Karen Cooper Home About The Artist Contact Works

Home

About the Artist

Portfolio

Contact the Artist

links

Cooper, on painting, blog

CooperStudio quarterly newsletter signup



Follow this Blog

Topical Index

Current
20 hours
about painting
acrylic painting original painting
art and the computer
art marketing
art marketing and website images
art marketing website images
art materials
attitude realignment
book review
booth slide
Buddy Holly retro exhibit @ Clear Lake
cafe scene paintings
daily painting
daily painting acrylic painting
definitions!
FASO painting competition painting the figure
Life drawing
link to Newsweek article
moving
original acrylic painting daily paint on the project blog
painting with emotion
PCI compliance
size of canvas
the summer art fair
Thieves Market
website rx
workshop
writing a blog post


 Archives:Feb 2010
Jan 2010
Dec 2009
Nov 2009
Oct 2009
Sep 2009
Aug 2009
July 2009
June 2009
May 2009
Apr 2009
Mar 2009
Feb 2009
Jan 2009
Dec 2008
Nov 2008
Oct 2008
Sep 2008
Aug 2008
July 2008
June 2008
May 2008
Apr 2008
Mar 2008
Feb 2008
Jan 2008
Dec 2007
Nov 2007
Oct 2007



Me, Myself, And I

by Cooper on 2/4/2010 1:19:49 PM
2 Comments



Greetings,

Welcome to the Cooper studio, Jefferson, Iowa

It's cloudy.  It's snowy.  But I am officially in compliance.  Whooptyfrickendo.

Before we begin, I should state this pertains to artists who exhibit at summer art fairs, so the rest of you can read on and feel sorry for us, or go to the next post, your choice. 

But.  Artists who exhibit at summer art fairs, you KNOW how many times patrons are only carrying that little piece of plastic.  No paper checks, no cash.  Sometimes you can work out arrangements, but sooner or later you will lose the big sale if you don't accept credit/debit cards.  Besides if someone loves my paintings, then I love them enough to make it easy for them.

So it turns out MastercardVisaDiscoverAmericanExpressAndWhoeverIMayHaveLeftOut want to make it more difficult and they have decided to give us some new rules:

  "The payment card associations have developed a comprehensive set of requirements...known as the "payment card industry data secuirty standard, or PCI-DSS" 

Lovely forms to fill out to show that we take good care of people's credit card info.  If you fit the category outlined in paragraph #4 and haven't heard about this, you will.  Yes, they are throwing businesses who process credit/debit cards at the rate of 100 per hour in with the likes of us who only process a few on weekends.  In the summer.  Out doors. 

You will be required to fill out a SAQ (self assessment questionaire)  (which points out another error in their thinking:  if a merchant is already cheating then why on earth would he/she be honest on the SAQ?)  But I am honest and so I carefully filled out every blank on their overly detailed questionaire. 

HERE COMES THE ADVICE PART:   on the lovely little SAQ self assessment questionaire, you will eventually come to a section devoted to employee security.  Eight questions that each break down to 4 or 5 subquestions, give or take a few.  You are given the option to answer "does not apply" which seemed pretty logical to me, as I have no employees.  That immediately gives you lots of little boxes to explain in, which I carefully and painstakingly did.  I finally reach the bottom of the form, clicked "attest" and whamo!  Sirens, flashing red lights!  Well, no actually just red letters.  I got noncompliance status.  Reason:  I don't have a security system in place for my employees.  Solution, you ask?  I backed up the form to the page in question.  We had a staff meeting attended by me, myself, and I.  We discussed security.  I reminded Me that if we don't keep close watch over those credit card slips that we don't get paid.  Myself agreed that security is of the utmost importance.  Each of us present at the meeting firmly stated that we all understand.  I, the person in charge, clicked yes in all the boxes on their friggincolumn, and I once again clicked attest.  Results?  I am now certified compliant. 

You say that sounds ludicrous?  Yeah, I thought so too.  Hope the info helps.

Later, Cooper



Comment on or Share this Article >>

Laws Against A "No Agenda" Day?

by Cooper on 2/2/2010 3:32:00 PM
Comment on this



Greetings,

Welcome to the Cooper studio, Jefferson, Iowa, on a sunglasses kind of day---sunglasses, because the sun is glaring off the snow, you understand.  Anyway, it's sunshine.  I'll take it.

Today's topic is agendas.  The need for, the lack of, and the rebellion against.

MANY articles have been written about keeping the nose to the grindstone, you can't become a skilled artist if you don't practice, keeping the diligent artist schedule, five year plans, ten year plans, life goal plans---yes, I am sure we could go on and on, but I don't want to.  In fact, today I purposely took a "no agenda" day.  Sort of.  I guess in reality, I still practiced.  I painted.  But I did not paint toward either of the upcoming shows.  I ignored that pending commission.  I pretended that I forgot that study schedule I set for myself.  If someone has great expectations for me today, they'd best be looking at the day like me, or they won't get them.  :)

Short and simple, I painted fun today.  I found a photo reference of two people whose names I don't even know.  I cropped it down to where it said ONLY what I wanted it to say.  Not what I thought someone else out there might approve of.  And then I painted it.  In my favorite colors.  And too bad for those who think "really, can't she tone that down a bit?"  Just for fun.

  No Agenda In Sight,  acrylic painting on a perfect little 12 inch canvas.  Just for fun.  Thanks for stopping by!

Later, Cooper


Comment on or Share this Article >>

And After Much Thought, I Mean, Adjustment

by Cooper on 1/26/2010 12:06:51 PM
1 Comment



Greetings and welcome to the Cooper studio on this fine January morning.  The sun is shining.  Wow!  I don't know quite how to behave with that!  :)

And so, that title:   And After Much Thought, I Mean, Adjustment, we are harking back to a recent post where I discussed the issue of how many thumbnail sketches is a good number for planning a painting.  I am still researching the subject, and it seems to be coming under the heading of trialanderror.  The selected thumbnail drawing for today's posted painting resembled kind of an h-shape, and I wish I knew where it went.  As the painting progressed and I went down the path of three-steps-forward-two-steps-back, the painting now shares a strong kinship with one of the eight thumbnail drawings I had earlier deemed unworthy and not worth pursuing.  How DO these things happen?  I suppose I should not be thrashing this issue, when I end up with a painting that I'm really pleased with, right?  But sometimes, don't you just wish for a miracle formula where every single painting happens easily beautiful and beautifully easy?  Sigh.  How about we just enjoy the painting now, eh?

  Lunch Date, an acrylic painting on canvas, measuring an expansive 41 x 31.5 inches.  This canvas stretcher is of a shallower depth, so I went ahead and put it in a canvas floater frame.  Black, nice, always gives a good presentation, one of my favorites.

Later, Cooper


Comment on or Share this Article >>

Melting Ice Cubes With Some Beach

by Cooper on 1/23/2010 9:08:30 AM
2 Comments



Greetings,

Welcome to the Cooper studio on a lovely January morning in Jefferson, Iowa.  Ok, so I lie.  It's not really lovely.  Possibly you've heard about the ice layer we're dealing with here?  We have ice cubes, lots of them.  As yet another Alliant Energy truck with it's emergency flashers on drives by my house, and the power line out by the street gets closer and closer to the ground?  Yes, I am one of the lucky ones whose power line is at least still up in the air.  In contrast to those laying on the ground.  So I should not be whining.  BUT.  What a bloomin' mess.  And it's raining.

And you wonder why I am painting sunny beach images?!  We must remain optimistic!  Yes, we must!

These beach images are already out in the world.  The Clear Lake Art Center, Clear Lake, Iowa, is again hosting a Buddy Holly party, and I am having an artistic presence there.  (a couple of links to give you the details about BuddyHolly at the CLAC here and here)  So a pair of my own "retro" from the Cooper painting archives, and these two new little beach paintings, designed with a 1959 flair are my contribution to the event.  All four paintings are available at the Clear Lake Art Center, through the month of February.

  Beach Babes, an acrylic painting on a sunny little 12 x 12 inch canvas.

  Beach Party, an acrylic painting, also on one of those perfect little 12 x 12 inch canvases.

Thanks for stopping by.

Later, Cooper

And to prove that I never exaggerate  (!)  here's a photo taken in front of my husband's office yesterday.  Yes, those big ice cubes with little stems on the bottom have trees inside them.



Comment on or Share this Article >>

The Numerical Value Of Enough Already

by Cooper on 1/17/2010 6:48:32 PM
Comment on this



Greetings,

Welcome to the Cooper studio, Jefferson, Iowa, where this evening, I am typing with blue fingers.  And it's not paint.  We finished the kitchen tile project today!  big !  The grout is just this side of navy blue, and while I'm sure the experts don't get any on their hands at all, I seem to grout much more efficiently with fingers than the appropriate tools.  Hence, I will be grout blue for a little span of time.  It really is a lovely color.

But.  Let's venture back to the arena of THE book one more time.  Conversations In Paint, Charles Dunn.  I have actually finally finished reading it.  Apparently it is also time to start back through as what I wanted to share with you today, I can't seem to find at the moment.  And of course, I have lost the all important statistic:  The Numerical Value.

Somewhere in Conversations In Paint, Charles uses a quote by some probably famous person about the appropriate number of thumbnail sketches for a painting.  Didn't Matisse use 21?  And VanGogh 7?  Well, Mr Dunn didn't quote either of them, so a different number entirely was his solution to The Numerical Value Of Enough Already.

This past week I saw something I thought needed painted.  Amazingly enough I had my sketchbook and there was lead in the pencil.  What a good start.  But it got better.  People sitting kind of still!  I had time to do two fairly detailed sketches.  Zhong!  And then a window of opportunity to actually start the painting, what a roll I was on.  But first, in fine form, the thumbnail sketches.  And I made five.  Yes, five.  Number two was the perfect one, why should I go any further?

Aaah, the armchair quarterback.  The back seat driver.  Hind sight is 20/20.  I just took the canvas off of it's stretcher and put it on a smaller one.  Is that even legal?---I mean when it already has quite a bit of paint on it?  Possibly if I'd gone for thumbnails number six and seven, I'd have seen the light?

  ---here's the critter, slightly smaller than originally planned, but more to the point, I think.  The poor guy in back seems to have dislocated his shoulder, which will require some of my attention tomorrow, but you get the point. 

However, regarding The Numerical Value Of Enough Already, if anyone happens to know the exact figure there, please drop by and let me know.  Thanks!

Later, Cooper


Comment on or Share this Article >>

Snow On The Palette

by Cooper on 1/15/2010 5:23:25 PM
Comment on this



Greetings,

Welcome to the Cooper studio, Jefferson, Iowa on a fine Friday afternoon.

This post title alludes to snow on my palette.  Possibly I should clarify.

We all know I am not a painter of landscapes (unless they're full of people)  We all know I am a summer person, sweating is much preferred over shivering.  I am pretty darned fond of primary colors, which last I checked, does not include white.

But.  All of that said, there seems to be a snow effect happening on my palette.  I keep titanium white there, but it's not been a major player.  Until the snow whammed Iowa in early December.  The first fourteen inches of the fluffy white stuff landed in Jefferson, and all of a sudden I seem to be running out of white on an increasingly more frequent basis.  Another foot of the stuff at Christmas time, and three paintings hop off of the easel with a lot of white on their respective canvases.

I vaguely remember writing about weather effects on painting before, but I think that was lightening and thunder, (ha, here it is) not snow.  So do I try to minimalize the snow effect, or just let it happen?  Possibly we could call this my "white period" or my "marshmallow time".   Here's a good example: 

  Pete's On The Beach, is an acrylic painting original on a lovely little 20 x 20 inch canvas.  I love how this painting finished, but pre-snow, I KNOW I would have painted that umbrella red.  If you zoom in on the image, that little banner across the bottom of the sign board includes the words "brew, view, chew".  The view is Fort Myer's beach, a very enjoyable place indeed.  No snow.  Maybe that's why I gave them a little more white :)

Later, Cooper


Comment on or Share this Article >>

Silverware Drawer Versus Junk Drawer

by Cooper on 1/11/2010 8:43:00 PM
Comment on this



Greetings,

Welcome to the Cooper studio, Jefferson, Iowa.

In actuality, I am a faster reader.  This book however, I am taking in slow gear, just bear with me.  It's got good stuff.  The book is, of course, still, Conversations in Paint, by Charles Dunn.

In Friday's post, I blatted that Charlie and I were fighting.  He had written these horrific words in his book:  "You don't have to draw well to produce pretty good art".  Ach!  A blow straight to the heart of my life drawing group membership!  Surely you now understand why Mr Dunn and I were fighting.

But.  He has redeemed his author self.  He spoke of composition.  Crystal clear words on composition.  Beautiful word picture words on composition.  Allow me to share some of his words please.

   "You'll find the secret to good composition in your kitchen drawer with your everyday silverware.  That drawer is partitioned off into a grid that illustrates the principle of alignment.  Knives, forks, and spoons each have their own compartment, the principle of proximity.  The drawer may hold dinner forks and salad forks; regular knives and butter knives; teaspoons, tablespoons, and soup spoons, the principle of theme and vaiations.
   Next to the silverware drawer there's probably a junk drawer containing all the odds and ends...There may be some kind of organization to it, but it's not apparent to rational man.
  (going out on a limb here, but I don't think he's advocating we clean our junk drawers--just using them as disgusting examples of the uncomposed, and how he DOESN'T want our paintings to look)
   Every organization is a hierarchy in which some things are more important than others.  Similarly, a well-composed painting is an organization chart of its elements.  The viewer knows right away what's important and what's not."

Amazing.  Why has no one ever told it to me like this before?  Putting together a painting is like unloading the dishwasher and getting each piece of silverware in it's correct compartment in the drawer.  A place for everything and everything in it's place.

"Composition is where---simply putting the right mark and the right color in the right place"

And here's a quote of James McNeill Whistler, "Nature contains the elements, in color and form, of all pictures, as the keyboard contains the notes of all music.  But the artist is born to pick and choose and group, with science, those elements, that the result may be beautiful...to say to the painter that nature is to be taken as she is, is to say to the piano player that he may sit on the piano.

Therefore, in a supreme effort to not smush the keyboard by perching on it, and also to not increase the anti-organization of my junk drawer, I will henceforth and evermore think about careful sorting of silverware, while I strive to develop that organization chart of the elements of my painting.  Time to go draw a few more thumbnails, I do believe.

Later, Cooper

Hey, I almost forgot to tell you:  I added three new paintings to my portfolio.  Here's one of them, and if you don't think it looks perfectly composed, remember that it was painted before I read about silverware drawer organziation!

   Rooftop Dining, an acrylic painting on canvas measuring 30 x 24 inches.  Available in my portfolio, of course.  And if you're wondering, it really was on the roof.  There is (or at least used to be---does anyone know if it's still there?) a cafe in Minneapolis called Joe's Garage.  We enjoyed a tasty meal there a few years ago :)


Comment on or Share this Article >>

To Draw, Or Not To Draw?, That, Folks, Is The Question

by Cooper on 1/8/2010 11:03:46 PM
1 Comment



Greetings,

Welcome to the Cooper studio, Jefferson, Iowa.

So most of you are likely getting tired of hearing about the book I am reading, Conversations In Paint, by Charles Dunn.  But don't say I didn't warn you.  In fact, in this post, I said the book was so full of good stuff that I was hunting for a copy for the Cooper library, because the Iowa City Public Library copy was due to go back.  Well, mission accomplished there:  after a satisfactory transaction with "Defunct Books", also of Iowa City, Iowa, the Cooper library now has it's own copy.  Yay.

However.  I am currently fighting with Mr. Dunn.  I've reached a point in the book where he has uttered this statement:

"You don't have to draw well to produce pretty good art.  The invention of the camera did away with the need for traditional academic drawing." 

Now, PLEASE pay attention to the quotation marks, that means he said it, NOT ME.  Mr. Dunn goes on to tell us to look at the mature works of Klee, Miro, Pollack, and Chagall,

(1.  Klee, 2  Miro, 3.  Pollack, 4&5 Chagall)

and that he didn't see much of traditional academic drawing skills in evidence for any of those guys.  "Like many artists with the skills to work anywhere on the concept-related/image-related continuum, these artists deliberately chose to work at the simpler, concept-related end.  If you don't have much confidence in your drawing skill, work closer to the concept-related end of the scale."

Whoa!  Stop the train!  Doesn't he mean put your nose to the grindstone and improve those drawing skills?  Work it/study it until you do have confidence?  

On the same page, Mr Dunn includes a quote of Paul Cezanne:  "Painting is founded on the heart, controlled by the head."  My controlling head is telling me to stick with improving the drawing skills.  Because also on the same page is a quote of Amy Lowell:  "Art is the desire of man to express himself, to record the reactions of his personality to the world he lives in."  And I think that process of recording just might require me to be able to draw it.  How about you?

Later, Cooper


Comment on or Share this Article >>

Time Out, No, Really

by Cooper on 1/6/2010 6:37:49 PM
Comment on this



Greetings,

Welcome to the Cooper studio, Jefferson, Iowa, on a blizzard pending day.  At least that's what they're telling us.  The US Highway 30 "corridor"  is supposedly the target.  Like, how can they they pin it down that close?  And does it matter that my house is 10 blocks off of highway 30?  And no, that's not what the title of this post is about.  Time Out, No, Really.  

So, a couple days ago, I wrote about artist's 'crutches', and I suppose there were at least a few of you out there who mentally said "she should have included photo references".  Yup, I am well aware that the painting goes better when you paint from the real instead of a photo.  But.  I have this affliction/syndrome where the scene usually just doesn't inspire me unless it includes people.  And most of those people are disinclined to staying in one place long enough for me to paint them.  Every now and then, I get a 'life drawing model' opportunity, but the random corner cafe people are just too mobile.  So regarding time, and photo references, is there a statute of limitations on the viability of a photo?  :) 

Here's one I've been saving for a while.  Time Out.  Did you catch the sign?  :)  What a golden photo opportunity, right?  So glad I caught it. 

 

And here's the block in.

  I know, I know, it's just barely recognizable.  It'll come.  And for those of you wondering what happened to the kids on the scrambler, from yesterday's post---they, too, are a little closer to living on the canvas.  Thanks for stopping by.

Later, Cooper


Comment on or Share this Article >>

Painting Scared Silly

by Cooper on 1/5/2010 5:33:27 PM
1 Comment



Greetings,

Welcome to the Cooper studio, yet again, on this brittle cold Jefferson, Iowa day.

This morning I wrote about painting with emotion.  Emotional painting.  Painting emotions.  (whichever one of those works best for you)  My easel goal for the day was to connect with the emotion.

I have two exhibits ahead , April and June.  The June event will be at Arnolds Park (Okoboji area) Iowa.  The gallery owner and I discussed subject matter.  We are leaning toward Arnolds Park, But Not The Queen.  Now, for those of you who don't know, Arnolds Park/Okoboji is a great resort area in northwest Iowa.  They have an iconic amusement park and a tour boat called, you guessed it, the Queen.  Ok, so there's nothing wrong with the Queen.  It's probably brought a lot of pleasure to a lot of people.  But.  It has been painted way too many times by way too many people.  I refuse to send even one more painting of the Queen out into a world already overloaded with Queen paintings.

So.  On the easel is a nice white 30 x 30 inch canvas, all spanky-clean and ready to go.  I have a ton of great photos from Arnolds Park.  (hey, sometimes even I can plan ahead)  Early last summer, while we were at the park, I saw some kids riding on the "scrambler".  You know, it's the amusement park ride shaped kind of like an octopus, that whirls you around, and slides you into whoever is riding with you.  It's a good ride, -goes around fast, without going upside or way too high :)

Anyway, these kids were about eight years old.  Young enough to be just a smidgeon of scared, and old enough to be laughing themselves silly.  What a combination.  Definitely a painting. 

So today I started on it.  Scrambled scared-silly.  How on earth do you paint that emotion?  I went on a hunch.  Put great big silly smiles on all three faces, and let the painting take it from there.  Here's what's happened so far:

  It has a ways to go, and maybe I got a little more of the silly onto the canvas than the scared, but I'm ok with that.  Silly is a good emotion!

Later, Cooper


Comment on or Share this Article >>

    Older Posts >>

Artist websites by FineArtStudioOnline.com

coopkja@yahoo.com