Rae Andrews ~ Feature Artist May 2016
Rae Andrews
I am most definitely, a COLORIST. I love 'pushing the boundaries' with composition and design. After all, I want my art to stand alone; be something special, as do we all.
There is no question that I am a 'DRAMA QUEEN'; I will always go for a more animated and challenging option, rather than the obvious. Even if I fail, it helps me move onto the next strategy. |
PSST: We read so much about composition and value studies. What is your artistic process? Can you discuss the way in which you create artwork?
Rae Andrews: This is a hard question to answer for me. I have so many techniques and approaches to my paintings. I rarely do a VALUE sketch prior to a painting. Maybe a small thumbnail to map out the composition or design, but that's all of two minutes at most. I consider myself an 'INTUITIVE' artist, and I do believe we all have our own sense of design. Why not trust that? Train the eye to 'SEE' avenues within the selected image; which one can either under or overstate, to make for a more interesting piece. In my past (college years) I majored in DRAWING, and I do feel that helps considerably. I tell my own students to practice the craft of drawing religiously, get used to using just one (2b) pencil; vary the values and line qualities within the one sketch. This will certainly make later decisions a lot easier. I love to sketch for memory, a practice I picked up in college. See something, memorize it, go home and draw the impression of that scene/object. This gives me a sort of 'video' in my head on which to draw in later demos and paintings. I encourage my students to try and do a memory sketch a day. As I work in all mediums, sometimes the medium I choose will dictate the strategy in which I paint. Sometimes the subject will dictate a new approach. I was known in my native Australia as a mixed media watercolorist. I was never a traditionalist. I worked in oils and pastels a fair bit in those days too, but mostly watercolor. I began my art school in Sydney ( late 1980's), with a huge following of students, who faithfully used my varied non- traditional water media techniques and approaches. Many of these students eventually became teachers in their own right. When I use pastels or oils, I need to challenge myself. I know there are great artists out there, all vying for top spot in their chosen medium, and I feel all artists should be diverse in their art. I always look for a challenge. I always try to do my pastels differently to other artists. I often have no game plan at all when I begin though, just swish on colors, diffuse them with water or alcohol, then find a subject in that 'mess'. |
I began my career with more realistic interpretations in my works; then slid into a less refined, more impressionistic approach. I would rather leave the viewer a little baffled, than seeing a photo-realistic rendition of an image of mine.
I still vacillate back and forth, between realism and semi-abstraction at times, however usually there is a bit of both in my works.
The bottom line is that DESIGN and COMPOSITION are key for me. The students who know my methods, all know what a stickler I am for DESIGN,COLOR and VALUE.
I use pretty wild contrasts of color at times, mainly as I want that personal 'IN YOUR FACE' attention getter. Why be predictable? We are artists after all, and were never meant to be boring!
Give our viewers a SURPRISE! Make a DIFFERENCE!
I still vacillate back and forth, between realism and semi-abstraction at times, however usually there is a bit of both in my works.
The bottom line is that DESIGN and COMPOSITION are key for me. The students who know my methods, all know what a stickler I am for DESIGN,COLOR and VALUE.
I use pretty wild contrasts of color at times, mainly as I want that personal 'IN YOUR FACE' attention getter. Why be predictable? We are artists after all, and were never meant to be boring!
Give our viewers a SURPRISE! Make a DIFFERENCE!
If I am painting a landscape for instance, and the colors are all mixes of greens, browns etc, boring! I will often begin with a saturated magenta, red, yellow or even orange; totally the opposite to that overall green cast we see all the time in nature.
That way all that gorgeous underneath color shows beneath the overlays of green mixtures, giving the painting LIFE. If we look hard enough with a discerning eye, we can even see this in life.
That way all that gorgeous underneath color shows beneath the overlays of green mixtures, giving the painting LIFE. If we look hard enough with a discerning eye, we can even see this in life.
Pastels have some wonderful grounds and substrates on which we can paint. Bright, vivid colors; and if they are not, we can now use inks, watercolors, acrylics, even oils on the surface, as an underlay for our pastels. What FUN!
I will often just do a scribble of colors onto a surface first, be it with pastels or a wet media, just to disturb the surface tension.
There then is nowhere to go, but 'UP', adjusting and manipulating the colors with pastels making the subject come into focus. Sometimes, where you least expect that 'POP' of red to be from the underlay, it will work wonders! For me that keeps the work SPONTANEOUS and FRESH.
I will often just do a scribble of colors onto a surface first, be it with pastels or a wet media, just to disturb the surface tension.
There then is nowhere to go, but 'UP', adjusting and manipulating the colors with pastels making the subject come into focus. Sometimes, where you least expect that 'POP' of red to be from the underlay, it will work wonders! For me that keeps the work SPONTANEOUS and FRESH.
PSST: How do you describe your painting style and color choices?
Rae Andrews: As mentioned at length above, my color choices are spontaneous. I will work with complimentary colors a lot though. If I see a subject bathed in yellow, I might choose any analogous mauve/violet as an under painting or color of my substrate. My painting style is definitely more IMPRESSIONISTIC now as I get older, although as I said earlier, I love to balance between ABSTRACTION and REALISM even within the one painting. Think of a slightly focused photograph, where the attention is zoomed into one area and the rest is a little out of focus, that might explain this statement better. |
PSST: Everyone loves a great studio. What is your painting setup?
Rae Andrews: I have a private studio off my house, which faces Lake Travis here in Austin. I am truly blessed. Now the lake is full it is wonderful to see every day.
I try to get into the studio everyday, it's like a drug for me, and always a real pleasure in the daily routine.
I teach out of this studio as well, it has room for around 8 students depending on what medium I am teaching.
Rae Andrews: I have a private studio off my house, which faces Lake Travis here in Austin. I am truly blessed. Now the lake is full it is wonderful to see every day.
I try to get into the studio everyday, it's like a drug for me, and always a real pleasure in the daily routine.
I teach out of this studio as well, it has room for around 8 students depending on what medium I am teaching.
PSST: Do you have any tips you would like to share on marketing, exhibiting, or social media?
Rae Andrews: I have been around in this art field a long time. I have owned an art school and two art galleries over the years. I have had a MANAGER in the past, which did not work for me by the way.
I have sold on EBAY, or tried to. Did not qualify as great for me.
I have used DPW (Daily Paintworks) AUCTION site on and off for a few years too. This was a pretty good way for me to sell my art, however it made me paint small format paintings, and I felt confined in that. I am also pretty sure that had I stuck with it, my auction prices would have increased. However at the time, it all seemed too much work only to get $50 bids and then manage the S/H. At times it was exciting, though, to see the numbers increase on my site. This option might still be a good one for several of the members. Some artists do extremely well with auctions. They have to be diligent and consistent though, that's key.
GALLERIES.. Well I cannot say I love the galleries here in Austin. FINE ART is not a priority here in this city, music is. The galleries I have used since moving to Austin have had some success, and some were duds. Two in Austin (one of which went belly up suddenly with debt, and I had to eventually get a court order to get my art back from them. One in Lakeway, near my home, did sell a few for me, and they too, were evicted for non payment of their rent. One in Salado which sold one or two paintings for me, but not a good fit just the same. One in Dallas which was a dud for me, she did not want pastel art at all! So it limited me to oils and acrylics mostly. I had a Georgetown gallery as well, (Stingers Gallery). The owner was great and worked with me well, and I had a solo show there, selling a couple of pieces. I still work with this gallery owner.
I find the INTERNET better to sell my art. Not that I am rolling in $$ from my art, that's why I teach and demonstrate. It keeps the 'wolf from the door'.
A mentor of mine once said to me that most working artists HAVE to teach to sustain their habit, I think that's pretty true.
I post on a personal blog as well as nine other blogs, all connected to CONTEMPORARY ARTISTS OF TEXAS. There are many advantages with these blogs, it drives traffic and exposure, however I spend way too long on my computer. Sadly a catch 22.
I also have had my YESSY site for many years, and just canceled it a few weeks ago, to build on my FASO site.
The latter is working better for me . PSST members were told by Carolyn Hancock recently how easy this site is to negotiate, with a lot of added features. I followed her lead. Although I had an account with them years ago, I had let it lapse. I am now way more conscientious with building this platform. Thanks Carolyn for the 'push'.
I did sell a few paintings on the Yessy site, but it was slow. Bottom line is it was very inexpensive, you get what you pay for.
I sell pretty well in the print department on FINE ART AMERICA. This is a pretty easy site as well to negotiate. Just make sure the photos you place on the site are clear and high resolution files. I can highly recommend this site too.
We have to 'pick our poison' so to speak, some people do better in the galleries, others do better with the INTERNET or OPEN STUDIO SALES, which I must say for me, the latter has in the past, been very successful.
Open the studio up for a weekend after telling all your clients/friends/art societies etc, even Facebook.
Be willing to sell pieces for a third of their original costs if you want to get rid of things, my house is getting very crowded, I am sure some of you reading this have much the same problem.
I hope this covers some questions on marketing and gallery exposure. It really is a gamble with our art, however, if you are wanting to sell your work, you MUST be diligent and professional.
Rae Andrews: I have been around in this art field a long time. I have owned an art school and two art galleries over the years. I have had a MANAGER in the past, which did not work for me by the way.
I have sold on EBAY, or tried to. Did not qualify as great for me.
I have used DPW (Daily Paintworks) AUCTION site on and off for a few years too. This was a pretty good way for me to sell my art, however it made me paint small format paintings, and I felt confined in that. I am also pretty sure that had I stuck with it, my auction prices would have increased. However at the time, it all seemed too much work only to get $50 bids and then manage the S/H. At times it was exciting, though, to see the numbers increase on my site. This option might still be a good one for several of the members. Some artists do extremely well with auctions. They have to be diligent and consistent though, that's key.
GALLERIES.. Well I cannot say I love the galleries here in Austin. FINE ART is not a priority here in this city, music is. The galleries I have used since moving to Austin have had some success, and some were duds. Two in Austin (one of which went belly up suddenly with debt, and I had to eventually get a court order to get my art back from them. One in Lakeway, near my home, did sell a few for me, and they too, were evicted for non payment of their rent. One in Salado which sold one or two paintings for me, but not a good fit just the same. One in Dallas which was a dud for me, she did not want pastel art at all! So it limited me to oils and acrylics mostly. I had a Georgetown gallery as well, (Stingers Gallery). The owner was great and worked with me well, and I had a solo show there, selling a couple of pieces. I still work with this gallery owner.
I find the INTERNET better to sell my art. Not that I am rolling in $$ from my art, that's why I teach and demonstrate. It keeps the 'wolf from the door'.
A mentor of mine once said to me that most working artists HAVE to teach to sustain their habit, I think that's pretty true.
I post on a personal blog as well as nine other blogs, all connected to CONTEMPORARY ARTISTS OF TEXAS. There are many advantages with these blogs, it drives traffic and exposure, however I spend way too long on my computer. Sadly a catch 22.
I also have had my YESSY site for many years, and just canceled it a few weeks ago, to build on my FASO site.
The latter is working better for me . PSST members were told by Carolyn Hancock recently how easy this site is to negotiate, with a lot of added features. I followed her lead. Although I had an account with them years ago, I had let it lapse. I am now way more conscientious with building this platform. Thanks Carolyn for the 'push'.
I did sell a few paintings on the Yessy site, but it was slow. Bottom line is it was very inexpensive, you get what you pay for.
I sell pretty well in the print department on FINE ART AMERICA. This is a pretty easy site as well to negotiate. Just make sure the photos you place on the site are clear and high resolution files. I can highly recommend this site too.
We have to 'pick our poison' so to speak, some people do better in the galleries, others do better with the INTERNET or OPEN STUDIO SALES, which I must say for me, the latter has in the past, been very successful.
Open the studio up for a weekend after telling all your clients/friends/art societies etc, even Facebook.
Be willing to sell pieces for a third of their original costs if you want to get rid of things, my house is getting very crowded, I am sure some of you reading this have much the same problem.
I hope this covers some questions on marketing and gallery exposure. It really is a gamble with our art, however, if you are wanting to sell your work, you MUST be diligent and professional.
PSST: Continued learned is important. Do you have a favorite workshop instructor or book that you would like to recommend and why?
Rae Andrews: Well as with most of us, I have books galore! I look at them over and over, never really copying the steps; however I glean ideas, on which to build my own art and teaching methods.
This is what most teachers want. To have students look, assess the processes/techniques being shown to them, whether in book form or workshops; then try fitting some of those ideas into their own work, with a personal spin.
I have a nice collection of DVD's as well, and they too are my 'go to's' for some refresher courses.
I use the internet a lot also, look at PINTEREST all the time, and YOU TUBE
I often see techniques I want to try, and off I go, that memory in my head, to mesh it with my personal input.
I love Leslie Harrison's book on pastels on velour paper (PAINTING ANIMALS THAT TOUCH THE HEART) and treat it like my bible at times, even though I don't truly do a photo-realistic portrait. I think her book is out of print now, but it might be available on Amazon or Ebay. In reading this book, I became interested in VELOUR paper and have used and taught the methods since.
Integrity is key. We all need to make those PERSONAL statements with our art. It's an ongoing classroom of learning, making mistakes and moving on.
On WORKSHOPS, I rarely go to them. I have to be really enamored with someone's style to follow them. I did attend Barbara Jaenicke's wonderful workshop recently, and I love the way she uses light.
I am also about to attend a workshop with Dawn Emerson in Fredericksburg, and I do admire Dawn and her work a great deal, so I am really looking forward to it. I love her mixed media approaches, they seem to be right up my alley.
As I began my professional art career when I was 15, watching my now deceased aunt who was also an artist, (Hazel Johnson) painting her pastel portraits, I almost feel spoiled. Her work was perfection. She too was very realistic in her approach, and it's strange that I don't follow in that area anymore. However I did back in my teens so it was a great springboard for me.
I had another wonderful mentor Judith white, in Sydney, for whom I began teaching in her own art school. During this time I went to college and then eventually opened my own school. Judith also secured (for me), a teaching position in the arts, at the Charles Sturt University, north of Sydney. This happily continued for over 20 years. I met, and was exposed to many great teachers at this college, and those years were amongst the happiest times of my life. Living on campus, eating and breathing art! Well not 'eating' but you know what I mean.
Rae Andrews: Well as with most of us, I have books galore! I look at them over and over, never really copying the steps; however I glean ideas, on which to build my own art and teaching methods.
This is what most teachers want. To have students look, assess the processes/techniques being shown to them, whether in book form or workshops; then try fitting some of those ideas into their own work, with a personal spin.
I have a nice collection of DVD's as well, and they too are my 'go to's' for some refresher courses.
I use the internet a lot also, look at PINTEREST all the time, and YOU TUBE
I often see techniques I want to try, and off I go, that memory in my head, to mesh it with my personal input.
I love Leslie Harrison's book on pastels on velour paper (PAINTING ANIMALS THAT TOUCH THE HEART) and treat it like my bible at times, even though I don't truly do a photo-realistic portrait. I think her book is out of print now, but it might be available on Amazon or Ebay. In reading this book, I became interested in VELOUR paper and have used and taught the methods since.
Integrity is key. We all need to make those PERSONAL statements with our art. It's an ongoing classroom of learning, making mistakes and moving on.
On WORKSHOPS, I rarely go to them. I have to be really enamored with someone's style to follow them. I did attend Barbara Jaenicke's wonderful workshop recently, and I love the way she uses light.
I am also about to attend a workshop with Dawn Emerson in Fredericksburg, and I do admire Dawn and her work a great deal, so I am really looking forward to it. I love her mixed media approaches, they seem to be right up my alley.
As I began my professional art career when I was 15, watching my now deceased aunt who was also an artist, (Hazel Johnson) painting her pastel portraits, I almost feel spoiled. Her work was perfection. She too was very realistic in her approach, and it's strange that I don't follow in that area anymore. However I did back in my teens so it was a great springboard for me.
I had another wonderful mentor Judith white, in Sydney, for whom I began teaching in her own art school. During this time I went to college and then eventually opened my own school. Judith also secured (for me), a teaching position in the arts, at the Charles Sturt University, north of Sydney. This happily continued for over 20 years. I met, and was exposed to many great teachers at this college, and those years were amongst the happiest times of my life. Living on campus, eating and breathing art! Well not 'eating' but you know what I mean.
PSST: Tell us what events or classes you have coming up.
Rae Andrews: I teach occasional one day workshops out of my Lake Travis studio, fairly regularly, mostly about once a month. They are usually watercolor. Although I have taught PASTELS and oils in the studio as well. I also teach for various ART SOCIETIES throughout Texas and other states at times.
I have a workshop coming up in Spain, (Costa Brava and Barcelona). It's a Plein Air workshop using any medium, although I will assist in all, I will demonstrate in watercolor. This is set for September 4-11th 2016. For more information go to: frenchescapade.com. Scroll down to my name Rae Andrews.
If anyone is interested in being on my mailing list for more local workshops, please contact me at: [email protected]
Click links to view Rae's website, blog, or print site
Rae Andrews: I teach occasional one day workshops out of my Lake Travis studio, fairly regularly, mostly about once a month. They are usually watercolor. Although I have taught PASTELS and oils in the studio as well. I also teach for various ART SOCIETIES throughout Texas and other states at times.
I have a workshop coming up in Spain, (Costa Brava and Barcelona). It's a Plein Air workshop using any medium, although I will assist in all, I will demonstrate in watercolor. This is set for September 4-11th 2016. For more information go to: frenchescapade.com. Scroll down to my name Rae Andrews.
If anyone is interested in being on my mailing list for more local workshops, please contact me at: [email protected]
Click links to view Rae's website, blog, or print site