no finer calling. I wish you all the best in your lives and your creative endeavors, whatever they may be.

I’ll see you for part 3!

Until next time,

Ryan Kimba

http://www.etsy.com/shop/RKBeachPaintings

http://www.ryankimbaart.com

https://www.youtube.com/channel/UCoDaJL5tkFEHCzrC_yYrmcA

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