Meadow Gist
Meadow Gist
Erin :-)
Do you find that you choose your emotion or expression you want to convey, prior to beginning your photos? (Meadow's work has a lot of emotion showing through, wonderful expressions). I recently purchased a facial expression book (newbie, lol), for warm ups: tracing and drawings photo reference..... Should I have the emotion/expression in mind I want to convey, before I initiated the drawing? Also I'm alternating between a graphite and newly bought charcoal pencil, which seems to grip the paper more. Is there one that is better to use for an initial lay in with, verses the other? (See pic) I also really enjoyed your segment on sketchbook Master's Studies on the Watt Atelier Online classes, thank you!
Write reply...
Drop images here to attach them to the message
Meadow Gist
Thank you! I tend to choose a model based on how I feel around them. I then do a photo shoot with them and ask them to go through a scenario (like "pretend you are rolling out dough for baking a pie") I take like 1000 photos of the sequence. I never instruct on expression except to say "pretend I am not here and you are doing this certain task." I then go through the photos to find the ones that speak to me in terms of feeling. Out of say 3000 photos, I may use 3-5 in the end for paintings. I tend to mix a head with a hand, etc. If you are very specific with poses, the model gets very stiff and awkward. I would rather have to do some photoshop to get the exact finger position, than pose them stiffly. I actually like to use mechanical pencil for lay-ins. I have some that are .3, .5, and .7. For a tiny head, I will use the lightest and finest lead.
Reply
Pencil Pusher
Can you share your best habits from your art practice that helped you get to where you are today?
Write reply...
Drop images here to attach them to the message
Meadow Gist
BABY STEPS. A little every day is better than an all or nothing approach. Being in love with the act of creating art instead of the final product. If I focus only on outcome, I tend to be disappointed. If I am aware of improvements in the process, then I connect more positively to the painting. Try to be balanced, it is a cliche, but very important. If you don't take time for exercise and relaxation, it is hard to give 110% to artwork.
Reply
Jonah Sanders
Do you have tips on recreating the Atelier experience at home?
Write reply...
Drop images here to attach them to the message
Meadow Gist
Try using a timer! I love that sessions are 20 minutes on and 5 minutes off. This is set up for the models to pose for 20 and break for 5. I find that it keeps your eye fresher and more objective to step back every 20 minutes. If you want to work from "life" still-life and cast drawing set-ups are optimal for a similar experience. We use a high wattage (300 watt) bulb with a dark back-drop. Again, use a timer to keep your eye fresh and objective.
Reply
Uku Kivisild
Hi Erik and Meadow, I am a big fan of your art and the Watt's Atelier online lessons. How should someone learn to draw to a professional standard when time is a limiting factor as they are full-time employed in something unrelated to art? - I spend 10-20 hours a week still on art so time management isn't the issue. Also, If knowing that I am doing the right type of learning is the problem, would mentoring be the only way to ensure you are learning the right thing? PS. Kristian or whoever reads this question is a bae!
Write reply...
Drop images here to attach them to the message
Meadow Gist
I think that 10-20 hours is very good amount of time to spend drawing. It is always best to be consistent. When I was a student, I had a studio painting going at all times. Some days I would not be able put much time into it, but other days I had more. In the end, I sometimes spent a month to 2 months on a painting. They were overworked, but I really learned a lot. It helped me be more time efficient in the long run. A good break up of study is always helpful-for instance, doing shorter studies-like 20 minute head lay-ins for a few weeks, and then a 20 hour long head drawing. Everything works towards the long goal. Mentoring can be a really good way to get over a hurdle in your process. I think it is a good way to get some insight and outside perspective on where you may want to invest your studies.
Reply
Huba Hevele
How would you define good designe, and how does one study that area of art?
Write reply...
Drop images here to attach them to the message
Meadow Gist
I think that is a very tough area for me. I struggle tremendously with design. It seems to require improving something beyond what is there. I try to look at artists who design well-like Alphonse Mucha, Gil Elvgin, Rockwell, Mian Situ, Bill Anton, Jason Rich, etc. Some artists like Jason Rich show their reference photos on their instagram page, and how they transformed them into the final painting. Getting a glimpse into that process is a real treat and privilege. By looking at how great artists design their paintings, we can understand some of the process for ourselves. I will often work on a painting with paintings of other artists around. If I am troubled with the design of a drapery fold, I may look to see how Rockwell would design it.
Reply
Chris Bodary
For about 6 years I’ve been on my journey to be the best fine artist I can be and eventually teach as well. I have gotten really serious in the last 2 or so and I’ve have been wanting to start some kind of academic classes and have heard a lot about the Watts Atelier. I’m on the East Coast, and my wife and I both work full time and are expecting our 3rd soon 😀. The Watts Atelier online school would be a big financial commitment for us but do you guys feel like it would be something invaluable to an artists growth? I manage to consistently practice for 2-3 hours a day and i can tell I’m improving, just wondering if you would suggest someone like me and my situation to join Watts atelier online. Thank you so much. Ps, Stan, if your watching, Proko has been a big help! You’re the man 👍🏼
Write reply...
Drop images here to attach them to the message
Meadow Gist
Why not try out a month and see? I love our school, but do understand the commitment it requires. With anything, I am a baby-step kind of person. Some folks fall in love, and some find it restrictive. I took things quite slow, as I was working nearly full time when I started. Eventually I found that I made the time in my schedule for it, as other things became less interesting ( like hanging out after work at the bar-mid twenties stuff I was doing) I would recommend trying out some other programs as well-for instance I just took a workshop with an artist I admire. I think it is great to study and learn from as many people as you can. I learn different aspects of art from different presentations of it.
Reply
Jason Winter
Have the two of you Ever collaborated on a painting?
Write reply...
Drop images here to attach them to the message
Meadow Gist
Yes, we have! Erik has helped me in the past a couple of times when I had a show deadline and was up doing a 24 hour painting session. I have helped him a couple of times too. When under extreme deadline, it is hard to be objective, and an extra set of eyes is so helpful. We have not painted on each others works in at least 5 years, as our methods are so different now. However, we give verbal comments now (mainly to boost each other if doing a crap painting)
Reply
rajnesh kumar
how was the journey of meadow gist in the art world, from student to getting a gallery? how did she survive the early years as an artist? what work or jobs helped he in the early days? after getting proper skill set what all options does an artist have other than teaching and being a gallery artist?
Write reply...
Drop images here to attach them to the message
Meadow Gist
I began study of art at a local junior college. At the time, it was just for fun and an outlet while I decided what I wanted to do. I found that I could not imagine a life without art, and decided to increase my learning by going to Watts Atelier, where I could get more specific about the subject. I worked part time at a Trader Joes, and did signage and artwork at the store, as well as cashiering and other duties. It was a good job, and for the time felt I would stay with the company part time, and do classes at Watts for pleasure. I began to do some teaching with the school and at the same time a mural at Traders. After 6 months of 2 am shifts and standing on a ladder, I was pretty burnt out with doing art at trader joes. Jeff Watts approached me with working more at the school and less for Joes. I did a lot of odd jobs at the school like model booking and organizing and some teaching. I started on a path of costume making for my own paintings that I was venturing into. Eventually I had was in a gallery. Galleries can be tough to rely on solely. I now teach a little, paint for a couple of galleries, and sell antique textiles through an online business. I started selling textiles after acquiring many of them for my costumes over a decade ago. I like to split my time between these three businesses. I run my online shop in the morning, and paint in the afternoons. I highly recommend having a side job or business to make the transition easier. It is extremely difficult to have a consistent income from just galleries alone. For instance, I would have been in dire straits had I only had a gallery income last year during Covid. My shows were cancelled for last year and this year. I am glad I have other means of bringing in income. It allows me to paint every day without a huge stress hanging over my head.
Reply
Derek McNally
For Meadow: First off, thanks for all the great instruction @ Watts! I'm an intermediate portraitist, mostly in charcoal with some oils. I see you're focusing on Indigenous themes, and I'm drawn to the same, as I live in a really cool area for Indigenous history (or rather, pre-history), smack dab in the middle of the previous Iroquois Confederacy. Do you have any suggestions for pursuing the theme, gathering reference, contacting the Tribes, etc? Any interesting stories about same, too. I'm starting out by using historical photos, but my eventual goal is to paint both historical and contemporary portraits and hopefully narrative scenes ala Robert Griffing. Thanks! DJM
Write reply...
Drop images here to attach them to the message
Meadow Gist
IT's great to have a good connection to the subject, especially living in the area where the subject can be found. I have used a liason to connect me with the native american subject. There are some historical re-enactors as well in the genre that work with artists. If you can connect directly with a local tribe, that is great, and probably the most optimal. I have met some locals in my area at pow-wows. One problem is trying to marry modern day pow-wow gear with clothing and regalia from the time period that I paint. I have started to build my own collection of regalia to outfit models that I meet in the future. A key thing is working with models and being able to direct them with comfort and ease. You need to be on the same page idea wise. I have had the best experiences with those who understand what I am looking for and those that are comfortable behind the camera.
Reply
@mikeostwald
Hi, i am currently recreating Art School at home inspired by the Draftsmen podcast and bought a couple of books to get started. Now I just wanted to ask what the most effective way to study from books is ? I am curently reading the book Drawing the head & hands by Andrew Loomis but i feel like im not studying it properly by just copying the drawings and reading the text.
Write reply...
Drop images here to attach them to the message
Meadow Gist
It can be difficult to understand some of the art process through books alone. I find that a combination of learning methods to be a more complete way of learning. I personally need to see things being executed, then see visuals in books, and then lastly absorb verbal instruction. It may be beneficial to take an online class or use a DVD based instruction to get started. This may help you to pull the instructional cues out of loomis and other art instruction books. I would consider books to be a companion to live or online instruction.
Reply
Kristian Nee
Question for you both: Who would win in a fight, Stan or Erik?
Write reply...
Drop images here to attach them to the message
Meadow Gist
If you were talking a facial hair fight it would be Erik first, Stan second, and you third!
Reply
Help!
Browse the FAQs or our more detailed Documentation. If you still need help or to contact us for any reason, drop us a line and we’ll get back to you as soon as possible!
Your name
Email
Message