Over 161 novelists, poets, playwrights, painters, philosophers, scientists, and mathematicians, who describe how they subtly maneuver the many (self-inflicted) obstacles and (self-imposed) daily rituals to get done the work they love to do, whether by waking early or staying up late; whether by self-medicating with doughnuts or bathing, drinking vast quantities of coffee, or taking long daily walks.
Charles Schulz, creator of the beloved Peanuts comics:
The demands of producing six daily strips and a Sunday page required a regular schedule, and Schulz fulfilled his duties in a businesslike manner, devoting seven hours a day, five days a week, to Peanuts. On weekdays he rose at daybreak, took a shower, shaved, and woke his children for breakfast (usually pancakes, prepared by his wife). At 8:20, Schulz drove the kids to school in the family station wagon, stopping to pick up the neighbor’s children on the way. Then it was time to sit down at the drawing board, in the private studio beside his house. He would begin by doodling in pencil while he let his mind wander; his usual method was to “just sit there and think about the past, kind of dredge up ugly memories and things like that.” Once he had a good idea, however, he would work quickly and with intense concentration to get it onto paper before the inspiration dried up. Schulz stayed in his studio for lunch—almost always a ham sandwich and a glass of milk—and continued work- ing until around 4:00, when the kids returned home from school. The regularity of the work suited his temperament and helped him cope with the chronic anxiety he suffered throughout his life. “I would feel just terrible if I couldn’t draw comic strips,” Schulz once said. “I would feel very empty if I were not allowed to do this sort of thing.”
Throughout his life, Picasso went to bed late and got up late. At the boulevard de Clichy, he would shut himself in the studio by 2:00 p.m. and work there until at least dusk. Meanwhile, his girlfriend of seven years, Fernande, was left alone to her own devices, hanging around the apartment, waiting for Picasso to finish his work and join her for dinner. When he finally emerged from his studio, however, he was hardly good company. “He rarely spoke during meals; sometimes he would not utter a word from beginning to end,” Fernande recalled. “He seemed to be bored, when he was in fact absorbed.” She blamed his chronic bad mood on diet—the hypochondriacal Picasso had recently resolved to drink nothing but mineral water or milk and eat only vegetables, fish, rice pudding, and grapes.
Available at Amazon.com HERE
When I turn in the art I’m worried that it’s totally inadequate. When the book arrives in stores a year later I only see mistakes. A few months later I love it.
Read more about his process in making a picture-book HERE.
This creative new app Drawnimal shows that drawing with a pencil on paper and digital apps are not incompatible technologies. The iPad/iPhone app not only teaches the alphabet and animals to children, but cunningly encourages kids to draw around their devices to create a complete image of an animal that will then perform an animated action. For more info, go to Drawnimal.com or download it from the Apple store.
Doing what you were born to do … That’s the way to be happy.
Art and music are the first things to go in schools. The role of art is disappearing. When we were kids, we learned about bakers and candlestick makers. We learned about cobblers and all these old-school, awesome things that people did their entire lives. They specialized in making one thing. … In archeology, the things that matter most are handmade: ceramics, glass, sarcophagi, paintings. The most valued objects of lost cultures are the things that were made by hand. We need to start making things with our hands again.
This instructional documentary follows artist Thomas Kegler as he completes an oil painting on a linen panel outdoors. Over the course of two late summer days, Kegler captures the image of a veteran maple tree on the edge of a forest. The film focuses on the experience of painting outdoors – with an emphasis placed on observational, cognitive, and intuitive plein air approaches. It is intended for intermediate to advanced painters who already have a rudimentary knowledge and skill level in oil painting techniques and materials. Kegler’s commentary during the film explains his philosophy and processes of traditional plein air painting. His technique mirrors the efforts of the Hudson River School greats of the mid- 1800s such as Durand, Cole and Church. The final painting reveals a deep connection and understanding of his subject.
The video documents the entire two day painting process including:
- choosing a subject and composition – starting with a strong concept and design
- imprimatura & grisaille underpainting – imparting a warm base
- premixing colors – ensuring efficiency & accuracy of hue, value & temperature
- first color pass – rough-in big mass relationships
- secondary layer – brushwork & impasto
- glazing – impart a veil of depth and harmony, adjust value and temperature
- final details – articulate and resolve, refinement and focus to specific areas
Artists site with full documentary located HERE.