Cows en Plein Air moooo...

I've been painting cows lately.  Both paintings were painted en plein air; however, on the second one, I made quite a few adjustments, which I'll go into below.

Study 1:  This was painted on a very bright morning.  I'm not happy with my greens in the trees and the background hills, which were out of my frame view, so I put them in the painting to create more atmospheric perspective. They're are too strong-I should have used a lighter, paler wash to make them recede more.  I'm usually better at painting trees, but when painting plein air, sometimes it's like I forget everything I ever learned up to that point.  I'm just trying to get it down on the paper.  Hopefully, the more I paint outdoors, the more confident  I'll become in getting it down 'right'.  I need to follow Mr. 'Z's (J. Zbukvic) advice and 'have faith' in myself more, that it will turn out right.  My 2 main goals in doing these paintings though are to 1) get better with rendering tonal values, and 2) improve my drawing skills in regard to scale and subjects I'm not familiar with i.e. things other than nature - buildings, cars, people, etc.  And of course to try to render atmosphere and mood in my paintings, but that's a given - don't think I achieved that very well in these paintings.  One thing I did notice immediately, in defense of this pathetic painting, was that this was Fabriano Artistico paper, and felt like it may even be hot-press, which I don't normally paint on, especially in plein air, as it is just too smooth for rendering drybrush to tree trunks, foliage, etc. I have nothing against Artistico paper per say, just not crazy about hot-pressed watercolor paper for plein air painting, or anything that does not require a lot of tiny detail.

Study 2: This was the second attempt at plein air painting these cows, which were enjoying some shade on a very warm and sunny morning.  I had my little dog with me and was painting from a pretty close proximity, so they looked at us fairly often, then would go back to grazing, scratching, or whatever cows do.  They are so much fun to paint!  I like the challenge of their foreshortened bodies and head shapes when standing at different angles and the joined shapes created when grouped together.  This painting had potential in the beginning, but after I got it home, I noticed that my weakness in rendering 'scale' stuck out like a sore thumb as the large cow to the far left was huge (yeah, he was even bigger than he is here in the finished painting).  Then I noticed a couple of other cows who were also too large/small in comparison to the others.  So, knowing that this painting MUST be improved and resolving to the fact that doing so could and probably would go past the point of no return for a watercolor, I began my 'experimental phase' of correcting the cows' sizes and trying to correct tonal values within the shading of the trees and cows themselves.  As a result, this painting is way overworked and not really a keeper, but I like to 'try all options' on a failed painting like this one to experiment on before throwing it in the 'been-there-done-that' heap in hopes that I can learn from it for the next attempt.   And sometimes, I'm actually able to save a painting.  Watercolor paper is just too expensive not to get the most out of my failures (and believe me, I have a lot of those) which turn into learning experiences if I maintain a positive attitude.  And it helps me tremendously, not only in learning how to get my scale and tonal values correct, but in experimenting also with color combinations and brush technique.  Well, I could go on and on with what I learn from doing this.  I'm just hoping that somewhere down the road of watercolor, the 'experimental' heap is gradually overshadowed by the 'keepers'.  For now, I'm just having fun painting cows...

Watercolor Palettes - Homee, Holbein, Craig Young (Oh my)

I've spent the last 2 days researching metal folding watercolor palettes for plein air use and have come to the conclusion that what I have currently - a plastic 'Homee' palette which I think I purchased from Art Xpress, is looking better all the time!  I have the 'small' size.  It offers more mixing areas and has a small rubber 'seal' around the edge which keeps my pigments moist and also helps prevent spillage when closed.  The clear plastic mixing area that fits in the lid is removable for cleaning, so the white lid itself it can also be used as an extra mixing area if needed.

However, lately I've been toying with the idea of using a palette I can hold in my hand, as I sometimes feel I can't get to my colors fast enough when painting.  I've tried different ways to position it closer to my board while painting en plein air, but I still tend to 'hit' the easel with my brush a lot when going back and forth between palette and board.  Since my left hand is usually just holding extra brushes, thought I'd try holding a palette in it instead (and could still hold a brush or two/my small mist bottle).  So that would require a palette with either a 'thumb ring' mounted underneath the palette or a thumb hole, neither of which the Homee palette has.

I really like the palette used by Alvaro Castagnet, but after much, much searching to find the maker of this palette, I discovered that it is way out of my piddly little price range, not to mention that the waiting list to get one is months.  It's one of those little jewels that I can only dream of some day owning, if ever.   Craig Young is the maker of these beautiful watercolor palettes, and I literally mean 'maker', as each one is hand-made, signed and numbered, thus the high cost (approx. $400.00 USD for the 'Paint box' model which I like).  They are truly works of art.  You can see them on line at the Paint Box Company.  Drool away...

The following are threads that led me to Craig Young's Watercolor Palette:

Wet Canvas - This Wet Canvas thread is finely where I found it.  At the bottom of the page are images of the long anticipated arrival of an artist's one-of-a-kind Craig Young Palette which had just arrived to his home.  As your scrolling to bottom of page to view images, pause to view an image another artist posted of a Craig Young painting.


Painters Online - Artist 'Harry' describes going to Young's home and workshop to pick up his palette in person.


Well, in my dreams.  If I do purchase a palette, it will probably be Holbein's 1000 series which Art Xpress is offering for a great price of around $72.  A lot of artists seem to like this palette (I think it's what Zbukvic is using in his videos).   Be sure though, if purchasing one, that you get the Holbein brand, as there are some Holbein 'look alikes' out there.

Well I was thinking, there must be some way, since I like my Homee palette just fine for now, to rig something so I can hold it in my left hand while painting.  This is the ceramic artist in me, making one's own tools is part of the fun of being a potter (but I'm always trying to think of ways to 'fix' a problem).  I thought of a small plastic oil/acrylic palette that came with an old paint box I bought at a garage sale a few years ago.  Even though covered with dried up paint, I knew all it needed was a good scraping and it would be good-to-go.  It has the perfect shape - about 5" wide x 10 1/2 " long - perfect to velcro my watercolor palette to!  Using Velcro would enable me to quickly remove it for cleaning, storage, or to use laying flat.



I scraped the paint off and here's what it looks like:
 The thumb hole for this little palette is very comfortable, which is why I saved it. 

Then, I laid my open palette on it to see how it 'felt'.  It felt just fine on my arm, with the paints at the top, just like I prefer.  The lid, or large palette area rests perfectly against the inside of my elbow.  Now, where's that extra black Velcro tape I saved from my last hair-brain project..  then again, that Holbein 1000 sure is purdy...

Finished Snow Scene, Alvaro Castagnet's New Video, Rene Beeldendkunstenaar

I've been a bit busy lately with things other than art, but that should be no excuse for not painting! However, I like to be able to concentrate solely on my art when doing it. I'm now between 'projects' around the house so am anxious to get out and paint.

Below is the finished snow study I last posted, which was unfinished at the time.

I still have a couple of things I feel the need to correct, but for the most part it's complete enough - just need to tone down the moss covered rock in the foreground and add the same color a couple of places elsewhere.  Also the small burnt red 'roof' in the upper-right background is distracting; in hindsight, I should have omitted it all together. Of course it's close enough to the edge of the painting that it can be omitted when framed. Or I could 'lift' it out some with water and add more trees.  Also, there's  a tangent effect going on between the large and tall skinny trees in the left foreground, creating too much tension and drawing my eye away from the focal point (the fallen trees and ravine to the right), but not much I can do about that.  I just placed them too close together to begin with and I should have angled or slanted the smaller tree to the right instead of swinging it back to the left.  Adding a light colored limb with a couple of others at different lengths to the left side of the tall young tree that's in front of the larger tree, I think, would help break that up though.  Anyway....


I recently received Castagnet's new video and really like it.  He gives more detailed info as he's painting in this one it than the last one i.e. specific colors he's using as he's painting.  Yes, I realize that specific color being used is not important and that it's all about warm vs. cool, and value; however, I do think it helps us the viewer 'student' know, especially when working in watercolor, whether that warm or cool color is opaque, semi-transparent, or transparent, and even what brand is being used as brands do differ in color and other characteristics.  I just wish he would occasionally demo something other than paintings with architectural subject matter.  That's just personal preference though, I'm sure that he paints those because that's what he's 'passionate' about.  And I'm still able to glean from the demos what I need in order to learn better technique.  I'm hoping that Zbukvic will do some countryside landscapes on his next video. He probably will as he seems to really enjoy painting them.

There are a couple of artists' blogs I'd like to share with you, but will just mention one for now as I'm short on time at the moment.  His name is Rene Beeldendkunstenaar, located in the Netherlands.  His blog site is  http://painting-pleinair.blogspot.com/ . When checking my blogroll updates,  I can scan like lightening through my RSS feeds and spot his work immediately.  I really admire this man's dedication to plein air, not to mention his paintings.  Rene's paintings truly capture the essence of plein air. My reaction to his paintings is visceral and I relate very strongly to his taste in subject matter. Enjoy, and 'til next time, happy living and creating...(and I'll try to post sooner next time!)

End of Summer Update

This is the longest I've gone between posts since beginning my blog back in January, but I needed a break from my computer, especially from blogging! It's sooo time consuming but it sure has helped me in the discipline department. I've just been enjoying the summer, or what there was of it, considering it was such an unusually rainy and cool one. I've not painted near as much as I planned to - gotta get that in check! I just got back from a visit with my mother who turned 85 and we had a great Bday - just the girls. Mother said it was one of her best birthdays ever.

Roaring River State Park

My husband and I went a few weeks ago over to Roaring River in Missouri. It's a trout hatchery which is fed by an underground spring.







The hatchery was quite fascinating. It would be interesting to take one of the tours which are offered a few times daily, I think. Never saw so many trout!





When the hatchery announces they're releasing fish, people come from all around, lining up along the river trying to catch their dinner. It's almost comical to see; you'd think those poor trout don't stand a chance, but not too many were getting caught compared to how many were released that day, which if I remember correctly, were around
10,000.

Although I only took reference photos that day, it's a good site to paint, as there are plenty of subjects i.e. shallow rapids, people fly fishing with their waders on, families swimming in the sun, and campers at the campsites.

You'll have to look hard to see two waders fly fishing way upstream...

PAPO (Plein Air Painters of the Ozarks) had painted there earlier this summer, but I chose to go with my hubby as he has been wanting to see it for a while but has not had the chance to get away from work. It was a pretty river and would make for a nice fall destination when the leaves are turning (for more info click on the ' Roaring River State Park' title above).

We also finally went on a weekend vacation to Vegas to see two shows: Cirque Du Soleil's Love and Carlos Santana's concert. Both were great and it was good to get away (1st real vacation in years) if only for a weekend.

I've been into pastoral paintings lately, fields, cows, and such. Probably due to reading so much about tonalism and looking at Zbukvic paintings. Anyway, below is a painting I made of a field behind Battlefield Park in Prairie Grove, AR:


I painted the field en plein air but was not satisfied with it. After taking a couple of snapshots of my subject, I attempted it again from my original plein air painting, reference snapshots, memory, and a value sketch. My goal in my landscape paintings is to achieve better atmospheric perspective and tonal (value) relationship/contrast. In the first painting, below, I'm satisfied with the background hills, but not so in the second studio painting. I think I should have made the two hills in the background a little more distinct from each other as I did in the first. Funny, the first one I'm happy with the background; the second one, only happy with the foreground. Good Grief!!



Studio painting I:
Study I: Battlefield 2, Prairie Grove
9 3/4 x 13 1/2,
Arches, 300 lb., cold press

Studio painting II:
Study II: Battlefield 2, Prairie Grove
9 1/2 x 13 1/4,
Watercolor, Sanders Waterford, 140 lb. (300 gms)
cold press, rough




Some cows:

This is another studio painting from photo references. Sometimes I just drive around taking photos of anything I think would be good reference material or has the potential for a good painting. The original photo didn't have the cows in it. I sketched them in from photos taken 'just down the road' from this same location.

Morning, off Goosecreek
watercolor, 9 3/4 x 13 1/2
Arches, 300 lb. cold press


Well, that's all for now. I can't believe it took me half the day just to get this posted, because of the photoshopping of these images, etc. Until next time, happy painting, and I hope to post (and paint) more frequently now that I'm back from my summer hiatus!

War Eagle Paint-Out, another Learning Experience...

Last Wednesday I painted with the PAPO (Plein Air Painters of the Ozarks) at War Eagle Mill. It was a gorgeous day, a cool front had rolled in and the skies were a crisp cerulean blue. The sounds of the falls and waterwheel were refreshing on a mid-summer's day!

The photo above shows my viewpoint. This is the exact spot from where I viewed the mill some 10 years ago and vowed to some day capture it from that bank along War Eagle Creek. I just thought it would make a great spot to paint from, so it was a no-brainer for me upon my arrival to just go ahead and set up there.

As I began my climb over the fallen trunk of a huge tree that had succumbed either to the ice storm (most likely, as it looked recently fallen) or a flash flood, my eyes zoomed in on what I felt sure to be poison ivy creeping across the very spot I needed to cross over. Great. A fellow painter was saying to me as I spied it, "there's a trail that goes around if you don't want to climb over that big trunk." Well, I was anxious to get set up, as I was already running late in getting to the site, so I decided to take my chances. However, I made a point to take the short trail around the suspicious ivy when I returned to my car that day. Needless to say, now I know that I can positively I.D. poison ivy, as I've broken out precisely where it brushed against my hand and ankle. Anyway, back to the fun part...

The below photo shows what I decided to depict in my painting:

It was a beautiful scene I thought, but my painting was pathetic. I need so much practice when it comes to plein air painting (painting period actually). But hey, there are no failures, just learning experiences, right? That is what I tell myself every time I paint out, and believe me, I say it a lot. My perspective on the mill house was off (need to sketch buildings more), my colors were drab, or dead, as Joseph Zbukvic describes it. It was also too high key- not enough tonal range (although I ran out of time before putting in all my 'darks', and had planned to put those in at the studio). However, I made some copies of my photos and plan to do some studies, so when I return maybe these things will have been corrected in my mind and on paper to save time.

As I was painting, I couldn't get over how many people and tourists were arriving at War Eagle Mill on a Wednesday morning. I thought it would be pretty much just us, the painters, but people were coming by the carloads, along with a couple of bikers, just during the couple of hours I was there. It looked like families which included generations - grandparents, kids, and even great grandchildren. The poor guys running 'The Bean Palace' upstairs in the Mill were a bit overwhelmed during lunch. But things settled down after a few minutes and everyone got their plate. I ordered a chef salad and was pleased to see that it wasn't just 'iceberg lettuce' but instead select dark green leaf lettuces, which I enjoyed (picky about my salads!). I mentioned to a painter that I was surprised to see so many folks there during the middle of the week and he asked me if I had seen 'War Eagle, Arkansas' the movie. I said, "No," but after he described it to me, it seemed vaguely familiar. Another said, "That probably explains all the tourists." I hear the movie is getting good reviews.  War Eagle Mill is a beautiful place. If you're ever in the area, you really should check it out.

Even though my painting was not a 'keeper', I enjoyed every minute of it, and that's what it's all about for me, the learning experience and ultimately, the experience itself of painting outdoors. While painting, there's suddenly that realization that comes over me of being in the moment of painting outdoors. The same feeling that I have experienced all my life when in nature. Experiencing nature while painting adds a whole other dimension to painting for me. And even though it's often frustrating, I love the challenge watercolor offers in plein air and honestly, I do learn a lot with every painting, as I'm sure you do too. It's all part of the creative process, don't you think? It would be a huge mistake to think I didn't learn a thing from that experience, which is something I've heard people say before. Well, I'll bet if they really sat down and thought about it, they would find a number of things they DID learn from that experience!

I'm getting a small amount of clay and a new kiln shelf today from Flint Hills, so I really need to get back soon to working with my pottery. Oh, and photos to archive(so what else is new?). 'Til next time, keep on creating and remember, NO FAILURES, just learning experiences...

A quick note to say that I finally was able to adjust the strap on my 'Packer' by Guerilla. It took a good wrestling with it though before I could force it through the adjustment loop but I managed, so thought I'd put in that word since I complained about it when first purchased.

I've been so busy working in my yard the past couple of weeks that I've not spent much time painting. I did however, paint the 2 paintings below en plein air early one morning of the hollow:

Study 1: Sunrise in the Hollow

Study 2: Sunrise in the Hollow

I was pleased with these two paintings for several reasons:

• I have really been striving to be consciously aware, while painting, of what Joseph Zbukvic refers to as 'visual language', otherwise I get too caught up in 'technicalities' and lose focus of what it is that I'm trying to capture in the first place which is mainly the mood of the scene. I feel I succeeded in capturing the mood of the hollow as I viewed it that morning. And this was accomplished I think, because I was able to capture the atmosphere as I explain below.
  

• I was able to paint them without the struggles that I usually have when plein air painting and I think it shows that I enjoyed the process.

• I was able to make use my new tripod easel without frustration. Just my second time to use it but I'm getting familiar with it.

• This is HUGE for me: I think I was able to capture the atmosphere of the woods (thus creating the mood) which is so hard for me when working in a woodland setting. I've been struggling with this goal [of atmosphere in] painting a woodland 'landscape' of the hollow for a long time, several years off and on, not just of a single tree, or small group of plants, but a true landscape scene. This can be daunting, because in the deep woods there's not the obvious common backdrops to use as reference for atmospheric perspective. No distant hills, mountains, fields, etc. All I have to work with are layers of the same objects - not too distant foliage and trees with sometimes a touch of sky. So I have to rely on color choice - cool vs. warm, soft and hard edges, texture, and all the other 'tricks' of artistic license to create depth all while trying to be decisive about each brush stroke as I near the end - watercolor doesn't wait. That's what I love about the medium. It forces me to think on the fly, make a judicial move - just do it!

I only had to make one little correction (of course you may think I need more) and that was with the first study. After I got it in the studio and stuck it on the wall as I always do to catch any mistakes, right off the bat I noticed I had slapped a very dark limb smack in the middle of the painting. I pulled it out carefully with a barely dampened brush, dabbing with tissue after each stroke, and replaced it with the more of the 'blue' that was just beneath it to add more of that initial [blue] color placement.

The first painting has a 'softer' look to it that the second. That's because the paper was not as rough as the paper used in the second study. It creates a different mood than the second; however, I like doing plein air paintings on a rougher paper because you can get that 'sparkle' as your brush skims across it, imitating sunlight.

The best thing about these plein air paintings was that I did it from the comfort of my back yard, no worries about copperheads, deer ticks, mosquitoes, or chiggers. It was wonderful! I plan on doing many more this summer from various spots in the yard. Overall, I'm pleased with the results of these paintings mainly because my goals were accomplished, but to each his own. I'm never completely satisfied with my paintings, or any art that I do. I can always find something that could have been executed better. Comments or questions are welcomed. Until next time, happy painting, potting, gardening, or whatever...

Painting in the Hollow: The Pines, Zbukvic, and Results from the Cone 6 Glaze Fire

I'm later than usual with my posting, but I wanted to wait 'til I finished and photographed my painting of the Pines in the hollow as I had said I would in my last post. Also wanted to give a report on how my glaze firing went, so here it is:

Painted our pine tree logs that I allowed the 'tree guys' to roll down into a small ravine directly behind the house. Silly me, I was running around after the guys felled the pines hauling them to a place in the back yard to save so that I can later do 'something' with them, what just yet I don't know. And with each one I would pass up, it was as if it were saying 'pick me, I don't want to go!' (I'm weird like that). Well, as it turned out, the guys were having a problem with the city (a place has been designated for disposal of trees from the ice storm damage) accepting the pine lumber (so they said). So I was very content to allow the men to leave all the pine with us. I really did not want those beautiful logs hauled away. Pine breaks down quickly and it just seemed right that they stay here. Oh, and the oak trees? Well, we've got enough fire wood for years to come!

I touched up the pines and added some highlights here and there in the studio.

The Pines, wc, 9 1/8" x 12 7/8"

I was so frustrated with it while painting in the woods, but kept reminding myself of what Joseph Zbukvic says, to 'keep going' when painting your subject outdoors and 'never lose faith' because as soon as you do, you'll fail at your attempt. He is so right! I kept painting, and although I wasn't satisfied, I did feel the painting had some potential. After about an hour, I was getting stiff from sitting on the ground, and also felt I may be getting a tick or two (which I later discovered was true) so I lumbered back to to studio, untaped my painting, threw it around here and there trying to decide what to do with it. Toss it to the done that pile, or keep going? The logs were only partially painted, but that was really the only thing left unfinished, aside from adding a little detail to the foreground trees. I just didn't want to give up on this painting. It held a lot of meaning for me. The hollow represented the final resting place for Daddy's pines. They represent 30 years of our life here, the lives of our girls, our pets, and a constant reminder of my father and his love for nature...nope, it was worth trying to save because as I looked at it, I could feel the emotion I had while painting them. It may not be the greatest painting, but it enabled me to work through the emotional and physical process of losing 'the pines', and hopefully viewers can be reminded of similar things that matter to them also.

Well, unfortunately, I was not so satisfied with my glaze fire. None of my cups turned out like I wanted, as the patterns I slipped on them barely show. The firing also went to cone 7 on the middle shelf and probably on the bottom shelf too (didn't use a witness cone on the bottom). However, that only seemed to compromise the brightness of the blue slip on one of my jars, but it may also be the reason for my slip decoration not showing up on the cups. I really think though, that [the slip doesn't show up] because my glaze application was too thick and my slip was too thin.

But I did have a couple of pieces turn out pretty good, such as the blue and white facetted 'safe jar' seen in this picture. The one in the foreground is the one that the blue slip did not come out on. The blue slip used on the inside however, did fine (fired it with the lid on). I may re-fire this piece later, as I've had success with the blue colors working on re-fires. Don't like to re-fire though. Always afraid the piece will break and create a mess in the kiln. Luckily, this has not yet happened to me. If I do decide to refire, I will only take it to about cone 5.

And my 'grass' cups turned out good:

These are some of my pendants. I'm have fun making them. I love making small clay things because of the portability. I can just sit anywhere and work on them. I carry everything I need around in a little shallow cardboard box and put a small amount of clay in a ziplock bag to keep it moist as it dries out quickly and will lose it 'malleable' texture if exposed to the air too long. I use food freezer paper, the waxed side as my surface to work on (sometimes getting a shape started by using the palm of my hand) as it leaves no marks on the clay. I draw out my patterns 1st on newspaper, then trace them using a felt-tip/sharpy pen on plastic tops of margarine and 'Cool Whip' bowls. These become my templates.

One final note for all you die-hard Joseph Zbukvic fans (like me) out there. He FINALLY got an official website, and also his new video, Watercolour Impressions with Joseph Zbukvic, is now available in the US via The Artists' Place. I bought it and very pleased with it. I could watch that guy paint all day. Maybe, just maybe one of these days I'll be able to take one of his workshops.

Well, that's all for now. I'll be posting again next week on a paint-out. Oh, and I've ordered the Sun-Eden watercolor tripod set. Will let you know what I think of it. I just can't keep lugging that 11 lb. french easel around; and so much wasted space, not to mention it's killing me. My shoulders, back, and knees, Oh my! Now I'll have one less excuse for plein air painting, as every time I'd think about all that weight, I would talk myself out of going somewhere to paint. I also plan on posting about my new macro lens (was my Christmas present from Santa) sometime in the near future. Until, then, happy painting, potting, photographing, or whatever makes you happy!

Are You an 'Artistic' Thinker?

This is a question that I ponder often because I'm intrigued by the subject. I am reminded sometimes, when experiencing something, that I'm processing the information in an 'artistic' way. And that's where I feel there's more to the meaning of the word 'art' than just aesthetics, 'creating', or the various definitions offered for art. However, I realize I'm certainly not the first to think this as I'm sure there are many other artists who share this thought regarding art.

There is a famous quote by Andrew Wyeth, "...I do more painting when I'm not painting. It's in the subconscious",. Joseph Zbukvic says in his book Mastering Atmosphere & Mood in Watercolor, "you start painting the moment you look at the subject, not with the first brushstroke." Do you think art more than you actually do it? I know I do! That's why I was excited to read these quotes, especially Wyeth's. I've come to realize in recent years that not all people think this way, and personally feel it's part of an artist's personality, literally the way an artist processes his/her thoughts.

I think art is an innate makeup of the human species, but for artists, they are just 'wired' differently. They see and translate the world around them with a deep desire to validate (perhaps, at least for me, enhanced by aging/mortality) what they've experienced. They may or may not (as in Wyeth's quote above) actually 'leave a mark' via some form of creative outlet. In other words, I think artists process life experiences differently than non-artists. But I do think we ALL have art inside us, in varying degrees, it's just hasn't been tapped into as deeply by some as by artists, because they have this desire to 'search' for answers or to validate their experiences. This, to me, is what makes art so exciting, and creates such diverse reactions among those that view or experience it. Take my husband for instance, he'll be the first to tell you he has no desire what-so-ever to create art, nor to do anything creative artistically, and he certainly does not 'think' artistically (opposites do attract!) . However, he does appreciate some genre of art, but no, he makes no claims to being an 'artist', or even 'art-minded'.

So, are you an artistic thinker? Let's have an 'Art to Art' talk! Even if you, like my husband, don't 'think' artistically, let's hear your take on the subject! Have you ever thought about how you process the world around you? This inquiring [artistic] mind wants to know!