Coffee Break - Hospitals, WW II, Kittens, and Bears

So Embarrassing.

 There is never a dull moment around here.  I wanted to have a cup of coffee with my readers and bring you up to date.  Much of studio life takes place outside the walls of the studio.  My studio is on my property in rural eastern Washington, and my family life and other country happenings this week have kept me away from art and this screen.


1. My son, Carson, stayed overnight in the hospital last week with a skin disease.  His skin is now almost clear, and he is doing great.  It was hard for the parents of an eight year old, but for him it was like a stay in a luxury hotel.  He missed school all week except half a day, and last night, I took him to the movies.  I have been updating peeps via Facebook.



2. Yesterday, May 8th, commemorated the end of WW II in Europe.  Sixty-five years ago the unconditional surrender went into effect and was dubbed V-E Day.  The US press was absent, for the most part, in commemorating this, but I see that the UK and much of Europe, and Canada did have ample press regarding this important date.  Since my US audience needs remedial history on this, I have prepared a set of five facts you didn't know about V-E Day, which is at the bottom of this post.


3. Let's do the bear story next.  Yesterday morning I found myself in the woods alone with a bear.  This has happened to me a handful of times, but I usually don't get too charged up about it.  The American Black Bear is pretty much like a big, cuddly dog who leaves you alone if you leave him alone.  This one was different. This bruin was very large, and uncomfortably close.  I estimated about 70 yards away, and above me.  His color was an amazing cinnamon brown, but not like the brown or blond that marks the back of Black Bears sometimes.  This guy was head to claw cinnamon brown, and flawless.  Because of the size, and the unusual color, I started doing the checklist in my head that is titled: "Is This a Grizzly?"


He was looking at me.  I was looking at him and doing the field taxonomy that any sane woodsman does in his head. First, you look for the hump at the shoulders.  Since he was above me, I couldn't make one out, but I did note the distance from shoulder to chest was massive.  The head also lacked that dog shape common to Black Bears.  Instead, it was big and round - I would say massive.  He turned his head once, and then gazed back at me.  He had heard me crashing over branches and had come up to see what the noise was all about.  He was calculating his moves, too.  Is this little thing dangerous to me?  Should I saunter off, or give him the growl?  What does he taste like?


The bear's decision was to walk in my direction, which is either the common curiosity of bears, or the run-up to you-know-what.  By this time, I had finished my list, and my new task was egress. He had me tactically, because he was on a level contour, and I had to ascend diagonally to get to the field and "outta there."  As I made my way up, I could see his bright red coat coming through the trees.

So, that was fun.  The neighbor saw a large bear track on the road the other day, too.  A guy looks for this kind of commiseration when he has an out-sized story to tell.  Was this a Brown Bear?  I'll never know.  If he was a Black, then he gets the prize for beauty, and is in my top 3 for size.  I did see a Grizzly in the wild one other time, but it was a roadside event in Banff.  That was a monstrous bear, tearing at roots like a machine, and I would say twice the size of my bear from yesterday.  Except yesterday, I didn't have a car.


4. How to top that?  All the news I have left is the two litters of kittens we have.  My 7 year old daughter finds them much more engaging than my bear story.

Now, all that energy can be channeled into the studio.  See you next time.

Five facts about VE-Day: 


1.  The unconditional surrender document was signed on the 7th of May, and ratified on the 8th.  The allies wanted to avoid the troubles surrounding the WW I armistice by having the German High Command as signators this time.
2. No head of state was present at either the German surrender ceremony or the Japanese one on September 2, 1945.
3. The surrender in the Mediterranean Theater was the 2nd of May, 1945.
4. Susan Hibbert typed the document of surrender in English.
5. The surrender of Italy on September 3rd of 1943 had some wiggle room at first, and only later became "unconditional."


Bear photo: Madfelix.
Kittens photo: Lorie Klahn

Degas, French Papers and Pastel Love

Do you need to save money on paper?  Do you have a pile of unfinished works on La Carte paper?  See my report on how I have been reclaiming this paper incorrectly identified as too sensitive to re-use.


While you are thinking about your pastels, indulge in some huge Edgar Degas visuals:

Artist's Quotes

"An artist is not paid for his labor, but for his vision,"  James McNeill Whistler.

"There are more valid facts and details in works of art than there are in history books,"  Charlie Chaplin.

"My theory is that all of Scottish cuisine is based on a dare, "  Mike Myers.

"There is no must in art because art is free,"  Wassily Kandinsky. 

"The creative artist seems to be almost the only kind of man that you could never meet on neutral ground. You can only meet him as an artist. He sees nothing objectively because his own ego is always in the foreground of every picture,"  Raymond Chandler. 

"Art is either plagiarism or revolution,"  Paul Gauguin. 

"Any artist should be grateful for a naive grace which puts him beyond the need to reason elaborately,"  Saul Bellow.

"Art is the proper task of life,"  Friedrich Nietzsche.

"What good are computers? They can only give you answers,"  Pablo Picasso.

Memorials and Memories

Pause

Sometimes a guy needs to pause and reflect.  "...a guy."  That's a phrase my late dad used to say.  His youngest brother recently passed away, and I said words and a prayer at his memorial on Saturday.  Uncle Don was 82, and is survived by only one sister, my Aunt Anita.  Don was preceded in death by his siblings.  All eleven of them.  The story of my grandparents, their thirteen children and their pioneering life is a unique American one.  Uncle Don's is unique, too.

Grandpa Max and Grandma Anna homesteaded in the land that time forgot, the Olympic Peninsula.  Think Twilight, only without the amenities.  By no amenities, I mean no electricity.  Did I mention no road, either?  Max hiked the Olympic beach to get to work during the Great Depression, which was a hundred miles plus a little.  The Indians rafted him across the rivers he couldn't ford.  He worked in the logging and port towns of Hoquiam and Aberdeen.

Max and Anna had 13 children, and the seven brothers all went off to war.  My father, Kenneth K. Klahn, saw heavy combat in Italy.  The youngest boy, Don, wanted badly to get in the army and fight the Second World War with his six brothers, but the Sole Survivor Policy prevented that.  So, he got drafted and fought the Korean War instead.  How is that for irony?  I can't say if my seven serving uncles and father is an unprecedented thing, but it is noteworthy.  Where will we get men like that now?

Link
My Grandfather, Max Klahn, is the young boy pictured @ the top right. Next to him at his left are Henry, my Great Grandfather and Charlotte, my Great Grandmother. Location: Quillayute Prairie, WA. Date: 1895. This place is about the rainiest spot in the US.

This weekend, in my home town of Hoquiam , I wanted to continue my series of paintings about the river complex.  Of course, it rained and so I sat in the truck and drew the mist on trees.  I made further arrangements for a show of these works and checked out the venues from the curb.  It will be a special event, I am sure.  The tentative date is a year from September.

My Hoquiam High School class of 1976 have found each other on Facebook, and 25 of us and some family and friends got re-acquainted in Olympia Saturday evening.  One thing we enjoyed so much in the seventies was dancing to loud rock and roll.  How sore can a guy be after dancing and making merry like we did that night?  Ouch.  I haven't had that much fun in a long time.  Every face I saw recalled for me endless good times and fun that we had in our school days.

I was to get together with another high school and college friend on Sunday.  We made the arrangements to meet because his wife was undergoing cancer treatments and he wouldn't be able to come out.  When I called that morning he informed me that his wife had passed away Friday night in the hospital in Seattle.

Can a guy have a fuller heart than I have right now?  I doubt it.  I am back home with my family, today.  I showed Lorie some photos that my aunt gave me when I visited with her.  Aunt Geri and I sat at the dining table, in front of the big corner windows that Uncle Don looked out of for so many years in Hoquiam.  Looking out at the rain, of course.  The week he died, he "saw" my late father as clear as day, she said.  He remarked, "here comes Kenny.  He's coming for me now."

Rest in peace, Melanie, Don, Dad and the Klahn siblings.  I love you.

Top Photo: Lorie Klahn

Copy of Mary Cassatt, After Degas

 

Mary Cassatt, After Degas

@ 24" x 36"

Charcoal & Pastel

Casey Klahn

See my hommage to Mary Cassatt here.

Sketching Right

Sketch Landscape

4.5" x 7.28"

Charcoal on Sketch Paper

Casey Klahn

I don't know if you can get more power from a methodical sketch, than from a quick one.  My vote is for the quick, intuitive drawing.  An interesting thing happened with this one.  I wanted to transfer it to a larger pastel sheet, and thought that it was close to the golden rectangle proportions.  In the studio, I always go straight to this tool to find the ratio of the golden rectangle.  I entered the short side of my sketch, which was about 4.5", and the long side was about 7.28," give or take .01".  When I plugged 4.5 into the finder, it said that the golden ratio would be 4.5 to 7.28 - what a coincidence!  I was duly happy.  The ratio for my transfer would be 9:14.56.

A short article on the Golden Rectangle at Pastel: Gimme Five.

For no particular reason, I'm needing some music with the next few posts. "Can't this train outrun those kids?"

Color Prairie

Color Prairie Sketch

Small

Charcoal & Pastel

Casey Klahn

Here is a charcoal thumbnail sketch and a color study.  The finished painting will be posted in the future.

Free Blog

I'm still blogging, and while I'm at it the studio has been in full fiddle.  Above is a studio on-the-easel image, and I want to begin posting from my sketchbook, as well.  Here is the first of these.

Rock Solid Neutrals

Erratic Boulder

6.25" x 8.5"

Pastel & Charcoal

Casey Klahn 

These car sized boulders are called glacier erratics.  They remind me of the way that neutral colors can mimic, or reflect, the colors around them.  This is true of the grays, and of the browns and tans that I used for the grass - they "adopt" the violets and blues that surround them.

Ten Life or Death StudioTips

Intent, After Degas

Small

Pastel & Charcoal

Casey Klahn

The other day I found Dadaist, Erik Satie, via Sippican Cottage, and I was amused by the story of the state of his studio after he died.  No one except Satie had there entered for twenty-seven years, you see.  Among the histoire his friends uncovered were love letters and his portrait rendered by his vrai amour, the painter and pastelist Suzanne Valadon.  Also they discovered seven velvet suits, many unpublished songs, some drawings and way too many umbrellas.  What will be found in your studio when they come to collect your corpus?


Since the studio has been my steady haunt, lately, I can offer you these ten tips for studio practice. Bonus: Here are ten that I published two years ago.


1.  Lay out all of your drawing tools, such as charcoal (all sizes), graphite, erasers, stomps, knife and so forth.  Once I did this, it increased my tendency to form my paintings around sound drawings.
2.  Have lots of surface area.  I have a ladder studio organizer, a custom made 2.5 foot by 7 foot by 3 foot table, an extra full size easel that lays down as a table, and several knock down tables of various sizes.
3.  Make some room for your art library.  I use a surplus bookshelf and some wall shelves that are bracket mounted.
4.  Lately I have been mounting my newly finished works on a piece of Fome core or GatorBord and hanging them with a bulldog clip on a nail.  I can reference my current direction that way.
5.  Peg board.  The young 'uns may not remember that funny board with holes and pegs that hardware stores used for all of their displays.  Find them at your hardware store - ask the kid there what it is.  Here's how to install one.
6.  On my pegboards, I hang rulers, tape, architects square, clips and clamps, my field easel and bag, utility knife, and so forth.  Everything's handy.
7.   My eye doctor has me washing my eyelids with baby shampoo.  It treats my lifelong blepharitis, but we all receive a lot of studio contaminates in our eyes.  I use Johnson's and apply with my fingers.
8.  Speaking of studio environmental hazards, I also use a hand barrier cream rather than gloves when I paint with pastels.  Works great.  I tried to find the one I use, but Murphy's Law took effect and it is discontinued.  This one looks a little more expensive, but not as much as others on the market, either.
9.  A pair of studio slippers helps keep you from tracking dirt to the house.
10.  You need a few breaks for the mind. I always have a pair of binoculars at hand in order to keep track of the prairie animals.  Of course, you never leave them on the windowsill, right?

Tree School - Green in Trees (New Material)

This Tree School post is a re-write of the one that was originally posted at Pastelsblog in January, 2009.

With a couple of exceptions, every landscape I have done has trees.  But don't expect to see green trees in these pictures.  I want to convince you to almost never use green as your departure point in painting trees.  

The color of your trees will either establish or enhance your overall color composition.  You want unity, and you want a proper color statement.  Sometimes, green just isn't part of that structure.


Green will key the color composition for you. If you wish green as a major element in your image, then use it. If not, then do a color study of your composition first to determine what color you will be making your trees.  The local color of trees is usually green, but if you think about it, there are other local colors of trees. Brown, orange, silver, gray and black are present. Trace or hints of red and blue are very evident to me in trees. Cast colors include violet and blue. When we view our trees in this manner, any color becomes part of the natural palette associated with trees.

Remember that color has much more value than associations with objects. Some assign emotional value to color, but I also think of it's plastic qualities.

Don't become a victim of the tyranny of green.


All images in pastel, by Casey Klahn.
1.   Blue & Gray River  10" x 14.5"
2.   Clear River  7.5" x 9"
3.   Violet & Green Tree  5" x 4.5"

Tree School - Tree Admiration

After Wolf Kahn, #1

9.5" x 6"
Pastel on Paper
Casey Klahn

First posted January 21, 2009. This post is updated to offer new links to artist's whose trees I think you should see, and the other set of links can be viewed at the original post, here.


Take a different approach to trees...


Learn from other artists whose renderings of trees you love. Mark me down as a Wolf Kahn follower. His forests of trees are gesture rich, and pure blocks of color are woven into the whole. I did the drawing posted here directly from a WK as a study to try to "get" more of what his methods are.

The Art of the Landscape community is a good place to start your overview of artists who paint nature.  Don't miss Martin Stankewitz, who has a blurb book on this subject.  His style is finely composed.

You might know Bill Cone for his exquisite views of California and the rocks of the Sierra Nevada Mountains.  Recently, he has favored us with tree compositions that are just what you should be looking at to understand the abstract elements of tree groupings.  A real delight.

All of the artists I've mentioned here take a very different approach to trees, and your tree style will become a signature of your own work.

See also:

Land Sketch
Loriann Signori
John W. Stinson
Randall David Tipton

Irish Warpipes & Amazing Grace

Irish Warpipes

16th c. Irish Missal,  Bodleian Library Holdings

Quotes Blast

 Under Riva Ridge, Italy

 @8" x 5"

 Charcoal

 Casey Klahn

Never interrupt someone doing what you said couldn't be done.  Amelia Earhart.

Fads are the kiss of death.  When a fad goes away, you go with it.  Conway Twitty.

In the dime stores and bus stations, people talk of situations, read books, repeat quotations, draw conclusions on the wall.  Bob Dylan.

Art is made to disturb, science reassures.  George Braque.

The history of modern art is also the history of the progressive loss of art's audience. Art has increasingly become the concern of the artist and the bafflement of the public.  Paul Gauguin. 

There's a lot of whiners in every crowd.  R. Lee Ermey.

I bought some batteries, but they weren't included.  Stephen Wright.

You would be wise not to finish a painting.  Wayne Thiebaud.
  
When you cease to exist, then who will you blame?  Bob Dylan. 

I make pictures and someone comes in and calls it art.  Willem de Kooning.

I always wanted to be somebody, but now I realize I should have been more specific.  Lily Tomlin.

In art the best is good enough.  Johann Wolfgang von Goethe.



Brainyquote.com

Shape Up - Abstract Organic Shapes

Originally posted January 19th, 2009.

Blue Trees in the Middle Distance
7 - 3/8ths" x 5.75"
Pastel
Casey Klahn

Consider the words of this blog title, "abstract organic shapes." For a sound and enjoyable study of shape, see Diane Mize's post, And Then There is Shape. An organic shape is one with a random pattern or irregular edges - just the opposite of geometric shapes. Abstract means non-specific or simplified. A non-tree tree, if you will. More of a shape than a technical study of leaves, foliage, branches and trunks.

Think twice before you include trunks, branches or leaves


If you want foliage, then make your tree as formless as possible.Irregular, and abstract. Think twice before you include trunks, branches or leaves. A better direction to go instead is to ask yourself how this shape will effect your overall composition. Back all of the way out of the picture plane, and make a value and shape sketch. How big will the tree or trees be? Will they form a unified mass? What will the relationship of these trees be to the other elements in my painting?


Consider the image posted today, Blue Trees in the Middle Distance.

Since we are building a landscape here, albeit an abstracted one, we have chosen to model the form of our trees. Keep it simple, with roughly three values only. As with strict realism, we have opted to not go very broad with our value range. An almost black violet, a dark middle ultramarine and a middle violet do everything we need them to do to represent two trees on a slope. We keep the diagonal strokes all parallel, which heightens the gestural effect of our marks.

An unrelenting melancholy


Anchor the trees to the ground with well placed shadows, and a dark line where we interface with the ground. Higher key colors in front of and behind our trees help with modeling. Atmospheric effects of the ridge, sky and clouds push them back, and limiting the palette help with unity. Again, we keep our gestural effect with our marks - they don't conflict.

An almost unrelenting melancholy pours down the picture plane, brought about by the blue and the clouds. A critique was written about this painting, here.

Trees On The Prairie

Prairie Bush
5.25" x 12.75"
Pastel
Casey Klahn

The Prairie Series is beginning to show a direction. I am starting to be able to enumerate the things that I am trying to say visually with these paintings. It is more about trees on the prairie than it is the open spaces. Perhaps the open spaces will be my next thing, but I feel these have a kinship with my last series, The River Series. It is a visual relationship - not a naturalist or descriptive one.

It could have been a series about abstract land masses, which is a great theme for these open spaces in the American west. But, I kept focusing on eye sumps, like dark masses and colored splashes in foliage. The relationship of the tree to the whole is also key in good landscape paintings.

I wanted to add some words - essays and texts - to this series. Then I realized that I already have a series about trees, called Tree School, at my blog Pastel. Please enjoy these lessons on rendering trees. I think you'll find them unique, and I will be bringing them here interspersed with my new prairie pictures as I get them photographed. I also hope to write new texts to the Tree School, and together we can watch the Prairie unfold.



Originally posted January 15th, 2009.

Tree Study in Turquoise
@ 6" x 5"
Pastel
Casey Klahn

The title "Tree School" sounds like it belongs at an arborist's convention, or maybe a logging camp. But, I want to offer my artist's take on rendering trees with pastel.



Trees can be an awful distraction in a painting. Especially if they are present but not the subject, and if they take up too much of your effort.

We all enjoy graphite drawings in detail of a beautiful tree. Great texture, perfect modeling, and wonderful presence are what please us. But, that is the tree drawing where the tree is center stage; the star of the show. What about when the landscape is about things other than how the trees look? What do you do then?

Additionally, you can face a problem when the trees are the main content, but not the subject. I mean by that the painting where a color composition is the subject of the painting, or maybe something like the motion of one's eye through the woods. Trees have a built-in drama to them, and I propose that too much detail can distract from the message.

Return here to attend my short course on trees in pastel, and I leave you with this hint: don't begin with green.

Banner Banter - How To Make a Blog Banner

Banners and Badges Are Creative Blog Design Elements

Here is a special thanks to those of you who voted to choose a new blog banner. The gray banner has prevailed. There were 16 votes for gray, versus 11 and 10 for the brown and green ones, and some sentiment for keeping the old one was expressed.

A new and attractive blog banner can be the most dramatic change for your blog, next to selecting a new template. Yesterday's post presented various types of creative blog banners for your inspiration.

This post will link you to the simplest tutorials I have found for creating and posting a new banner to your blog. I won't touch on platforms other than blogger, except to say that I think the information here on designing and creating your banner will benefit you no matter which platform you use. I will add the following advice that I found helped me. I use Photoshop Elements (version 2!).

1. Determine the size that you want your new banner to be. I experimented with my old one and discovered that 717 x 426 pixels was my preference for a banner in my particular template. When you open a new file in Photoshop, designate the size you choose.
   
2. A helpful hint in choosing a banner size is to find an image that you feel is an approximate of what you want to make and open the properties by right clicking on it. Use that as a starting point, but don't copy - you want to stand out.
3. Notice that a few of the banners I linked make their statement in a small space, about 70 pixels tall. That may be your solution if you want to cut to the chase. Charley Parker's is 593 x 110.
   
4. Why not allow your readers to participate in choosing a banner design by polling them?
   
5. Make sure your finished product doesn't look pixelated, or fuzzy, when you post it at your blog. I suggest that creating it in the right size, by pixel dimensions and by dpi, will do the job. I try to create my designs in a 200 or higher dpi, and then I save them at 110 or so to make sure they look sharp enough. In my (uneducated) opinion, most people's web feeds can support at least an image of 110, rather than the old 72 dpi. Any other opinions on this?
   

Some have advised against big banners, and I sympathize with that opinion. I have gone with a big banner to make a graphic statement and to make my blog recognizable. I have found that there are many ways for readers to arrive here, and usually they have followed a subscription tool, which highlights the image or title of each post. The downside of having your post "below the fold," as Katherine van Schoonhoven says, is not too critical, in my opinion.



How to make a banner and post it:

Blogspot Tutorial
Photoshop Tutorials
Paul Stamatiou
Design Mom (embed code tutorial provided)


Don't forget to have a tag line. I like Angela Taylor's, "I have marks to make." Mine is "New School Color." Many bloggers make the name of their blog fit a tag line, such as "Robin Pucell, Watercolors in the Plein Air Tradition." I think it's important to include your name somewhere in your header, because people want to view and buy art from an artist. An internet nom de guerre doesn't help in building your artist profile.

Keep in mind the overall look of your blog, not just the header or banner. Also, your background color. The Colorist sported a mid-value blue-gray background for the first half a year of its life. When I went to white, the added light was well worth it as far as my art was concerned.





Why I'd never make it as an IT guy.

Banner Banter - Banners I Like

Blog banners I like are linked below. Tomorrow I'll post a "How To" for those who want to upgrade their own blog banner.

Paint2day (modest sized banner)
Chris Earnhart (irony and graphic pop)
Deborah Paris (has a new banner!)
Jennifer Phillips (artist in action)
JafaBrit's Art (story time)
Laura K. Aiken (remember to include your name like this)
Charley Parker (thin to win)
Brian McGurgan (definitive art image)

Blog Remodel Underway

Sketch WW II Climber
11" x 9"
Charcoal, Pastel and Compressed White Charcoal on Rives BFK
Casey Klahn

The Colorist blog is undergoing a remodel, and that includes new tabs, a sidebar clean up and a new banner. The strategic concepts were aided by the rigorous mind mapping which I posted about here and here.

One thing already accomplished is a revamp of my profile by:

1. Killing the blogger profile widget and adding a picture that links to my blogger profile;
   
2. Updating my picture at my profile (and then I had to go around to my other communities, like Twitter, etc., and change those to match);
3. Cleaning up my blogger profile page;
4. Placing the profile in my tabs rather than in the sidebar.

Further cleaning will involve deleting as many sidebar widgets as possible. I have added a few that I feel I will want after the clean-up, so it looks more crowded than usual now. My criteria are that they have utility. I value widgets that link within the blog, those that link to other content I have placed on the web, such as an artist statement, other blogs, website or whatever, and those that link to other authors' blogs. Next, there are the blog awards, which gives a reader a sense that "this blog has enough merit for me to read." There is the Follow widget, which I have found to be my easiest way to read around the blogs I like. Ditto the bloglist with thumbnails, although I find it to be so space-filling that I keep mine short. Time to clean that one up to reflect current blogs, too.

More widgets are there, as well, but I admire blogs like Steven LaRose whose blog Fish or Cut Bait, is so devoid of marginal clutter that the result is a page that reflects a graphic statement I like very much. It points more readily to his content, but I also love the contrast it provides to his rigorous abstract art. Cool.


Tech crazy, yet?


Labels have become a tag cloud, thanks to the input of my readers who voted for this. For now, I opted for the blogger version. Maybe a better one will appear later.

Next post: Banner Banter (including a How To make a banner and post it).
Still to come: Keeping Tabs. Find out what have I decided to do for blogger tabs.

How To Mind Map Your Blog

"I must create a system,
or be enslaved by another man's,"
William Blake

The Mind Map of The Colorist blog was posted a week ago Monday, and you may wish to do this exercise for your own blog. My goal in doing a mind map was to clean up my busy sidebar and sort out what kinds of data I may want for the new Blogger tabs.

The following describes how I did my mind map.

detail - center of the mind map

I began with the identified subject in the center of the blank page, and drew radii with subjects that I found easy to describe based on what I like to write about in the blog. The broad subjects included Art essays, Art History, My Art, The Art Blogging Community, Casey Klahn (it is my newsletter), etc.

I skipped the rule about using color (go figure!). I think in color when I draw, though - that's part of my whole job description. A rule I will follow next time is that one should pose the subject as a thesis statement or as a question, not just, "The Colorist." I should have written: "what are the components of The Colorist?"

Next, I consulted my labels, and then I described the sub-branches by associations of content with the main branches. For instance, "My Art" has several sub branches such as abstract and landscape genres. Also, the broad category of "Art Content" broke down into the associated subjects of "art philosophy" and "education."



The finding of links between the broad subjects, or a systems analysis of how subjects connect, was illustrated by double ended arrows running between the main branches. This is the most problematic area, and I think the worst represented by mind mapping. Systems are more complex than this 2 dimensional scheme, and they have multiple associations, not just those that are easily illustrated by an arrow. Anyway, the object was to get some systems identified, and to find groupings that will help me pull together types of content for my tabs and my sidebar widgets.

Below, I drew a pop-out that attempted to scheme some broad concerns of the blog. I want to keep my blog focused on ideas, and not so much on myself - people get bored with that. That's why I drew the overlap as a little bit of the artist's self, a better amount of content (ideas) and a whole lot of action (painting and drawing). The outside influences of culture and others I described as "world."




Like with the Borg, all ideas can be assimilated, but when you get the crew of the star ship Enterprise involved, all bets are off. I would say the same thing applies to the artistic mind. Artists are (or should be) the most individual souls on Earth. Systems that artists work within may not function for other offices. Create your own sets of ideas and make your artist's blog a "Mind Map" of your own personality.


Extreme Navel Gazing Links:

Brainstorming
Mind Mapping
Argument Map
Disney Mind Map 1957

Funny gif by EFAmbros

Banners and Badges

#1. New banner, gray with green.



#2. New banner, brown with green.



#3. New banner, green with orange.



The time has arrived to replace my aging blog banner. Here are some designs, and I am asking you to vote on your favorite. You might expect me to be a whiz at design, but I have too much respect for that profession to think that I can just rip out designs like a pro. It is a skill I struggle with. Help me out by voting for the one you think should top The Colorist blog.

There is a school of thought that says you should get straight to the content in your blog, and not delay everything with a big banner. The idea is to either dispense with the banner and go with text only, or place the thinnest banner at the top of your blog. My own view is that I write an artist's blog, and I want visual impact. The little picture icons that are now part of blog rolls do a nice job of headlining each new post, as does the post title. The majority of readers are fed by their subscriptions, and recognize the blog plenty well when they get here.

Except that now you'll be seeing a fresh banner. But which one? Please vote in the poll at the right hand sidebar. In addition, I will offer a brag banner for those who so desire to advertise that they are one of the smart readers who visit here often. Whichever banner is chosen, I will be complimenting it with a badge like the one below.





The How to Mind Map Your Blog post is written, but I need to tweak it a little more. Stay tuned, mind travelers.

Sunshine Award

The Sunshine Award has cast light into my studio and my blog. Mary Anne Cary sent the award, and I want to thank her again.

Alyson Stanfield, my favorite Art Biz Coach, posted about the Geography of being a local artist, and at the same time I had the urge to illuminate my local blog dogs in a new post. I have decided to give the Sunshine away to the bloggers from Washington State. Some I know in real life, and others just online. I am supposed to recognize twelve, but I couldn't stop there.

If you want to participate, see the outline at Mary Anne's blog.

1. Sheila M. Evans
2. David Patterson
3. Angela Wales Rockett
4. Katherine van Schoonhoven
5. Rachel Maxi
6. Jennifer Phillips
7. Miki Willa
8. John W. Stinson
   
9. Garth Perfidian
   
10. Gabriel Campanario (Seattle Sketcher)
11. Donna Watson
    
12. Susan Ogilvie
    
13. Jennifer Evenhus
14. Kathleen Cavender
15. Lisa McShane
16. Barbara Benedetti Newton
17. Jason Waskey
    

More here.

Sorry if I forgot someone. Feel free to send me a comment and I will try to make amends as I do like to link to Washington artists.

Sometimes Weather

Sometimes Weather
9" x 7"
Pastel
Casey Klahn

27 Art Blogs To Watch 2010

Artist Donna Zagotta, of Notes From the Studio, Donna Zagota's Art Blog, asked her readers to name their favorite art blogs so that she "could create a list of hot art blogs to watch in 2010." The Colorist was one of the 27 Art Blogs to Watch in 2010, posted February 15th., 2010. If you follow the link you will be astounded by the many kinds of art blogs that she has noted. I am proud to be on the list and I had a great time reading and following the links. Thank you, Donna!

Artist Mary Anne Cary has also given The Colorist a Sunshine Award, which I gratefully acknowledge. I have an idea of how to pass on this sunshine, which I will be working on soon. Thank you, Mary Anne!

Next post: How To Mind Map Your Blog.

Mind Map of This Blog

Mind Map of The Colorist Blog. Click on the image to read in a larger format.

Cue the Twilight Zone Theme. We are going to mind map The Colorist.

Here is the theme music for this post ( Right Click to open a new tab).

The reason for this exercise is that Blogger has introduced tabs. You know the ones that make Wordpress blogs function so well? They take you to static pages that live (as I understand it) within your blog and I assume they accrue to your blog's statistical performance. I already use Google Page Creator (soon to be replaced by Google Sites) to direct readers to static pages, and the links have been via badges or icons that I place on the sidebar.

The mind map is my way of gathering the cluttered strings of this parachute that is my blog. I am trying to discover what sorts of things are interconnected. Which subjects would function better if found via tabs? Which want to be found via badges in the sidebar?

In addition to the mind map, I also listed my sidebar items by function. I look forward to reducing my sidebar to a more manageable affair. My plan is to use sidebar badges or icons to link to certain content, and tabs for other types. Now I just need one more important thing: some time.

Katherine Tyrrell has generously posted a How To for adding tabs to your blog.
Google Sites.
Mind Mapping.

Variegated Tree

Variegated Tree
@ 7" x 5"
Pastel
Casey Klahn

New Series Thoughts

Last Year at the Festival

Thanks to the following kind comment givers who wrote on my last post:

Sam Hannaway
Carole Buschmann
Alison Straite
Irina Rekhviashvili
Katherine A. Cartwright
Katherine van Schoonhoven
Trevor Lingard
Jala Pfaff
Mary Anne Cary

Also, a big thank you to Katherine at Making a Mark, where my roll-out of the Prairie Series was noted.

I am just as interested as everyone else to see which direction the new series will take. The reason not even I know the answer is that I started the series with a few works late last year, and have just recently started back on this series. Of course, things look different, now, and so I'll have to make a few and see which elements are speaking to me. When I get it all figured out, I'll post about it. Meanwhile, if you want some wisdom on the artistic process, I refer you to the Katherine A. Cartwright blog where she and her gang of readers are looking at the creative process loop.

For my part, I still await that axe man who comes to cull out my worst paintings. Seems I remember his name was "Johnny."





See a collection of pastels about snow scenes at the Pastel News. Some of us have had way too much snow, and others, like myself, have had way too little. No fair.

Prairie Series

Violet & Green Tree

5" x 4.5"
Pastel
Casey Klahn

Here begins the Prairie Series. The ideas will be like the Rivers, but with some significant changes. What are those changes? I'll let you know first, once I figure them out.

Today I have some time to actually straighten and clean my studio a bit. After a week and a half of daily work, the dust is beginning to reach my ankles. How many artworks did I finish? Maybe 8 or 9, but I'll have to wait for this man who comes in with an axe and destroys several of them before I can tell you the actual number.

Press Release

Photo: Lorie Klahn

Casey Klahn

Because, once in a while, I have to post a photo that doesn't have red or orange added.

Press Release.

Awards.