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Interview With Linda Cain

Saturday, May 24th, 2008 by Alyice

Linda Cain, of Cain and Co., began taking art courses in the early 60’s but after getting married, she moved to Colorado to raise her family and put her art on the back burner. Eventually, art began to beckon her again and she could no longer put it off. Today she cannot go a day without creating something, to do so leaves her feeling unfulfilled. She loves the challenge and sense of accomplishment when each piece is completed and creating makes every day worth waking up to. However, she says her greatest success, as an artist, comes every time her grandchildren step into her art studio and create a piece of art they are truly proud of. Discover why she believes learning many techniques enriches your mixed media art in a way that only one medium cannot and why she believes you must stay true to yourself as an artist.

Linda Cain, Artist

Meet Linda

Linda Cain, Artist

Buy Linda’s Art

There’s a lot of mixed media collage work on the market these days, how do you differentiate yours from the rest? In other words, what do you feel makes your work unique and truly your own?
I have tried to dabble in anything I could get my hands on. I find that each and every time I learn a new technique I can incorporate it into things I’m currently working on. I put antique hand tools or door knobs on canvas as well as scrapbook ephemera from the local stamp store. And wire, I love wire and beads on projects. I’ve even written words in wire that have found their way onto my collages. My latest adventure was actually a request made by a group of girls that design vintage bead findings. They asked me to design several journals using their findings. Of course I love the concept because this is something I have not seen anywhere else: truly different.

But the thing that I love most about my collage pieces are the embossed metal pieces I’ve done and pieced onto my houses. It’s one thing that seems to add dimension and shine to brighten the piece. My Row Houses are something that really made me feel good about myself and what I’ve accomplished. I did them after my mother passed away and I was in a real slump. The embossed metal on them sets them apart, I think. I got hooked on embossing with metal after a class that taught me how to use many different tools on several different kinds of metal. And of course, my pen marks now seem to be required on most pieces—whether it’s white pen dashes or dimensional black dots—they’ve become my trademark.

As you know, art is very subjective in nature. What some people like, others do not. I’m sure you’ve received both positive and negative feedback in your career, but what I want to know is how you handle the negative criticism, especially when it hurts deep down within your soul?
I guess I’ve been either very lucky not to have gotten much criticism from very many people to my face, or I’ve just chosen to ignore them. But if I had to think in terms of criticism, I guess it would be when they disagree with the way I want to put something together. I simply do what I want, thank them for their opinion, and say…”that’s the way I want it”, and I do it. They still may not like it, but I will sleep better knowing I did it the way I wanted. It’s better than being bitter about being talked into doing it their way and hating the piece. When it comes to art, it’s important to remember that it’s your time and your money; do what YOU like. (Of course commission pieces are different.)

I think all artists kind of wear their hearts on their sleeves to a certain degree but I’ve come to the point in my life where I know there are people who genuinely like what I do and that’s all that matters to me. Making students happy in a class I’m giving is more than enough to make me feel good about what I do. Someone once told me, after I had my feelings hurt about something, that “the person that criticizes someone else’s life usually doesn’t have one of their own.” It’s worked for me, but it took way too many years to figure it out.

My advice: save yourself time and energy and just do what makes YOU happy if you can. If others truly don’t like your art, there’s nothing you can do about it anyway.

Visit her at Cain81Art.blogspot.com

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Interview With Manuela Valenti

Thursday, March 6th, 2008 by Alyice

Today I had the honor of interview Manuela Valenti, Manuela has been painting since the age of 12 and selling her work long before she began the Painting A Day project, but it was her dedication to painting something every day that has allowed her to grow as an artist and a business woman. Discover why Manuela believes the discipline of pushing yourself beyond your comfort zone is so important.

Manuela Valenti, Artist

Meet Manuela

Manuela Valenti, Artist

Buy Manuela’s Art

How did you get started with the Painting A Day movement?
I started with the daily painting back in September 2006. The idea of painting everyday was not new to me, I was already completing 1-3 larger paintings daily and selling them online and in galleries. Painting small postcard size paintings was not new to me either, that’s how I started in oils when I was 12 years old, doing miniature paintings back in Venezuela.

So when I heard of Duane Keiser’s project I thought it would be a great idea as a way to not only provide my collectors with an affordable piece of my work, since my larger works were getting so expensive, but to tap into many other subjects otherwise I wouldn’t even have considered to paint. I never ever in my wildest imagination would have thought I would get so much out of this discipline.

Do you allot a specific time each day or do you simply set aside x number of hours to complete your task? And have you ever been known to break your painting up into segments throughout the day, just to get it done that day?
As a professional artist I work the same number of hours any other person would in their jobs. The only difference is that I work in my homebased studio rather than driving to an office. And in many cases I stay at my studio more than 8 hours a day. My tasks through out the day are varied, not only pertinent to the painting a day movement. There are commissions I need to finish, computer jobs that need to be done, websites to update, galleries to fill (per their requests), packing and shipping of paintings to clients (throughout the world) and so on. Right now the most important task I have is occupying my entire time: preparing for the New York ArtExpo, where I’ll be exhibiting the daily paintings in a small segment of my both called “30 paintings in 30 days”.

What have been the personal rewards?
The rewards? Wow! Incredible! From the artistic point of view it has been a constant learning experience, mainly for the fact I’ve defeated my fears with respect of painting while tapping different subjects matters.

I’ve became a scavenger. I’m no longer satisfied with the landscape from Provence or Tuscany I so love to paint, but I’m going deeper into taking more detailed picture reference for my future works and dissecting them to get the most out of that special moment that captured my attention.

I was able to create different bodies of works that completely satisfy me professionally and personally which I wouldn’t have accomplished otherwise or would have taken me longer to do. I feel I’ve grown as an artist and so has my techniques.

What has been the professional benefits of committing to a painting a day?
Business wise, the experience has being rewarding to no end. These small paintings have lead to larger commissions which is always a good thing for an artist. I feel these little gems as I many times call them are the tools to open new portals to incredible opportunities.

Commissions, exhibits, shows, increased awareness, increased sales, increased prices. All of them! Professionally like I said the learning experience this has brought me personally is incredible. Commissions, exhibits, sales and increased prices as well have being an important part of it, but this wouldn’t have happened if it wasn’t for the artistic growth this discipline has brought me.

If there was anything you’d do different, now that you’ve been doing the Painting A Day for years, what would it be?
The only thing I would have done different is set up my websites sooner to satisfy my collector’s needs providing them with a safe place where to purchase my works. I feel this was a big disadvantage in the beginning. Today they are ready but it took longer than expected.

Visit her at ManuelaValenti.com

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Interview With Jan Blencowe

Wednesday, March 5th, 2008 by Alyice

Today I had the honor of interviewing Jan Blencowe. Jan’s been painting for years and received a Bachelor of Fine Arts degree back in 1984 but it wasn’t until she committed to painting something every day that her career as a full-time artist and instructor took off. The coverage Jan’s received through her daily paintings has earned her coverage in top magazines, representation in various galleries across the United States, and given her the ability to help struggling artists succeed at their craft. Discover why Jan says the Internet is a wonderful place for artists of every skill level.

Jan Blencowe, Artist

Meet Jan

Jan Blencowe Artist

Buy Jan’s Art

How did you get started with the Painting A Day movement?
One of the wonderful things about the Internet is the ability to connect with other artists from around the globe. In a discussion thread over at Wet Canvas back in 2004 another artist brought Duane Keiser’s blog, “A Painting A Day” to our attention.

Keiser was already well an accomplished gallery-represented artist and art teacher. He had been doing small postcard size paintings as exercises or warm-ups on a daily basis. After accumulating a number of these, 100 to be precise, he decided to have a studio show to sell his works. He called it “A Hundred for a Hundred”, and sold the small works for $100 each. That was such a success that he began thinking about other ways to sell his small paintings. He made a commitment to himself to do a painting every day, without fail. Keiser did a lot of small still life pieces, often just single objects: a marble, an orange, a PBJ sandwich. (Still life work is also one of the best ways to improve your painting skills, regardless of the subjects you choose for your larger works. They are truly a technical work out for an artist.) it wasn’t long before he launched his blog, which became an immediate success.

This idea was intriguing to myself and other artists for a number of reasons. First the idea of an artist painting everyday and doing small studies is nothing new, but posting them on a blog for the whole world to see and purchase was. The blog was a way to keep one accountable. Second, every artist knows that the more you paint the better your work gets. So we decided to take the challenge and commit to a painting a day.

I began in January of 2006. At first I, like the other artists posted my work only on Wetcanvas. Several months later I decided to start my own blog, and called it “The Painting A Day Project”.

Do you allot a specific time each day or do you simply set aside x number of hours to complete your task?
I usually paint first thing in the morning because that’s the best way for me to make sure I have time to paint, otherwise life crowds in and the time seems to evaporate. If the painting for that day is a small study, it takes 1-2 hours to complete. However, after doing small studies daily for quite some time I’ve switched to doing larger works which take 6-8 hours to complete. When working on a larger work, I will break up my painting sessions into 2-3 hour chunks so that I can take care of daily chores, phone calls and the kids. And since I don’t watch much television I can get a lot of painting done at night—when everyone’s in bed or watching their favorite shows.

What have been the personal rewards?
The personal rewards have been many. There is always a great deal of satisfaction when you set out to challenge yourself and stick to it. At the beginning of The Painting a Day Project, I painted everyday no matter what. After two years that has changed somewhat as demands for my work have increased and commitments to various galleries have also increased.

However, I gained a tremendous amount of discipline through that challenge. I am much less likely to let time crowd out the time I’ve set aside for painting. Furthermore, those daily paintings have improved my work and have given me a chance to explore many avenues in subject matter, style, technique, and composition.

What has been the professional benefits of committing to a painting a day?
The professional benefits have also been numerous. Just after I started doing the Painting A Day Proejct I was contacted by Domino Magazine, a home décor magazine. They were doing a feature on daily painters who blog. That article included 6 artists who were the first generation of daily painters behind Duane Keiser and Julian Merrow-Smith. Hits to my blog went crazy and I sold nearly 50 paintings the month the issue came out. That one piece of publicity opened the door for many other publications to contact me, including the New York Times, USA Weekend Magazine and Mastercard’s blog Priceless.com.

My experiences blogging and marketing my art on the Internet led me to develop a seminar for artists. A seminar designed to teach other artists how to sell using the Internet.

The daily painting phenomenon has really become part of art history and now I’m being asked to present lectures about it by many of the same groups who have had me teach my Internet marketing seminar. In essence, my daily paintings have helped me create a parallel career in teaching and lecturing.

Traffic to my blogs and websites continues to rise and the small daily paintings have generated interest in my larger works as well, and that in turn has attracted the notice of art galleries. In fact, after finding me on the Internet, The Black Sheep Gallery in Gloucester, MA contacted me and now carries my work, both small pieces and large, in their gallery. On the whole the daily painting movement has been very good to me!

Visit her at JanBlencowe.com

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