Back to My Roots: Mexican-American Style Clay Ornaments

One of the strange things about life is that things from my earliest years of life come back into my life in different ways. This seems to happen more lately. Maybe it's an artistic cycle of some sort.

How it happens is interesting. I get "stuck" in one aspect of my artistic work, so I do something that is very easy for me. Which is why I buy 100 pounds of clay now and then so I can play with making terracotta tiles or tile-like ornaments.

I've been a little stuck lately so out came the clay. I ended up making clay crosses, clay Jewish stars, and clay birds. Just in time for holiday gifts. It's fun. Making decorative clay pieces like this reminds me of some of the Mexican-American or Chicano crafts I would see growing up in Southern California. It's comforting to me as well as somehow seems to open the gates of creative flow within me.

So if you're stuck in some aspect of art (or life) maybe this approach will work for you. Not that you have to make terracotta ornaments. Sometimes I'll make hand-patterned fabrics to wear as sarongs or paint ties for my husband. Whatever it is, it's something I can completely relax with. Opening the kiln is always fun. Kind of like baking bread, but with a more permanent result.

www.CristinaAcosta.com

Scam Artists on the Internet Target Real Artists

Con artists spend their creativity and intelligence tricking people so that they can steal their money. Even if you get away from a scam artist with your bank balance intact, you've still had your time stolen. Either way, it's a loss of potentially positive energy on both sides of the relationship.

Yesterday, a woman called me to get my bank information. She claimed to be a kindergarten administrator from Australia who wanted an illustration of mine for a cookbook she was putting together for a worthy cause. She had sent me an email introducing herself and her project and we'd entered a amicable email conversation of about 3 or 4 letters. The money she offered me was fair for her type of project. She called and had a lovely Australian accent and acted very friendly when she asked me for my bank account number and routing information. I told her I'd send her the information the next morning.

I did my due diligence and checked out the school she mentioned. There was no school by that name at that address. If there had been, I would have contacted them directly to confirm her position and project. That, along with a few other complications to the transaction were big red flags. She didn't get the financial information she requested from me. I'd wasted time I could have spent more positively.

Having an internet site for over a decade, I've been the target of quite a few of these scammers. It's always a sad waste of time. I've been written to and called by so many of these people over the years that I am very careful about doing business with anyone who insists on discussing money with me without being transparent as to who they are.

Scammers often target visual artists, probably because we have the reputation of being a bit naive to business practices and we usually have items to sell that cost hundreds or thousands of dollars. Considering how many astute people were taken advantage of by Bernard Madoff, I can't guarantee that my advice is fail-safe, but it's a start. Here are some red flags I want to share with you so that you can recognize these thieves:

• HASTE: They are in a hurry. Some sort of time urgency is making it necessary for them to hurry the process and they need your help.
• MOBILITY: They are often moving around between foreign countries or cities which causes some sort of extenuating circumstance.
  
• PAYMENT: They have excuses about how they need to pay you. Maybe their Visa doesn't work, or they claim to live in a town without a proper bank or Western Union office. (This often segues with the mobility theme.)
  
• KICKBACKS: They want you to send them back the "extra" money that they insert into the transaction to "cover fees".
• OPACITY: They aren't upfront with who they are, their phone number, where they live, what their project is, etc. Double checking their phone numbers often leads to dead-ends. If they claim to be somebody, check out their claim thoroughly and be sure to call the person.
• COST OF YOUR ART OR ART SERVICE: They insist on "talking" to you through email and want your pricing information without giving any information of their own. They often offer to pay more than your price.
  

So what do you do if you have a legitimate international art customer or art collector interested in your art work? You can't always tell if an art customer is honest. The best you can do is put in place some financial safeguards.

• BANKING: Work with your bank to set up an account that you use ONLY for these type of transactions. Explain your business to the bank officer and they will help you put safeguards into place that minimize the risk you undertake when handing out your bank account and routing information. One of the dangers my banker explained is that with the account number the thieves will create bogus checks to withdraw money from the account.
  
• VISA AND OTHER CREDIT CARDS: Call the company to additionally verify the legitimacy of the card number and info you receive.
• WESTERN UNION: Don't give ANYBODY a kickback for fees. If they want to use Western Union to transfer money to you, they will absorb the fee. Western Union will wire the money to the Western Union office you designate. You DO NOT NEED TO GIVE ANYBODY YOUR BANK INFO TO GET A WESTERN UNION PAYMENT!! Be sure to check out the Western Union website and to call for more information.
• SHIPPING YOUR ART: Regardless of the delivery system you use - whether you are shipping original art or sending electronic files, do not send anything until the money has cleared the bank. Again, talk to your banker and rely on their advice.
  

www.CristinaAcosta.com

Art and Grieving - Making Group Art

The past several months I and my family have lost some close friends in accidents. In my own way I work through these sad times in my art work. Sometimes consciously working with the experience, but mostly by continuing to work and observing after I'm done that references to that sadness are in the work.

My friend, Cameron Clark, owner of C3 Events recently experienced the passing of Jimmy Pantenburg, the child of a close friend. Cameron called me and asked me if I'd be willing to work for him creating a place both physically and psychically for Jimmy's friends to make a mural in his honor.

I just finished the mural project and want to share with you Cameron's brilliant idea. Brilliantly rich was how I felt watching a dozen teenagers with spray cans talking and painting as they created a tribute to their late friend. (Though, as an adult, the irony of teaching teenagers the fine points of spray painting did give me a smile.) Not only did they all agree that the piece is "really sweet", they had a chance to talk about the fun things they did with their friend. They'd look through Jimmy's album of spray paint stencils and photos of his work, then they'd copy something as they talked.

I didn't know Jimmy, but after seeing his work and listening to his friends, I feel enriched by his life. His friends got a chance to live consciously with their feelings of grief and share them openly without any heavy expectations or the sense that they had to do or be any particular way. They were hanging with his spirit. It was a beautiful thing.

On a practical note -- facilitating the creation of a group art piece that's 5 feet tall and 15' long necessitated some basic design parameters. Here's what I did:

• Painted one basic background color. In this instance, red.
• Put together a selection of spray paint can colors that would work with Jimmy's themes.
• Determined the central theme and set that first so that the kids could work around it. In this instance the focal point was the grafitti moniker, "Always".
• Gave the kids tips on how to best use their spray paint cans.
• Kept the image "floating". That's a term I use to describe my method of keeping the entire surface of the image working together at the same time. Practically, that meant I'd work intermittently with the kids -- being sure to disappear enough that they felt very invested in the work.
  
• When the kids were done I spent some time "tightening" the image so that it would be even stronger.
  

I enjoyed helping out this way. I highly recommend a mural project of this sort as a way to bring a group together, regardless of the occasion.

www.CristinaAcosta.com

How to Keep Working when Sales Drop

Staying inspired enough to work when there is little in the way of art sales can be a challenge. I've been an artist for a over 2 decades and have had to adjust to this challenge more than once over the years. With the dire economic reports now dominating the news, keeping up my enthusiasm and inspiration to work is more of a challenge than during good economic times when commissions, exhibits and sales opportunities kept the money coming.

Here are a few things I do to keep inspired when times are tough:

• Keep up my exercise/sports routine. In fact - I look for an exercise goal like a race or strength goal to focus on. It's often easier to see results within a couple of months from an exercise routine than from work.
• Pay attention to nutrition. Eat and drink moderately.
• Find consistent time to work on my creative work and stick with my self-imposed discipline.
• Look at the work of other artists -- both present and past. Support other artists with encouraging notes or comments. When I can -- buy gifts from artists and artisans who make their own work.
• Be on the lookout for new experiences and insights to "fill the well". Even if I can't travel, I'll explore a subject or place on the internet. Or I'll make an effort to experience a well traveled path in a different way.
• If I have to stop working on my art for a while to find other work that results in more immediate money, I make sure to fit some sort of creative activity into every day. This really helped when I had a baby and realized that my time was no longer my own. With this attitude I was able to slip back into the habit of my artwork without a lot of trouble.
  

Photo: I took this photo in Albuquerque. This cactus bush had such a gorgeous combination of color, shape and texture. Sometimes a closer look at a ordinary thing -- like a plant alongside a path I'm walking -- can inspire.

Read more on my website: www.CristinaAcosta.com

The Frugal Creative: Dyeing Custom Colors for Your Home

My long tradition of personal frugality has inspired all sorts of creative ways to get high-end interior design style into my life. During the early years of my art career, I worked hard making ceramic tiles or painting for this or that art exhibit or whatever was going on. About 10 years into the process I noticed that I lived in a boring house that didn't reflect me at all. At the time, I was painting tiles then shipping them to ta-ta addresses in Beverly Hills and Vero Beach. I was a go-to girl for high end interior designers and shipping my art work to addresses all over the country, meanwhile none of the creativity I so easily gave to others was part of my life. I needed to revamp my thinking.

I remembered the axiom, "the cobblers children have no shoes," and decided to change my ways. I made a vow to lavish my creativity on my own life, not just on others. It took a while to get into the practice of being generous with myself, but it worked. I started by painting a set of ceramic dishes for myself; tiled the stair risers with my daughter's help; painted the house; and framed and hung paintings and photos. I got my husband and daughter in on the home decor work and we re-did everything. Together we made mosaic lamps, mirrors and flower pots; painted floor mats; built garden art, and whatever I could think of. All of these years later, our house looks great!

Here's an easy way for you to start bringing your creativity into your home. There are three things you can do to immediately change the mood of your house -- Color, color and color! The obvious way to bring in color is with wall paint. Another way is with fabrics. Think about all of the textiles you have in your home. Bed sheets, fabric lampshades, rugs, curtains and most any textile can slip into a dye bath.

Dyeing fabrics is fun and surprisingly easy. If you can follow the recipe on the back of a brownie mix box, you can dye fabrics. My favorite fabric dye and supply catalog company is Dharma Trading Co. Not only does Dharma Trading Co have hundreds of supplies including fabric dyes and fabric paints, they also have a big selection of "blanks" or plain items of clothing or fabric yardage you can dye or paint. On top of that, The Dharma Trading Co. catalog has great directions! The front of the catalog has all sorts of useful info about the fabric dyes and how to use them.

The stack of sheets in this photo shows you the great collection of colors I created for my bedding. I shop at Ross or TJ Max (discount retailers) for bargain cotton sheets with a high thread count and create great looking bed sheets for a fraction of the interior design prices. So . . . take the plunge into color and start dyeing fabrics. Not only will you save money on home decor, you're going to love the results!

Art and Fear

Most non-artists don't usually couple art and fear when they look at a piece of art. For most any artist who has been working for an extended period of time, art and fear are if not companions, at least at the same party.

Before I began teaching, I often thought that I was a minority when I noticed fear creeping into my art process. I noticed that the same litany of thoughts would drift occasionally across my mind when I was working: What will ____ think about this? Am I --- Open? Closed? Trite? Cute? Dumb? Boring? Good enough? (And more!) Will people think __ (something negative)___ when they see this image? Will anybody ever buy anything? Etcetera.

When I started teaching art in the early 1990's at Central Oregon Community College (a 5 year stint), I noticed that fear was often the biggest hurdle students faced. Talent, though a lovely and inspiring thing to behold was not what propelled artists to progress into mature work. It was their ability to confront and overcome their fears. I'm not talking about things like fear of heights or bugs or something like that, though that can be a starting point. I'm talking about the deep primeval fear of being excluded from the tribe - cast out to fend for oneself in a world full of long, sharp teeth, starvation and separation. That fear surfaces as negative self-talk, despair and artist block.

Most artists, except the lucky few (I don't know any, I fantasize they exist) at some point work in obscurity. There may or may not be local, regional or national success for the artist. Or, if that happens, the inevitable ebbs and flows of time and place, taste and fashion may again press the artist into isolation.

I've been working as an artist for over 2 decades, long enough to have experienced highs and lows. Neither conditions lasts, though that isn't comforting news from either perspective. Though I've taken more rides than I needed to, I've learned that rather than throwing my emotional self reactively on the roller coaster of "Yes, they LOVE it! / No, they hate it!" I had to train myself to put aside my fears and work anyway.

I hope I didn't make that sound easy. It wasn't. Here are 3 things that have worked for me:

• Read about other artists: Their essays, biographies and autobiographies
• Develop and maintain a meditation practice -- moving, sitting, drawing -- whatever works.
• Work regularly regardless about how you emotionally feel about the work.
  

With this in mind I have two things to recommend: A book and a meditation system.

Art & Fear, Observations on the Perils (and Rewards ) of Artmaking, by David Bayles & Ted Orland, ©1998, 2001
This is a rich, concise, wu-wu-free book about what messes with your head -- or helps you -- as you negotiate the paths of your artistic/creative life.

Silva Life System, a meditation program originally developed by the late Jose Silva. I stumbled onto this system via some postal junk mail in the late 1980's. I found a set of his audio recordings at the local library, then in the 1990's bought my own set as a refresher. I've tried a lot of different types of meditation (I'm open to new things), but I return to the Silva Method. The Silva Method of Meditation offers the most practical tools for stress relief and visualization to some metaphysical techniques that enable a person to plumb the depths of their spirit.

Planning the Creative Process

Creative projects of all types have two distinctly different parts to the creative process:

• The creation/planning phase
• The production phase.
  

Some creative projects have definite parameters, like building a bridge or constructing a home. Create a plan, follow it, finish it and move on.

In reality there is always a little cross-over between the two phases. Some challenge not considered in the plan has to be creatively solved during the production phase. The bigger the project, the more important that most of the creative work is finished in the planning phase, as resources and time may not be available to make many mistakes during the production phase. A smaller project, like painting a small image or composing a song can be more flexible (less resources of time and materials are at stake).

The trick for me (and other highly intuitive types) when we plan is to not feel hemmed in by the original plan. I know enough now about my creative working process to nurture my strengths.

I became very aware of the importance of planning a large painting when I painted billboards in the late 1980's. Until then, the most I would do before beginning a painting was a cursory sketch, and I'd often skip that step, preferring to work the sketch out in paint. When the painting became 24 feet long and 11' tall, there was much less room in the time and materials budget to make a mistake. For the most part, I eliminated as many errors as possible before I got to the production phase of the painting.

Planning was crucial when I illustrated a children's book, setting up the 17 paintings necessary for the text. I had to paint them all at the same time to ensure the same exact style from beginning to end. Because my style is very fluid, I knew that I would "loosen" as I painted the images. By planning a synchronized completion of the images, I ensured that the final pieces would fit perfectly together.

When I'm putting together a large project, I am most creative when I work with people who have a certain comfort level with what appears to be chaos (but is actually creativity). I recognize the downside to my strengths (sometimes referred to as a weakness) and set up a safety net. I'm not linear or tidy, and my organization style tends to look like a big wind swept through my studio. Hiring an organized, linear, tidy helper to handle the accounting and to keep my routine administrative tasks in order is one of the ways I plan for success. That leaves me free to do what I do best, and when that happens, my projects are much more successful.

All images and writing on this blog copyright protected Cristina Acosta 2008

Tips for Artists to Stay Creative

Here’s a few tips to get you started and then keep you connected to your palette within:

• Watch your thoughts.
Replace any negative or limiting thoughts with something positive or nothing at all. Do whatever it takes for you to develop a quiet and open mind.
• Practice your process.
Every day take five to fifteen minutes and draw or paint something. This can be a new piece every day or a continuation of prior work.
• Remember that technique follows your creativity.
Learning new techniques can trigger a fresh surge of enthusiasm and creativity within you. Use this energy as a way to reach new creative heights. After you learn a new technique (and practiced it) “forget” it. Trust that your subconscious mind will remember the techniques you’ve learned when you need them. This will ensure that you don’t get so caught up in the mechanical aspects of painting that you neglect the creative process.
• Smile when you paint!
You’ll look better, you’ll probably feel better, and you may even paint better!

See more of my work on my website, here are some links:

Choosing Paint Color Home Decor Licensing Who is Cristina Press Philanthropy Hand Painted Ceramics Cooking with Cristina Art and Inspiration Articles and Books Contact Cristina Original Oil and Acrylic Paintings Site Map Hispanic Heritage

The Palette Within - An Article for Artists

Have you ever wondered if or when you’ll be “good enough” to create art that really pleases you? Do you ever find yourself artistically stuck – jumping between different styles or techniques unable to figure out what and how you really want to paint? Do you find yourself wanting to be like every good artist you’ve seen, and then realize that you have no real idea of who you are as an artist?

As artists we can become so caught up in consuming knowledge, accumulating more and more in the way of skills and techniques that we can forget what we are truly about. We are creators. At a time when citizens are regularly referred to as “consumers” and “retail therapy” has become the norm, we stand apart as creators. Before you pick up another brush think about this. Your images may be decorative, transcendent, naïve, poetic, strong, weak, ugly, beautiful, mundane, unforgettable, good, bad or somewhere in between. Regardless of your own and others judgment of your work, remember that out of paint and paper and through the movements of your body you create something material from thought and sensation. Nurturing your process of painting ensures your creativity will continue to evolve and that the art you create will be true to you.

You’re reading this because you intend to improve your painting. Attention to craft is noble, but beware of holding yourself to standards that may have nothing to do with your life and skills. Many times adult art students despair of ever living long enough to get “good enough”. The thing to remember is that every time you pick up your brush your palette is not limited to the colors in front of you and the techniques you’ve mastered. Your palette includes your lifetime of experience.

We’ve all seen amazing drawings and paintings by young children. Beautiful colors and design flow easily from a child unencumbered with limitations. Even if your childhood ended decades ago, you can still rediscover the open mind that comes naturally to a young child. In my book, Paint Happy I teach you to get in touch with your inner creative self. Think like a child, (albeit a very experienced child) and disconnect your limitations. You’ll naturally reconnect your creativity, resulting in art that emanates from the palette within you – the unique combination of life experiences and art skills only you have.

It’s Never Too Late to Begin

The artist Elizabeth Layton didn’t began painting and drawing until she was 68 years old. From that time until her death in 1993 at age 84, she produced a body of art that continues to be displayed and collected in public and private collections nationwide, including the Metropolitan Museum of Art in New York. Research her work online and you’ll see how she combined the simple technique of contour drawing with a life palette of rich experiences to create powerfully moving art.

This article was originally published in Palette Magazine in 2005.

Read more of my ,Articles and Books

Cooling Down or Warming Up a Painting

Color theory is a science. The same concepts I use in interior design or home decor product development have their origin in my training and experience as a fine artist. Here's a demonstration of how when colors shift in temperature (relative warmth and coolness), the emotional or kinesthetic tone of the piece shifts.

In my book, Paint Happy! (2002, 2004 North Light Books), I talk about ratios of warm to cool colors. My theory is that all (Yes, I am getting a bit global here!) design is based on Repetition/Variation of design elements. Designs (any image) have a ratio of one to the other.

Here's an example of how I changed those ratios explained with images of paintings from my Paint Happy series (same as my book!). FYI, Paint Happy! (the book) is officially out of print, but you can get a used copy on Amazon and if you really like it, please write the publisher and ask them to reprint it.

First I created the painting Fish Dinner with mostly warm colors (orange and yellow) in a ratio to cool colors of about 70%/30%. Then, a few years later I wanted to revisit the theme, but with cool tones, so I painted the next picture, Red Fish Blue Fish. The painting isn't a slavish copy of it's warmer sister, mostly because I don't do slavish copies, it's not in my temperament. Nonetheless, it's close enough that you can see how the ratio of warm to color colors is 70%/30% or 30%/70% depending upon how you're looking at it.

See more of my Paint Happy series of art on my site.

All writing and images on this blog are copyright protected by Cristina Acosta

Color Tips for Exterior Paint Colors

Color can change the way you perceive architecture, and it's the least expensive "remodel" you can do! Artists know that color "moves" visually in space. Colors recede or advance depending upon where they are in relationship to each other and their surroundings. The photos below are examples of paint colors that I used to enliven the structures. The first picture is a residential home. The second is Cascade Middle School in Bend, Oregon. The third group of photos is of a spa housed in a remodeled old church.

If you are a homeowner choosing exterior paint colors, here are a few color tips:

• Check to see if your neighborhood has any restrictions regarding color use. Often titled Covenants and Restrictions these rules will limit the choices you have. If your neighborhood is a designated historical area check with the local Historical Society or Building Dept. to learn if colors are restricted to historical colors typical to the era your house was built.
• Choose at least 3 colors for the home so things don't get too dull. Please don't think that painting the whole house one color will make it "blend in". The result is usually very "lumpish". In a typical home the colors can applied like this:
• • Body Color (main part of house)
  • Trim Color (around windows and Doors)
  • Fascia Color (trim around the roof and possibly the belly band (6" - 12" wide plank trim that separates 2 stories, or the body of the house from the peak of the roof).
  • Door Color
• The example of the home below (my house) shows this idea contemporized to suit the mid-century modern sensibility of my 25 year old home. Originally the windows were un-trimmed, so I only specified a fascia trim (in tan). To enhance the modern segments of the architecture, I had those segments each painted contrasting colors. The palette was inspired by the colors of the beach pebbles and flora at Elk Lake, a nearby High Cascade lake.
  
• Buy the best paint you can afford and make sure it has a UV blocker in it.
• Whether you are painting it yourself or having it done, make sure that the prep work is well done. A good foundation of prep work will make your final paint colors last years longer.
• If you have a strong prevailing wind/sun direction, put a extra coat of paint on those sides of the house. The entire paint job will last years longer.

Contact me to schedule a color consult for your project.

All writing and images on this blog are copyright protected by Cristina Acosta

Choosing Paint Colors Home Decor Licensing Who is Cristina Press Philanthropy Hand Painted Ceramics Cooking with Cristina Art and Inspiration Articles and Books Contact Cristina Original Oil and Acrylic Paintings Site Map Hispanic Heritage

Be Creative, Just Don't Make Any Mistakes

Ya gotta be wrong to be right. This maxim doesn't apply to every situation, but it does apply to creative work. If you've ever had a boss who wants you to "try something new, just don't mess up," or if you grew up with authority figures that loved creativity as long as you didn't go "outside the lines," it's time to learn how to fail.

There, I said it, the "f" word. Fail. I love that word. I used to be terrified of it. Like the bogeyman-under-the-bed phase, it took me awhile to outgrow my fear of failure. I used to invent scenarios about what I would do if/when things went wrong, then invent solutions to save myself. What a waste of creative energy. Most things we worry about never happen, and if they do, the details are always different that I ever could have imagined, so none of my safety-scenarios would have helped.

So how did I cure myself? I really didn't. One day, I noticed that I didn't worry much about failure anymore. Looking back I see that there were some things I was doing that got me to my new place. Here are some tips I gleaned from that life experience. Use what works and ignore the rest:

• Stay in the moment. If that isn't working mentally, hold your breath. There is nothing like waiting to breathe to get you into the moment. I learned this doing water sports.
  
• Fail at something you're doing that's teetering in the direction of failure. Let it fall consciously and with intent (also called "letting go") and surprise yourself with what you do next.
• Think about your failure as one of the launch pads to success. Even Tiger Woods doesn't make every ball he hits. Look for the lesson in the failure and use it to build your next attempt. With every failure, you'll be that much closer to your goal, or know when you've tried enough.
• Be willing to quit. A thoughtful and considered ending is wiser than sticking with something just so you won't "lose".

Take my art class this summer with Art in the Mountains.

Color Speak at the Paint Store

Have you ever stood in front of a color rack at a paint store, starring at hundreds of color samples and felt confused? It can get even worse if you go in thinking that you might remember something about color from a long-ago art class, then discover that nothing makes sense. Here's how to start making sense of what you are seeing and hearing at the paint store. Starting with the right vocabulary is your first step to success.

The way color is discussed by artists or in an academic setting is different from the way color is understood in a paint store. Here are a few terms to use when describing and understanding color:

• Color – Any hue, tint, tone or shade. In other words, any color.
• Color Wheel – A round graphic chart showing the relationship between primary, secondary and sometimes tertiary colors. Used to explain basic color mixing, the principles do not apply directly to how paint stores mix color, as most commercial paints rely on bases to modify the colorant.
• Colorant – The pure pigment that a paint store adds to a base to create a color.
• Base – This is the base product a paint store begins with. It is the “paint” without any colorant added to it. The base color changes depending on the darkness or lightness and the warm or cool tone of the color being mixed. Bases are used only in the paint-store mixing process.
• Hue – Specifically refers to a primary, secondary or tertiary color on the color wheel. Though not specifically accurate, many people use the word interchangeably with the word color.
• Primary Colors – these are the three colors on the color wheel from which every other color is created: Red, Blue and Yellow. Do not use this term to apply to bright colors in general, as you may confuse the person in the paint store who has a more specific vocabulary. Again, paint stores do not mix a color from the primary colors, they begin with bases.
• Complementary Colors – These are pairs of colors that are opposite from each other on the color wheel. Artists mix them together to create beautiful variations that include browns and other “neutral” colors. We’ll use this term when describing the interaction of a variety of colors in the same room. This term doesn’t mean much in a paint-store setting as colors are mixed using a pre-determined combination of a base and colorant.
• Tint – This word has two meanings. To artists and color experts, it means any color that has white mixed into it. In a paint store, it refers to adding colorant to a base.
• Value – The relative lightness or darkness of a color.
• Color Temperature – The relative warmth or coolness of a color.
• Saturation – Refers to a color that is more color than white. The darker and/or “more pure” the color is, the more saturated it is.

See paint colors for interiors on the Project Portfolio page of my website.

All writing and images on this blog are copyright protected by Cristina Acosta

See examples of my color consulting portfolio and articles on my website.

www.CristinaAcosta.com Call me to schedule a color consulting appointment in Bend, Oregon or a phone appointment if you don't live in Oregon.

Read more of my Choosing Colors blog entries.

Balancing Flow & Creative Control

The psychologist Mikaly Csikszentmihalyi coined the term flow to describe the mental state when a person is fully focused, energized and involved in what they are doing. Also referred to being "in the zone", this state is a characteristic of the creative process.

When I first read about Csikszentmihalyi's description of flow, I recognized it immediately as the name for the state I often experience when painting or doing sports like skiing or windsurfing.

When I'm fully immersed in painting I'm in the flow state. In the arts, I describe flow as the sense of my body being a conduit through which the art flows unimpeded. I feel as though I have left my conscious mind behind and gone to a state I call super-consciousness, where I've given up critical thought, allowing the work to manifest.

At first, I thought that I would be more creative if I stretched these periods of super - consciousness. While working, I'd notice that I was in flow and use meditation techniques to resist the urge to "surface" from the flow to a controlling thought. I discovered that it didn't really result in better work. For me, balancing flow with creative control results in an experience I can only describe as a sense of flow that takes the shape of a long zig zag. Whether the shape "zigs" up or "zags" down, the axis of the shape always continues forwards.

The time when I stand back and assess my efforts and consciously decide (or control) what to do next is the "zag". The time of unimpeded flow is the "zig". Flow happens, flow doesn't happen. And the cycle repeats.

Ask Cristina: Children's Book Illustrating

Hi Cristina!

I met you in Richland WA a few autumn's ago. You were teaching the Paint Happy workshop. I thoroughly enjoyed the workshop. I sat in the front with my good friend Te'. We enjoyed the "energy" language you used in regards to your art and painting.
I am a full time artist. I sell my work and show it in local venues and hope to get into some galleries. Last week I was approached by a young man looking for an artist to illustrate a children's book he has written. He has been in contact with a publishing house and the writing has been approved and registered with the library of congress, he just needs an illustrator to make it come to life.
My situation isn't in the books I used for guidance. This is different as I had been approached by an author who has already been in contact with a publishing house who approved it and registered it with the library of congress. The publishing house sent him out to find an illustrator. Which seems odd because most websites say that the publishing house assigns an illustrator to the story and the author has no control over what the illustration will look like. This author has no money to pay me as an illustrator, and needs it in a very short turn around (18 spreads). The payment would come in the form of royalties. He has 6 other children's stories that he has written although none published yet. I think the book has great potential.
I feel it is a big gamble for me (I have never done anything of this sort before). I am more of a fine artist and used to getting 50% payment up front for commissioned work. So this is a very different animal. I have no idea what to expect in the form of royalties.
I noticed on your website that you have illustrated a children's book, and was wondering if you could shed some light on the process... foibles... pitfalls.... Also would something like this help ones career or send it careening into oncoming traffic. Thanks for your time!! Laura G.

Dear Laura,

Glad to hear from you, thanks for the compliments about the class.

The details of your situation are unusual. Usually a publishing house hires the illustrator and takes care of any contract negotiations which include the issues of the advance (pre-payment) and the royalty structure (often a 50/50 split between the artist and illustrator). Is it possible this man is "self-publishing" his book and hasn't told you that?

Before you put any energy towards this project you need to know more about the financial end of this proposition and more about the project. Illustrating a book won't help your career if it's the wrong project for you. Don't let yourself be rushed by his deadline. The only time a deadline matters in a situation like this is when you have already signed a legal contract that specifies how you are being paid (an advance is wise and to be expected) and exactly which copyrights are being assigned (sold). The contract will also include time lines for performance and more.

If you do get a contract from the publisher (or him, if he's self-publishing), hire a lawyer who specializes in the field of publishing/illustration to advise you with industry standards and customary procedures.

The first thing I would do in your situation is to call SCBWI -- The Society of Children's Book Writers and Illustrators. Pony up your money to join and take advantage of their stellar resources.

Heres what they say about themselves: . . . We are the the only international organization to offer a variety of services to people who write, illustrate, or share a vital interest in children’s literature. The SCBWI acts as a network for the exchange of knowledge between writers, illustrators, editors, publishers, agents, librarians, educators, booksellers and others involved with literature for young people. There are currently more than 19,000 members worldwide, in over 70 regions, making it the largest children's writing organization in the world.
www.scbwi.org membership@scbwi.org
Society of Children's Book Writers and Illustrators
8271 Beverly Blvd., Los Angeles, CA 90048 , USA
voice: 323-782-1010 fax:323-782-1892 General Questions: scbwi@scbwi.org

I am confident that SCBWI will be able to give you the counsel you need.
Best wishes with this situation. Let me know what happens.

Warm Regards,
Cristina

See more about my books and articles.

Feb. 2008 Newsletter

Dear Friends,

Happy Valentines Day! This is the month we honor love. Like most everybody, I've spent a few bummer Valentines Days over the years. Love I learned is a practice. So is art, prayer, parenting, exercise, eating and most anything else that you participate in with your heart and soul. It all becomes a spiritual practice, and each of us brings our unique presence in the practice of our lives to the world. Lavishing beauty on the world is my way of dealing with the negative news that streams from all around the world into my TV set, computer and radio.

Sharing beauty motivates me to begin blogging. I've discovered that I enjoy the artistic discipline of blogging. Writing, like painting is both a craft and art. Searching for things to write about is similar to beginning a painting. I sit quietly with my tools at hand, shut my eyes briefly to signal my mind that I'm entering my place of creative flow and begin.

Sometimes that place leads me to history. As a life-long artist, I've done a lot of different types of art jobs to stay housed and fed. For a couple of years I was a billboard painter. Now that it's a lost art, I wrote the essay, Painting Big - My Life as a Billboard Painter, about my history painting the 24' long outdoor ad murals.

All of this writing hasn't left much free time. I invented Santa Fe Chicken Rice for those days that I don't have much motivation in the kitchen. When you're not cooking or otherwise creating, remember to sign up for my blog. Send me your creative comments and questions and I'll answer them on the blog. Whether you're wondering what color to paint a wall, how to teach someone (yourself!) to draw, make a killer cookie or talk about art, I'd love to hear from you.

Live Happy,

Cristina

Subscribe to Cristina's Newsletter for once a month news, or get more on her Blog.

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Controlling with a Light Touch

Planning a painting or any project reveals that planning is about levels of control. Sometimes a plan is so cursory that it's just a light sketch. More of a push in a certain direction than a map to get to a particular place, whether physical or metaphysical.

Because the first painters I ever saw in action were Edward and Maxine Runci, I followed their example and only created a light sketch with paint on the canvas. With experience that habit became a philosophical approach. I learned that for me my commitment to creativity was the practice of creativity in many forms.

Because painting is risk-free (in the sense that parachuting isn't) I prefer that what happens after the beginning of a painting be a bit of a serendipitous surprise. I like the dance between control and lack of control. I've learned that controlling an image with a very light touch can lead to something better than I could have consciously planned. This can get me in trouble sometimes, but that's what gesso is for. Gesso is a thick white primer that can cover months of seeking without finding. If gesso isn't enough, I move on and move the piece to the burn pile.

Whatever the outcome, the risk of failure is worth the satisfaction of creating something new.

Some artists call this approach stream of consciousness. I suppose that the word stream refers to the sense of flow I feel when this approach is really working well. My book, Paint Happy! North Light Books, 2002, 2004 presents a version of this approach, albeit with the light touch of control being the restriction of keeping the imagery upbeat.

www.CristinaAcosta.com

Athletics and Art

Today I skied in the annual MBSEF Great Nordeen 15k Nordic ski race in Bend, Oregon. The temperature was in the high 20’s F and it snowed the entire way. I don’t know my ending time yet, but I finished behind the elite pack with enough time to get some of the good snacks!

Racing is relatively new to me. My daughter is a young elite athlete. Her life’s direction was so unknown to me that I decided to explore it by competing athletically. I’ve always been athletic but never before embraced competition. During the past 4 years I’ve done quite a bit of Nordic Skate racing, a little multi-sport racing and even a half-marathon.

The first race I competed in (42k Great Nordeen) I came in at 186 out of 190 competitors. As strong as I was, I learned that I knew little about how to best use my energy and effort. Over the years I’ve worked my way to a finish that tends towards the middle of the pack for my age and gender. Occasionally the really good athletes go on vacation and I place in the top tier.

Putting in the hours building aerobic base gives me time to mediate and think. Athletics and art aren’t as far apart as you might think. Sport is art & creation. The Greeks knew that so well they invented the Olympics. Watch an athlete and the strength we witness is often a combination of physical, emotional, mental and spiritual power. Elite athletes are so elegant and economic in their movements that they make their strength look both effortless and formidable. In the service of a person’s best life, strength is a beautiful thing.

Here are a few thoughts about athletics and art that keep me going:

• My commitment to continue begins before I even see the starting line.
• Practice doing it right before building speed.
• Plans are an idea. Count on reality to change them, and be fluid.
• Expect emotional and physical highs and lows, they’re the rhythm of progress.
• Believe in my preparation & keep moving. I can do much more than I think I can.
  

www.CristinaAcosta.com

Lose Track of Time? Focus & Organization Aren't all They're Cracked up to Be

Artists are notorious for not paying attention to time. Some people may (and do) call that trait selfish or unorganized. Enough of us creative types have this trait that I don't see it as a character flaw, though it can be a problem. Like needing glasses or having hay-fever, there are tools available to help (not cure) us.

I've noticed that when I'm focused on a creative project I lose track of time. Despite beepers, timers and other techno gadgets I don't notice time. I may look at the clock. I may even repeat the hour to somebody and still not get the significance of the current time and my relationship to it.

Yesterday I wrote that I would give you some tips to nurture your creativity. The more I think about it the more I wonder if this is such a good idea in January. Maybe the attention and action this type of list hints at and the time it would take is more of a September or October thing. January is already overloaded with Things-To-Do. Besides, if you're already engrossed in something, a tip that takes more time is only going to cause you more trouble.

So.... here's my compromise: One tip. One is easy. And the especially easy thing about this tip is that it's an overlay. You don't need more time, you just overlay this idea over other things you're already doing.

Notice Beauty.

That's my tip. It works like this. Putting away groceries? Notice the beautiful colors and textures of the produce and bakery items. Stuck in a traffic jam? Lots of beauty here -- the car next to you might be gorgeous (Or even the person in it!) Going to the dump? (Really!) beauty is found in both excess and simplicity.

Do this often enough and you're going to go-to-the-next-level in your observation of beauty. You're going to realize that beauty is like snow -- there are as many types of beauty as there are types of snowflakes. Beauty isn't just about the decorative and sanitized. Keep your attention on beauty and you'll notice that like the black and white of the ying yang symbol, your idea of beauty shifts with your perceptions.

And then -- well, you've lost track of time.
True! But you are the richer for it and so is your work. And that, after all is what our favorite timely friends, clients and associates appreciate about us.

www.CristinaAcosta.com

In my teens I began experimenting with methods to focus my mind. Brought up in a tradition of Christian Prayer, that was the first action I recognized as a mental tool. Subsequently I've delved into other things: yoga, movement meditations, sitting meditations, and more. My favorite method that I return to (regardless of what I'm experimenting with) is the Silva Method. Introduced to the Silva Method in the 1980's I have found it to be very practical. Yes, it can get wu-wu. (Most any metaphysical process does.) But, even if you aren't attracted to the metaphysical, the Silva Method of mediation and mind control has something for you. Practical methods such as:
The Three Finger Technique
The Glass of Water Technique
The Progressive Relaxation Technique
and much more will give you the tools to minimize stress.
I highly recommend the Silva Method. Give it a try. The risk-free terms are on the website.

Window Painting Work Kept Me Going

Creativity is a value we encourage our kids to embrace. Art sets for kids and artsy pre-school and elementary school projects are the norm. Somewhere along our life-line creativity is no longer a primary value. For most of us, by the time we are done with high school we are done with creativity and on to "the real world".

I'm writing this blog to share with you my story and process in the hope that you will be inspired to live your happiest and most creative life. You already are an artist. Your medium is your life. Whatever your job or life's work happens to be, how you live creatively within that work is where you can flourish creatively.

Being an artist seems like it would be a shoe-in for a creative life, but for me, it wasn't. Art stayed on the easel or as "work" for about 10 years before I got a clue. I've been a professional artist since the early 1980's. I began my professional life by transforming my fledging drawing and painting skills into a sideline business painting holiday windows for merchants. Here are a few of my original designs from the 1980's. Eventually this work and the work it led me to paid for my University degree in Painting at U of O in Eugene, Oregon.

Despite all of that experience and education, a basic idea eluded me. I was so worried about doing it right, about getting every skill I could and constantly learning from others that I neglected to listen to my inner self. Granted, I was working like crazy to eat, stay housed and be educated, so I can understand why self-discovery wasn't on my A list. Nonetheless, I stuck with the practice of art long enough to get to that place.



In my next post I'll share with you the tried and true things I've being doing to get my art off the easel and into the rest of my life.

Photos: I painted these with water-based poster paint in the 1980's. At first, I drew the basics free-hand with a light sketch using a bar of Ivory soap. When I got better, I drew directly with white paint to set up the lettering and art.

www.CristinaAcosta.com