Interconnectedness is something that I think about a lot. On a broad level, this is the case whether the connections are among people or within nature; more specifically, I see connectivity on the highway as drivers move their vehicles in and out of lanes, leading them to their various destinations. Today, my car brought me to the office, where I work with a large team of editors. Individually, we have our own articles to write, deadlines to meet, artists to collaborate with and last but certainly not least, coffee to drink.
While we work separately in our own cubicles and offices, our end results come together in the form of really awesome things that help others. Artists Network’s magazines, books, and DVDs are what we have to show at the end of the day; all created from individual talents.
You can probably relate to this model in your own life–in your office, maybe in your studio if you work with others, in your school, or wherever you find yourself. This interdependency is not unlike that found in a painting that has a strong composition, such as this color study for Spring on Shell Creek (below; oil on linen, 12×12) by Elizabeth Tolley. Here, many components come together to produce a finished piece that has a focal point, as well as multiple visual elements of design that allow us to understand the landscape as a painting that’s pleasing to view. The grass, the sky, and the tree, all connect in a single space on a canvas.
My inspiration today came from Elizabeth’s article “Focusing on Color and Light,” which is in this brand new e-magazine: Landscape Painting with Oils: Essential Tips for Plein Air and Studio Painters. Download it today (it’s from The Artist’s Magazine and is only $2.99) to learn how to find the perfect color mixtures and make your own painting connections.