Find Confidence!

What comes first – behaving and thinking confidently or achieving some success?

Do you hope you’ll feel confident someday, perhaps when you’ve become more competent? When you’re more successful? When you’ve accomplished an important goal? 

Or maybe you believe that a person is either born confident, or is not?

Self-confident people trust in their own abilities, capacities, and judgments; they also believe that they can successfully face day to day challenges and demands. Confident people acknowledge their OWN achievements and efforts. They are their own cheerleaders, without needing validation from someone else. Being confident not only helps them to seek new opportunities but also to trust themselves more. Psychologist Abraham Maslow might suggest that individuals need inner self-respect as well as esteem from other people.

It seems to me that feelings of confidence can come and go, varying to some degree day to day. Perhaps confidence is not an all or nothing condition. As you develop skills and achieve success in one area of your life, confidence grows. In contrast, having an off day, making embarrassing mistakes, or encountering criticisms or put-downs can create self-doubt. Everyone has some insecurities. Thus, circumstances can have an effect on your self-esteem and viewpoint.   

     

‘Jug On The Butt’ry Shelf’ Watercolor.

ATTITUDE MATTERS.

Although external events may temporarily affect your sense of self, confidence actually comes from INSIDE YOU. Your thoughts and beliefs about yourself determine how confident you are. Even if you have a difficult and discouraging day, you can remain confident that tomorrow will be better and that you’ll be able to overcome any demands you might meet. 

Do you believe that you could never be a confident person? Do you feel that you don’t deserve to be confident? Perhaps you fear that if you appear confident, other people will feel you are showing off or acting like you are better than they are. Are you afraid others will be jealous if you behave confidently? In fact, most people like being around those with confidence. Your doubts about your own worth are just thoughts that are NOT necessarily justified! Maybe you deserve to be happy and confident. I’m suggesting strongly that you do and that believing you do can help you achieve confidence.

A belief or thought is in your head. In other words, feeling confidence is a frame of mind, an attitude. It is NOT solely dependent on how others see you, but on how you see yourself. You can choose to feel confident.

Therefore, since you can choose what to believe about yourself, you can also learn to develop the skills or practices that will help you sound, act, and feel more confident. How specifically? Let me share a few things that have helped me build up some confidence. Believe me, as a child, I was insecure in my abilities, shy, and hesitant.

1. First, be kind, patient, and understanding with yourself, as you would be to a good friend. Speak to yourself with COMPASSION, kindness, and encouragement. Take time to nurture and care for yourself. You deserve it. Don’t pressure yourself to be perfect or say you’re useless. Stop comparing yourself to others. (There will always be people who are both better AND worse at things than you.) The most important relationship you have in your life is with yourself, so make it a positive relationship.

2. Master your inner critic, the inner voice that expects you to be perfect and not make mistakes. That voice may say you have no talent or can’t do anything right. Don’t believe it! Self-criticism is shaming. NEGATIVE thoughts are toxic and discouraging. Instead, encourage yourself – you’re learning and improving every day.

‘Forsythia in Vase’ Watercolor.

3. Don’t automatically seek approval from others. Always seeking approval from outside yourself is an easy TRAP. Decide for yourself what you think about things.

4. Avoid dwelling on your mistakes; try to concentrate your thoughts on things you have actually done well, on strengths. You have undoubtedly accomplished much in your life. Emphasize your successes, and celebrate them in your own mind. You attract more of what you pay attention to. What you focus on will actually increase. As singer Johnny Cash said, “You build on failure, [but . . . ] use it as a stepping stone. Close the door on the past. You don’t try to forget the mistakes, but you don’t dwell on it. You don’t let it have any of your energy, or any of your time, or any of your space.”

Start to create a “SUCCESS SPIRAL” where one good outcome lays the groundwork for more and then more. The more you achieve success, the more you will come to expect it, the harder you will work, the more you will accomplish, and the more confident you will become. POSITIVE EXPECTATIONS will result. And what you expect, you get.

5. Set a goal to become more confident, and make your desire intentional and explicit. If you don’t know what you want, you can’t take action. When you state an INTENTION, however, you can then plan ways to take the specific actions that can improve your confidence. Building confidence is an ONGOING PROCESS of building skills and changing attitudes. It doesn’t just happen to you. You resolve; you make a promise to yourself to take action.

6. VISUALIZATION can be an effective catalyst for creating your confident life. IMAGINE having already achieved confidence. Describe to yourself in as much detail as possible what a wonderful confident life will be like for you. What would it mean to you if you achieve your desire? Close your eyes and imagine what it looks like, smells like, sounds like, feels like, how you would behave. The process of visualization directs your subconscious to be aware of the end goal you desire, making a positive outcome more likely. Imagine what you WANT to happen. Remember, what you focus on, you get more of.

‘Red and Green’ Watercolor.

ACTION STEPS.

So, how exactly? Having set your intention to become more confident, realize that goal is up to you to achieve. Set up a system or plan to help you take daily ACTIONS. Scientist Martin Seligman reminds us that a positive self-image by itself does not produce anything, but requires positive and productive behavior.

1. Perhaps you could practice talking in a confident manner by speaking clearly and in a straight forward voice, choosing words that a confident person would use. Speak up. You need to SOUND the part. Stop mumbling and apologizing – don’t talk like a hapless victim. For example, DON’T BLAME your difficulty on someone else (or make some other excuse). Admit your troubles, but step up, take responsibility, and say something to yourself like “I can figure this out!” Your words have power.

2. Train yourself to project confident BODY LANGUAGE. In other words, stand tall, take up room, make eye contact, smile and greet others. Feel your feet on the ground; keep your body relaxed and open.  Don’t slouch or hunch your shoulders; don’t cross your arms; don’t avoid eye contact; don’t fidget. Social scientist Amy Cuddy has shown that an individual’s posture does not just reflect that person’s level of confidence or insecurity. Posture sends messages to the brain that can actually change your internal chemistry and the way you FEEL. Furthermore, your appearance and presence affect how others see and treat you, and ultimately how you feel about yourself. When you are relaxed and confident, others will feel at ease around you.

3. Similarly, wear CLOTHES that make you feel good and are comfortable, clean, well-fitting, tasteful, and well taken care of. By creating the impression that you are confident and being proud of the way you look, you will begin to feel more confident.

4. In addition, EXERCISE can invigorate and strengthen you. It can boost your mood. It keeps you healthy. A strong and toned body certainly increases your confidence. Try to find a form of exercise you enjoy so you’ll be likely to continue.

5. Allow yourself to be a learner. Have the courage to take a risk and give yourself a CHALLENGE. When breaking out of your comfort zone and starting something new, you are expanding your own limitations. As you successfully complete difficult tasks, you learn, becoming more confident and more resilient. Easy wins usually don’t feel as satisfying.

6. Finally, offer your HELP to others. Doing so is generous. When you reach out to others in a positive way and share what you are learning, your confidence soars; when you encourage learning in others, you recognize what you already know. Teaching my watercolor classes gives me confidence. While I recognize and tell my students that I do not know everything, I offer plenty of ideas for them to try, having done a lot of experimenting myself. I have learned that I can always pivot and try something else if the painting does not go as planned.  While I focus on helping others, I worry less about my own inadequacies.

‘Colorful Tulips’ Watercolor.

SUMMARY.

Being confident is a frame of mind. It doesn’t just happen but takes work to build, develop, and maintain. Make the decision to become more confident, and commit to cultivating that attitude. It is NOT dependent solely on how others see you, but primarily on how you feel and what you believe about yourself. 

Choose and practice some of the specific steps mentioned above. Behave and think like the person you want to become. As social scientist Amy Cuddy says in her TED talk about confidence, “Fake it until you become it.” Remember, confidence is a skill that can be learned, an ongoing PROCESS. When you stumble, get side-tracked, or have a discouraging day, don’t give up. Take a breath, give yourself a short break (perhaps a treat), and REFOCUS on taking action to become more confident. Pick up where you left off, and persevere.

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How Do I Critique My Own Painting?

To critique a painting ( your own painting included), your aim is to see clearly both the STRENGTHS and WEAKNESSES in the art. What worked and was painted well? What could have been improved? Strive to maintain your objectivity in order to accomplish an impartial evaluation. Detachment can be elusive when you are looking at your own painting and are emotionally invested in your own work. Therefore, step away from your picture for a time and don’t try to critique as soon as you finish a painting. Your emotions can skew how clearly you see your work, so it helps to set the picture aside for a day or two.

‘Floating Christmas Tree’ Watercolor Painting.

AIM FOR OBJECTIVITY.

Remember, as you evaluate, consider the painting as a whole. Small mistakes don’t matter, so don’t be overly distracted by them. Set aside criticism of the little things and negative judgements of your abilities. Notice what you have done well, so that you can pinpoint what to continue doing. And note how your work could improve. Your aim is to problem-solve and work out constructive, specific ideas to try next time. If you have overworked a painting, it is not helpful to tell yourself, “This is awful!” Instead, for example, make a note to yourself to stop painting earlier (before overworking) and to stop fussing with tiny details hoping to fix every little mistake.

HOW DO YOU FEEL?

In order to critique your work, you need to know what you’re trying to accomplish in your painting — your goal. Your job as a painter is not to copy and paint exactly what you see, but to paint how your chosen subject makes you FEEL. When your painting makes you feel the same way you feel about your subject, then you have succeeded in capturing emotion and feeling in your painting.

‘Winter Sledding’ Watercolor Painting.

WHY?

All good paintings have a simple, clear idea behind them. WHY have you chosen to do this painting? What has attracted you to this image? Take the time to think about and experience what the image means to you. Does the scene suggest a sanctuary, relaxation, loneliness, or perhaps is it bustling and filled with people? The reason you painted this picture is your personal connection, and that connection should come across in the finished painting. Is your message clear?

WHAT?

As you evaluate your finished painting, you may want to ask yourself a series of questions that focus on some of the important characteristics of good art. Set your painting up so you can take a look at it from across the room. Which part of the painting do you look at first? The eye is generally drawn to the spot with the most contrast. This space should ideally be your chosen center of interest. You want to draw attention to the center of interest so that the viewer focusses here. It’s WHAT your painting is about. (Be sure to choose only ONE focus.) 

If your eye is drawn elsewhere first, you might want to increase contrast (whether contrast of value, color, shape, or edge) at your center of interest to emphasize this part of your picture. Remember that a full range of light and dark values, from darkest darks to lightest lights, can create more impact. You could also add a pop of complementary color at your focal point to attract attention.

Further, your center of interest should be the most detailed area of the picture, since detail also attracts the eye and tells your viewer where to look. Ideally, keep other sections of a painting less detailed and thus less emphasized. All parts of your picture are NOT equally important and, similarly, should not be equally detailed. How did you deal with detail?

‘The End Of The Day’ Watercolor Painting.

PLANNING AND COMPOSITION.

Did you plan your approach to this painting before picking up your brush? Did you think about rearranging the major shapes in a balanced, pleasing way to improve the composition? Did you test out your ideas first in a small value study? Did you simplify and leave out confusing details? Did you establish the lightest light values right away? Did you consider what colors would support the mood of the scene? If you didn’t do these things BEFORE painting, you may notice a jumble of shapes but no focus, values too similar to each other so nothing stands out, colors that don’t suit your subject or clash with each other, background or sky tacked onto your paintings as an afterthought, etc. Might thinking about the above questions have helped improve the final painting? 

‘The Tire Swing’ Watercolor Painting.

TECHNIQUE AND EXPRESSION.

How was your technique in this painting? What was easiest for you, and what was done well? Did you have difficulty figuring out the sequence of layering colors – what color can be laid down first, then what other colors should follow, or did you mistakenly try to paint everything at once? Were you scared you would make a mistake so your brushstrokes became small and tentative? Were you hesitant in your color mixes, ending up with timid colors? Next time, you could take a chance and try to be bolder. 

If you noticed self-criticism and discouragement while painting, be patient and kind to yourself. It will help you relax. Try to be aware of how you’re feeling as you paint, since your emotions affect your brushstrokes and the quality of your work. When you’re tense, you could take a break and some deep breaths, calm down a bit, then return to painting with a more composed attitude.

JUDGING WETNESS.

How did you do judging the wetness of the paper compared to the wetness of the paint and brush? Do you need to practice judging wetness to improve your ability to create the edges you want to create? If so, get some scrap paper and practice painting hard edges, soft and lost-and-found edges, while varying the dampness of the scrap paper. You might also rehearse ‘softening’ an edge (an essential skill) on scrap paper.

‘On The Way To Groton’ Watercolor Painting.

IN SUMMARY.

Asking questions of yourself (without critical judgement) gets you in the habit of making deliberate decisions regarding your painting. These questions help you evaluate your work objectively, considering value, wetness, color, composition, mindset, and technique. You can walk yourself through these questions for each painting. And start to decide what you like, what interests you, what you paint well, what areas you might want to improve. As you rely on your own awareness, you take charge of your painting while increasing your painting skills and decision-making ability.

Related earlier blogposts: 

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After Watercolor Basics… What Next?

STAGE I. THE BASICS.

Anyone with desire and focus, can learn to paint with watercolors. The process, however, can take a very long time, even years, and true artists never stop learning (nor do they want to). But let’s assume that you have learned what materials you need and the fundamental techniques you need to use those materials. What comes next?  When I began to paint in 2008, I didn’t know. I don’t think I even knew that I was considering such a question. What was important to me at the time was improving! I wanted to get more proficient. In this post, I intend to share some of the steps I’ve taken in my process of learning watercolor, a few questions I’ve asked myself, and several concerns I’ve had along the way.      

Red Bumpers Watercolor Painting.

STAGE II. COPYING & CLOSE OBSERVATION.

Beyond the elementary techniques, I found that what I wanted was to portray my reference images as accurately as possible. I quickly learned that close observation was required. But as an artist, I found ‘seeing’ isn’t simple.

Most of the time, we look at things with only part of our attention.  We see only what we expect to see, often assigning a label to every image.  For instance, if what we are looking at is a ‘tree,’ we may not explore carefully what is really there.  This habit of not paying close attention keeps us from actually LOOKING at things.  In the everyday world, we quickly categorize and move on, perhaps in part because there seems to be so much information.

When I started painting, I would choose an image to paint, and the first thing I’d notice was a lot of detail. I was distracted by details, as perhaps you are, too. What do you do with all that detail? How do you know which details are important? Those questions overwhelmed me. I had been told to ‘look carefully’ at a reference, but the more I looked, the more confusing detail I saw. Over time, however, I began to believe that the trick had to be focusing on something else, not trying to capture every tiny detail.  Focusing on small details, like individual leaves, or trying to include every tree trunk or grass blade in a painting, didn’t work well.

Thus, to paint more successfully, I forced myself to slow down. I tried NOT to look at small details first, but instead to examine and study the shapes, values, and colors that made up the larger framework of each scene. ‘Seeingdoes mean focusing attention, looking closely, but especially at the arrangement of shapes. For example, where is the light hitting the tree branches?  Can you see through the branches?  What is the overall shape of the tree?  Are branches straight, upturned, crooked, rough?  Is the tree lopsided or symmetrical?  Are the highlights a different color from the shadows?  What is the weather, and how does it affect the appearance of the ‘tree’?  By asking such questions and looking carefully, I began to more accurately paint what I SAW, NOT what I THOUGHT I saw.

As I became more familiar with and practiced at painting, I began to see more subtle color, more nuanced detail, more understated tones. It seems that ‘seeing’ cannot be forced and may only develop gradually over time, with experience, and when one is ready. With practice, however, we can expect to notice more and sooner, perhaps even noting details that others miss or take for granted.

Forsythia In Vases Watercolor Painting.

DRAWING HELPS YOU OBSERVE CAREFULLY.

Drawing trains the mind, hand, and eye to work together.  Many beginning artists may avoid drawing altogether if they can, feeling that their drawing skills are not good.  However, you should not feel obliged to render precise drawings of what you wish to paint.  Do not let your concerns about drawing ability or drawing technique deter you. I found that even sketching a quick, rough thumbnail required me to consider what was important in a scene. One of the main purposes of drawing is to TRAIN yourself to see shapes and spaces more accurately – to ‘see’ like an artist and keep the big picture in mind.  By keeping details to a minimum, just getting some information down without stressing, you can help yourself to see.  

More specifically, you should look for basic SHAPES and notice how they are connected.  Find larger shapes first; then fit smaller shapes into them.  See the image as a whole; and only then concentrate on individual components.  Distracting details are only decoration on the surface of these shapes. Squinting your eyes often helps you to see beyond any unnecessary detail. Concentrate; work slowly and intently.  Give yourself the time to observe and take in information before rushing to produce an image.  Ultimately, the goal is to be able to perceive what you see as totally abstract forms, values, lines, and color, as in a jigsaw puzzle. You must shift your perspective. Remember that shadows are shapes, as are reflections.  Backgrounds have shape and should act as frames for the subject of a painting.  Only when you can ‘see’ in this way will you begin to be able to suggest three-dimensional reality on your flat, two-dimensional paper.

Frederick Franck, artist and philosopher, says in The Zen of Seeing/Drawing:  “I have learned that what I have not drawn I have never really seen, and that when I start drawing an ordinary thing I realize how extraordinary it is, sheer miracle . . . .”  So do not hesitate to sketch and draw what you intend to paint.  As you draw, you will notice which details are important and sharpen the mind/hand/eye coordination necessary to improve your painting skills.  Drawing is a skill that requires practice and time, just like any other ability (including learning the techniques of painting).  The skills and mental processes necessary for drawing are the same as those you use when painting with a brush.

White Primroses Watercolor Painting.

STAGE III. BEGIN TO DESIGN, PLAN, & SIMPLIFY.

When I began to feel more confident reproducing an image before me, I sometimes found myself wishing I could improve a composition; the reference pictures I found weren’t quite satisfying. Occasionally I wanted to combine two photos instead of having to copy one. In other instances, I wondered if some of the components in a picture might be better relocated to another section of the picture, even left out. A tree or a building might have been blocking what I thought was the most interesting section of the picture.

At this point, I also began to take some of my own reference photos, to create a view I desired. I essentially inched my way toward DESIGNING my paintings, seeing what was in front of me but arranging and modifying the information to actually improve the picture, making it something I liked better and felt was more effective. 

Eventually it dawned on me that this desire to improve a reference might be the start to a new stage in painting for me. To improve a painting, I could forget about ‘reproducing’ nature. I could start to REARRANGE it! I could take what I liked and ignore what I didn’t want to include. Definite rules about design and composition existed and could greatly improve a painting. I wanted to learn them. 

Mastering Composition by Ian Roberts is a comprehensive guide and excellent resource that can help you learn more about composition. 

These blog posts might also be of interest if you want to know more: “Composition!?!”, (5/7/2020), https://leemuirhaman.com/2020/05/07/, and “Designing A Strong Painting With Good Composition!”, (10/16/2018), https://leemuirhaman.com/2018/10/16/designing-a-strong-painting/.

Red Geranium Watercolor Painting.

I found that this designing and PLANNING need to be done BEFORE any paint is put on the paper. Again, you will need to study your subject for a while. Think about what it is that attracted you – that should be the primary statement or BIG IDEA in your painting. Consider what you will emphasize in the picture. Eliminate anything that might compete with or distract from the ONE focal point and main idea. You shouldn’t try to include every daunting detail in a scene. Instead, it pays to NARROW your vision (even to crop an image) and SIMPLIFY your subject. 

Ask yourself what your focal point is. What will your painting be about? Is there a lead-in to invite the viewer into the picture? Think about what you want to say before you start. WHAT do you hope to achieve, and HOW are you going to achieve it? Establish some clear objectives. 

While drawing or sketching develops necessary observational skills as mentioned previously, drawing also helps you to plan and condense information into a simplified format. This clarification will strengthen the message of your final painting.  With a drawing you are more likely to end up with your focal point being prominent, because you concentrate mainly on that particular feature.  Your drawing will be streamlined, easier on the eye of the viewer, because you collect only the information that counts and leave out extraneous material. Thus, drawing trains the brain to think about and analyze what is essential to the picture.

High Jinks Watercolor Painting.

IV. EXPRESS FEELINGS & EMOTIONS.

A later stage in improving my painting skills grew out of the wish to have my feelings and emotions come across in each painting. When establishing the IDEA for a painting now, I try to think about how I feel. We all interpret a scene in our own way – WHAT you want to emphasize and WHY will probably differ from what interests me or another person. That is to be expected – we all have different experiences, reactions, thoughts, and feelings that affect our impression of our world. These factors will affect our chosen focal point, our ‘big idea’ for a painting, even the style in which we paint it. (Our own particular concerns and perception directly determine the painting style we choose.)

In other words, I try to consider MOOD when planning my painting approach to a picture, and then work to express it. It seems easier for me to achieve some success at this in some paintings than in others. I contemplate how the scene makes me feel. Happy, sad, excited, nostalgic? I strive to determine what it is I want to show and what the meaning of each topic is to me. Why did I choose to paint this picture? Why was I drawn to this image? Does the scene remind me of a favorite place?  Does the picture make me feel calm? Do I feel like laughing when I look at or think about this subject? 

I believe great artists are able to paint their feelings about a scene, as well as an impression of its actual appearance. (Think about Leonardo’s Mona Lisa, for instance, or Vermeer’s Girl With A Pearl Earring.) They make sure they don’t copy the details so faithfully and precisely that there is no room left for life, mystery, or emotion in a painting. Instead, such artists paint their interpretation and memories, share what they feel are the significant factors behind what may be a commonplace scene, attempt to translate emotions aroused in their hearts. They often reveal their skill at rearrangement and invention in the scene.

T’s Fall Road Watercolor Painting.

Emotion can be conveyed in a painting in a number of ways. The mood of a painting can be created or altered by hard, soft, or lost edges; light and dark values (contrast, high key, or low key); line and arrangement of masses (lyrical, angular, curved, open, closed-in, a preponderance of verticals or horizontals); light (overcast, ominous or threatening, nighttime, bright and sunny, glaring, or late afternoon); and color choice and color proportion (warm, neutral, cold, cheery, drab, soothing, jarring, or balanced). For more in depth information on emotion and mood in painting, see “Get In The Mood!”, (9/4/2018), https://leemuirhaman.com/2018/09/04/get-in-the-mood/

Choosing and combining so many variables appropriately and successfully to express your emotion takes experimentation and practice, yet is the ultimate goal in art.

Take note of and respond to your own emotions – these feelings are what you will try to get down on paper and share with viewers of your art. Think with your heart. People will connect to YOUR art with THEIR emotions! 

V. BECOME YOUR OWN TEACHER.

After painting for ten years, I lost my beloved mentor and watercolor teacher, who died in 2018. Before he died, he asked me to take over the teaching of his watercolor classes. While I didn’t feel at all ready for that, I really didn’t want to let him down. For that reason, I started teaching others what he had taught me. However, I couldn’t help feeling that there was still more for me to learn. If I had questions, though, who could I ask? My solution was to study art books, seek information online, and continue taking occasional workshops in person and courses online. 

I also began writing blog posts (in 2018) to share with others the information I was learning about watercolor. I studied and wrote about things I was struggling with, or topics I found especially interesting. In order to write about a subject, I had to consolidate, understand, and make sense of it for myself. Writing has helped me know my own thoughts.

I think we can all work towards becoming our own best teacher. Always keep learning on your own and for yourself. I’m not suggesting you avoid taking classes or working with watercolor instructors you enjoy and are learning from. Instead, I’m asking you to treat yourself as a good teacher would, by being supportive of yourself, allowing yourself to investigate and learn more about the art topics that you might be struggling with, and searching out information about your art interests. (One of my recent investigative searches has been about how to paint light, create the glow of light in watercolor.) I hope that you take an active part in your own art education.

If interested, the following blog post will explain more about creating the best possible attitude toward your painting: “How Can I Become My Own Best Teacher”, (7/21/2021), https://leemuirhaman.com/2021/07/21/how-can-i-become-my-own-watercolor-teacher/.

Crossroads Watercolor Painting.

WHAT’S NEXT?

For me, I want to continue to write and to paint with watercolor. I hope to freshen up my website, perhaps even adding an option to purchase directly from the site. I would like to improve my skills at designing my own pictures more creatively, and to spend more time painting my own compositions. I will also, of course, persist in studying, learning, and researching what intrigues me about watercolor.

What’s next for you?

Join me and get painting tips, inspiration, and the latest news about classes, new art or products for sale, sent to you by email. Subscribe here. I’ll give you a free copy of my Color Blending Tips pdf. that you can download and print.

What do you think about this quote by Martha Beck who has said, “An artist’s real contribution isn’t what he paints, but the way he sees.”? Let me know in a comment below.

Jumpstart Your Watercolor Painting!

Several articles I’ve read lately have made me aware of the great benefits of ‘daily painting.’ Painting every day develops creative habits and greatly improves your art. You become more skillful, productive, and successful as an artist, according to the many painters who have tried it. Wait! Don’t, like me, immediately dismiss the idea of painting daily as impossible for you.  Try to keep an open mind as you read the following comments, and you may find that you are excited and inspired to begin to paint more consistently yourself.

Artist Mary Gilkerson explains: “Before you tell me you just don’t have time, let me point out a couple of things. Consistency over quantity. Consistency matters. Doing a small painting daily is better for your growth than 5 big paintings a month. 20-30 minutes a day can make a huge difference.

“The rewards: 

   1.  Your work improves.

   2.  You stay motivated because ideas flow easily.

   3.   Small daily steps move you closer to your goals.

   4.   Muscle memory takes over and the difficult things become easier.

   5.   You paint faster with more ease.

   6.   You paint more intuitively and responsively rather than consciously.

   7.   Your own personal style will develop without you even having to think about it.”

Chris Krupinski agrees and has said she knew she wouldn’t be a really good painter by painting only on weekends, so she committed to painting two hours every day no matter what. 

Duane Keiser, who is often credited with initiating ‘daily painting’ (as in completing a small painting a day) in 2004 and posts his work for sale on a daily blog, states that his daily small paintings “are about the pleasure of seeing.”

Simple Red and Green Watercolor.

Simone Nijboer, a Dutch artist, talks about her art journey, sharing this: “For many years, I wanted to paint but did not dare to start. When I had gathered enough courage, I started painting, but dropped it again quite soon, since I had lots of insecurities, doubts, and unhelpful thoughts around painting. 

“This all changed when I started painting on a more or less daily basis. I loved it so much! It might sound exaggerated, but I personally feel that daily painting changed my life. 

“Creativity became an indispensable and joyful ingredient of my day, and this joy spread over to the rest of my life.”

Carol Marine, artist and author of Daily Painting, rediscovered the joy of painting when she began completing small (mostly 6”X6”) works daily during her son’s naptime. “Painting small and often gave me the freedom to experiment – every day I got to start on an entirely new project. No longer did I feel overwhelmed by the large number of things I wanted to paint – I could do them all. And I could do each one fifty different ways (or more)! If one subject or one style didn’t quite work out, well, I didn’t sweat it. I had only invested part of a day’s worth of work on it, after all.”

Two Fruits Watercolor.

Stephen Berry, a watercolor artist who writes the blog Seamless Expression, has written (3/11/2022) a most compelling description of how the daily painting process has affected him. “I’ve been doing a daily painting for each of the last 32 days, and it’s been a wonderful learning experience.  I can’t recommend it enough!  I’ve gotten to stretch myself in a lot of ways, and although it’s been daunting at times (and logistically complex!), it’s also been a great deal of fun.  So much fun, in fact, that I intend to keep going….

“At first, the painting experience was just like normal for me, but slowly, as I began to paint each day, it dawned on me that I was going to paint again, and soon.  That can be very liberating!  Paintings become less precious, failure less demoralizing (although still totally irksome), more chances get taken.  And that means growth….

“Painting daily has provided me a space to try out new approaches— high key paintings, or new color relationships, new pigments, new compositions, etc…. I need to pick subjects I can easily simplify— and that means strong shapes and bold contrasts.  And that is often very good for creating compelling composition.”  Berry says he works hard to recognize what is really essential in an image and to decide just what it is he wants to paint. What is not essential, he discards. “There’s a bold, graphic quality to the final product, which I like….The changes in my compositions have been so compelling to me.” (See  http://www.seamlessexpression.com/blog/2022/3/10/daily-painting-for-a-month-and-longer to read more of Berry’s blog post.)

Lily Pads Watercolor.

I’m inspired! Are you? Will you choose to complete a small daily painting, or decide to commit yourself to regular painting every single day (not necessarily finishing one work daily)? Perhaps you’d like to really commit yourself to getting good at your art by painting consistently, not just on the weekend! Promise yourself to paint for 30 minutes to an hour every day, whether you finish a painting during that time or not. Return the next day to paint for the same amount of time, and the next day. By the third day maybe you’ll have a finished painting. The main thing is to figure out what works for you to get you painting more regularly, painting more than you used to.

Let me know how you get yourself to paint consistently. Do you have tips that you would like to share with others who struggle to find the time to paint? Let me know in the comments.

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A Few Of My 2021 Painting Successes And Struggles. 

Even after painting for many years, every artist has good days and bad days. Don’t ever think that every painting proceeds smoothly. In this post, I will share a few of the successes and some struggles that I experienced in my painting this past year while teaching my weekly watercolor zoom class.

In my zoom classes, I choose the image that students and teacher (that’s me) paint together. Each picture is chosen to teach several specific art lessons. Students learn to evaluate various reference photos, create a plan of attack for each painting, and proceed step-by-step toward completion of a painting. We share our work throughout, giving each other feedback and support. 

Watercolor ‘Flowing Forward’.  (Photo: Tristan T. Haman)

My painting of ‘Flowing Forward’ is one of the year’s more successful pictures. It combines sun and shade, flowing water and ice, some reflection on the open water, warm and cool colors, verticals and horizontals, hard edges and soft to create an effective image. A complicated scene was simplified to avoid too much detail.

Watercolor ‘Where Are We?’.  (Ipswich River Wildlife Sanctuary, Topsfield, MA.)

‘Where Are We?’ caused some problems. It was a struggle to keep the center of interest (the  stone bridge) a lighter value than its surroundings so it would stand out. Further, the ripples and highlights on the water disappointed me. Warm and cool colors were, however, used to good effect. And I was pleased with the distant trees.

                    Watercolor ‘Beach Shadows’. (Photo: Dan Scott)

‘Beach Shadows’ was a difficult picture which eventually turned out well. The contrast in values (lights and darks) was striking. The picture is a good study of how colors (both warm and cool) change when in shadow. Both soft and hard edges were painted after close observation.

Watercolor ‘Bottles And Oil Lamps’.  (Photo: pixabay.com)  

‘Bottles And Oil Lamps’ was a challenge. Careful observation of the reflections and refractions in the backlit glass was important. While there is a good range of values in the painting and a bit of ‘glow,’ the picture doesn’t seem very dynamic or suggestive of feeling.

Watercolor ‘Red Geranium’.  (Photo: Unknown artist)

‘Red Geranium,’ on the other hand, feels soothing and inviting to me. I can sense the luminous glow of the winter sunlight as it shines through the homey lace curtains and onto the window sill. Warm and cool colors, hard and soft edges, and contrasts of values succeed in highlighting the center of interest.

Watercolor ‘Water Under The Bridge’.  (Photo: Courtesy of Karen Morris)

‘Water Under The Bridge’ also employs warm and cool colors, hard and soft edges, and contrasts of values; however, a few problems distract from the painting. Sunlit ‘glow’ on the side of the bridge has been lost, perhaps because of the choice of paint color. And the yellow-green water reflection is strong and distracting. The foreground rock also needs work.

Watercolor ‘Autumn Dirt Road’. (Photo: Tristan T. Haman).

‘Autumn Dirt Road’ is a painting of opposites and contrasts, bright sunlight and shadows, and warm and cool rich color. Autumn foliage is hard to capture in a painting. Details in the foliage and on the road are simplified here and merely suggested. The viewer is drawn down the dirt road toward the orange tree and into the afternoon sunlight. I really want to walk down that road!

I hope you enjoyed hearing about some of my 2021 painting experiences. While painting can sometimes be frustrating and complex, it is extremely rewarding when it goes well. I feel very strongly that artists only fail when they give up. So, keep painting and enjoy yourself.

Is there a part of the painting process you struggle with? Do you tend to get stuck in the middle, like me? Do you have trouble critiquing your own work? Do you have difficulty knowing what to simplify? Are you not sure where to start a painting? Do you want to paint details everywhere in your paintings? Let me know in the comments.

Join me and get painting tips, inspiration, and the latest news about classes, new art or products for sale, sent to you in my newsletter. Subscribe here. I’ll give you a free copy of my Color Blending Tips pdf. that you can download and print.