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 Years ago, I gave a series of presentations on creative processes that I titled 1 + 1 = 3.  My goal then was to highlight the collaborative process that happens when talented people work together to produce innovative design and communications. The products of that collaboration were often far greater than the sum of individual contributors.  But just what does that have to do with painting  when the artist is trying to make a highly individual statement?

Well, the same process works in fine arts.  The mechanics are different; the situation is more informal but the befefits are the same. In my last blog post, I discussed several methods I've used to find new ideas and new ways to look at familiar venues.  Everyone knows that working with other artists is a great way to raise the level of personal performance.  The key is to develop a routine of painting with friends and take advantage of the learning opportunities while having a good time.

After 10 years as a professional fine artist, I often paint alone for weeks at a time, but I also make a point to get out with a group of other painters. When I first started painting professinally, I used to paint with a group of funny,  passionate and very capable artists. It was a huge challenge to keep up with them. As my show demands grew and separated us by geography and time constraints, I began to paint more and more on locations as a solo act. After a few years, I realized that while I was cranking out work which was selling; working hard wasn't as much fun and it used to be. I also wondered if I was really working to my full potential.

Over the last year or so, I have started painting with another group. Its great to work with accomplished painters  as well as newbies.  Last week, a person who had limited painting experience joined in for an afternoon of painting. She confessed to being a bit apprehensive about painting with a group that included some pretty experienced artists. After a couple of hours, I looked around at everyone's work. When I stopped by her easel, she commented that she didn't have any darks in the piece although the painting was essentially blocked in. I suggested that when starting a painting, squint at the scene and paint the abstract pattern of darks, midtones and lights that you see without about any regard for details.  No one had ever explained this approach to values before.  I hope it helped and she continues to paint with a group. Over the last months, I've not only watched other experienced artists block in and work through their paintings but also exchanged ideas, shared funny events and a multitude of painting "war stories".

 Whatever the interacton, the result is almost always a plus for me; if I explain a basic painting principle to someone, I've reinforced that idea in my own mind. If I had someone explain how they handled a passage or conceptualized a canvass, I've learned something also.  Offhand conversations are a great source of intel; I  always come away from these minutes with some note or idea that I can use to raise my performance or enrich my approach. It usually isn't a "wow" moment, just something small but something also valuable.

Massey Ferguson 9 x 12 oil on linen panel  © 2011 Gerard Blouin	Linda getting it down.	Mike painting a farm scene. Great location, thanks Mike. (mikegravesgallery.com)

The 1 plus 1 equals 3 process works as well for fine art  as it did when I was Art Director; but now I call the process one on one equals three.  It will certainly work well for anyone who is determined to raise their painting performance. Call your friends and get out painting with them. Begin the adventure! You will see how other artist conceptualze the scene and put the painting together. A suggestion may help someone who is struggling turn their effort into an enjoyable experience.  Seize the opportunity to learn something new from those around you. It is rewarding, keeps you sharp and makes you a better painter.