Inside the Studio-Artist Interview and Sneak Peek Series

In the Studio with Rob Maniscalco

by Filed Under: Art, Art & Design, In the Studio, Inspiration & Education, Organize, Photography

Today’s Artist Interview is with Rob Maniscalco who I met at a neighbor’s party. We got to talking and I asked him if he would want to be featured on my blog, time got away from us but we reconnected recently since he’s just released a new book from his Quench Project. Rob has a FROG studio space inside his home and I’m thrilled to share his studio organizing tips and have him participate in this interview. These photo’s are not styled in any way so this is typical of what his working studio looks like on an average day.

The idea for the Inside the Artist Studio series began while attending an art retreat where I curiously observed the differences in the creative cycle of order and chaos and what that looks like for different individuals. I’m very interested in sharing how organizing affects the artist’s creative process. Some systems and order are vital to our creative PLAY and learning to find a balance that works to enhance your creativity is what I hope to share with you through these interviews.

Interview and Studio Sneak Peek Part

HKPS::What age did you suspect or know you were an artist?

RM::I grew up in a household full of arts. My father was a professional portrait painter and was always in the studio working. I sat on his lap while he painted, while in the other room my brother played Rachmaninoff on the piano. I was always painting or playing my clarinet or singing. You get the picture. Ironically, I was the only one of four kids that went on to be a professional artist.

HKPS::What mediums do you work with and are there specific tools or materials you find challenging to keep organized or locate when you need to use them?

RM::I’m primarily an oil portrait painter but I sometimes work in pastel or watercolors. I do a lot of sketching with charcoal. My pants are all in a central location, stored in my taboret. I don’t line my colors up in a row or organize my brushes but they’re all right there ready to go when I want them. I must admit I keep a lot of material that were passed down from my father, which I never use. I keep them around because they inspire me.

HKPS:: Where do you make your art, how big is your studio and how long have you been in this space?

RM::I have a studio in the FROG of my home. The space is more than adequate for me to create what I do. I am very happy that I have high ceilings (& great light), which were absent in my previous location. I’ve been in my North Charleston studio for about a year. I miss my Marshview which inspired me in my previous location on the Ashley River.

HKPS::How many projects are you usually working on at once? Is this due to space constraints, creative process, organizing systems or other influences?

RM::The majority of my work is commission portraits. The work comes and goes. Some months I may have many projects and then some months will go by was no commissions at all. None of this is dependent on the constraints of space or organizational systems. My fine Art, that is the art I do strictly based on inspiration, may be affected by physical constraints. But I think it has more to do with the constraints in my mind that sometimes say “why bother?” It’s then I remind myself, I’m painting for the ages and not just a quick sale in a gallery. (BRAVO ROB!-We all come back to this at times)

Robert’s father once won an award at an artshow for his paint rag abstract.

HKPS::When you began working in this space did you plan any systems for the overall set up or did you let things evolve organically? How did past studio spaces or systems influence this space?

RM::This FROG was an entertainment/family room before we moved in so there is 106 inch surround sound entertainment center that I work around. But it is not distracting. The first thing we did was paint the walls a warm salmon color instead of the bright green from the previous occupants. Otherwise I adapted my set up to the space. It’s not ideal because of the lack of view, but it works well for me. I like to have a view so that I can divert my eyes from my work every so often. It’s important to clear the pallet. Now I have to settle for the occasional block buster.

HKPS::Is making art your primary “job” or source of income? How much time do you spend in your studio weekly/daily?

RM::My primary job has been an artist for the last 36 years. In recent years as the market has become more unstable so I’ve been integrating other related facets, such as videography, photography, Quick sketch art, court room sketching and teaching to help fill-in the financial voids. I tried Uber driving but I didn’t like people telling me where I should drive:). Once in a while I get the urge to find a real job, during the sometimes long period between commissions and sales. But I’ve found not many companies want to hire a middle aged man with no “work” history. Of course, we know, nobody works harder than those who are self-employed! I work about 10 hours a day (being an artist) and I spend 90% of that time in my studio. About 40% of the time is spent marketing and doing office work, like book keeping, etc. The rest of the time I’m writing (blogging and books) or painting. I spend a good amount of time in research and development, meaning I’m planning my next painting or body of work for projects. I think I need to get out more and connect with people. That’s always been my weakest link. My favorite use of time is spending it with my wife Cate and the kids.

Inside the Artist Studio::Rob Maniscalco

HKPS::How or did you learn your organizing habits and systems? Do you consider yourself to be organized?

RM::I don’t consider myself fastidious but I do like a neat studio. I have a photographic memory so I am replaying pictures of scenes in my mind. If my scenery is filled with clutter that means I have more information to process which is a distraction. Dali painted in the studio with nothing but white walls everywhere. I’m somewhere between him and the crazy hoarder down the street. I’m organized in as much as I know where to find most of my materials when I need them.

HKPS::What tips can you offer regarding your use of schedules systems tools or processes that help you maintain organization in your studio?

RM::I have several databases programs that I use to organize my contacts and client base. I maintain my own website and have a very large email following. I use mail poet on word press which does a pretty good job. I’m finding it difficult to organize my clients into effective groups so that I can contact them more specifically about what interests them. I have an ACT database, but I’ve been using for several years and updating. It records the history and appointments so that I can keep my schedule straight and plan marketing strategies. I try to focus on what is important followed by what is urgent. I have things on my to do list that of been there for several years, that I simply don’t consider urgent or important. I’m trying to integrate my smart phone and centralize all of my programs so that they work together but so far I haven’t been very successful.

HKPS::Do you purge clean or do you clutter your supplies – and space and a regular basis?

RM::Nope. Like ~~most~~ some people I wait until it becomes overwhelming then I purge and clean. But my work space is relatively neat most of the time.

HKPS::Is there anything you keep in your studio strictly for fun or inspiration? Is there anything you intentionally don’t have in your studio due to distraction?

RM::I keep a few inspiring books on my shelves and a few sentimental artifacts. I’ve always fantasized about having a studio filled with fascinating things to paint and draw but I always think what will I do with it after I’ve painted it? I try to keep a few things around for my students to draw. But I have them working mostly with organic objects so I could probably use a plant or two now that you mention it. (& see his comment about his father’s materials-kept for sentimental inspiration).

HKPS::Do you know the cycles or phases of projects that are more or less organized in your creative process?

RM::Since I got Photoshop I’ve been able to plan paintings much more efficiently. But as far as cycles or phases I’m not sure what that means. My materials are pretty much right here ready to go when I need them. I guess I wish I had a wet bar or sink near my studio but you can’t have everything. I could wait a long time for my set up to be ideal. I don’t have that kind of time.

HKPS::How much thought do you give to your artistic body of work in terms of historic value in the overall legacy you will leave behind? How do you store archive your work or records?

RM::I used to keep a metal box with all the slides of every painting I ever did. Now everything is digital and can be found somewhere in my computer. I say “somewhere” because if I were not here to find it I doubt anyone would be able to find my archives in my computer. This is probably something I need to fix pronto.

HKPS::What if anything did you learn about your organization process through this interview?

RM::It did reveal areas of weakness, particularly in my archiving. Most of my computer files are buried deep in my documents somewhere. It’s not very intuitive. I do have a good backup system. Surprised you didn’t ask about that. The other thing I was hoping you would ask me about was how I organize my palate? That I think is my proudest piece of organization. My palate is called the power palette and a temple of my palette is available on my website for sale. My palate is organized by value, which I consider the most important aspect of any color I will ever use. I think it’s very important a person should find, develop and use a pallet that is consistent and dependable usable under any known number of circumstances. What I learned in this interview is that I am organized in the most important areas of my profession. I’m organized in the way I think about, plan and execute paintings. That is, after all, why we are here.

Thank you Rob for sharing with us a bit about your space and how you work! Please see more of Rob’s work on his site and in his new book from the Quench Project! If you are interested, Rob also flipped the table and interviewed me on his blog here! That was very fun, thank you for that lively conversation Rob! It’s in many ways a continuation of this interview.

My Big Inspiration Wall

by Filed Under: Art & Design, Home, In the Studio, Inspiration & Education, Organize, Organizing Projects, Systems & Techniques

I am blessed with a spectacular studio that overlooks the marsh with windows on 3 sides…lots of natural light, palm trees, Spanish moss and resurrection ferns dripping and hanging from live oak branches.

I’m not short on inspiration but what I am short on is wall space (because of said windows). This has been a challenge for me since we moved in and the one wall I do have is brick which is difficult to attach anything to. After researching several options, I finally made a request of my handy husband to help me solve this challenge.

Design wall’s that quilters use involve a lot of fleece and I’m not a quilter (although I dabble in quilting techniques) so I felt the expense and effort of all that were un-necessary. I also considered cork, again, a resource I didn’t want to waste especially since I planned to paint the wall to blend in…Finally I settled on inexpensive Fiberboard after realizing this is what is used in many schools (my studio at SCAD included) and it would be just the thing to help me go vertical…Here my handyman Mr. B puts the finishing touches on the painted fiberboard before handing it over for me to “play” with.

This piece of fiber board is 4′ x 6′ (cut down from 4′ x 8′) and was only $9. It sucks up paint like crazy so you might want to use a primer-sealer (like Kilz) so you don’t have to apply a million coats). We attached it to the wall with Washers (painted) and screws (into the morter-this brick was so hard it destroyed 2 of my husbands masonry bits).

What a delight it is to have a space to hang both design pieces I’m working on and inspiration for future work! Above and below are details of what’s now currently hanging on my wall. I’ve got quilt blocks I’m kind of stuck on (not knowing what to use them for or if I need to make more), indigo shibori, yarns, mixed media, photography and other bits of inspiration and work in various stages of finished/unfinished.

I’m by no means a minimalist but I don’t love it when my space is too visually cluttered. With this new wall hung I can corrall all sorts of things that have been floating around my studio into one space to feed my inspiration and allow me to step back and see the pieces that I’m stuck on from a different perspective. Do you have the luxury of a inspiration or design wall in your art or office space?

In the Studio with Sarajo

by Filed Under: Art, Art & Design, Handmade, In the Studio, Inspiration & Education, Organize, Photography, Textiles & Pattern

This month I’ve tied the two artist featured In the Studio together via location, Maine! Today we are In the Studio with Sarajo Karl Belvedere. It’s all about connections and I’ll be continuing in this manner to connect the artist via medium, location or some other thread each month in 2015. I happened across this Antique Asian Textile shop when a friend was showing us around the Portland arts district. I saw amazing textiles in the window (which my friend is also a huge fan of) and so we were pulled right into the vortex…and so glad we were! I was mesmerized by the incredible textile collection at Sarajo. After a few minutes looking around I spoke with the young man working in the gallery and learned that he was the conservator and that he did the work right in the back of the shop…so I boldly asked right there on the spot of I could take some photos and “Interview” him via email when I returned. Thankfully Glen agreed and I’m so happy to share not only his work space at Sarajo but also his home art studio.

HKPS::What age did you suspect or know you were an artist?

GM:: I was drawing before I can remember and by age ten was determined to be a comic artist.

HKPS::What mediums do you work with and are there specific tools or materials you find challenging to keep organized or locate when you need to use them?

GM:: At Sarajo I work primarily on antique textiles and use basic hand sewing tools. Aside from textiles, I’ve also repaired objects made of wood, ceramics, glass, paper, barkcloth, hair, bone, metal, feathers and the list goes on. Hence, there seems to be no end to the tools and materials that I use at work. Most of my sewing supplies are attached to my work table or in the closets behind me. I keep my trusty shears in a holster on my belt.

HKPS:: Where do you make your art, how big is your studio and how long have you been in this space?

GM:: I repair antiques in the back of the gallery. My workspace is roughly 400 square feet and I’ve been there six years.

HKPS::How many projects are you usually working on at once? Is this due to space constraints, creative process, organizing systems or other influences?

GM:: It varies somewhat, depending on how many antiques my boss has purchased at the time and how time-consuming whatever I’m working on is. On average, I’d say that I repair four or five objects at a time.

HKPS::When you began working in this space did you plan any systems for the overall set up or did you let things evolve organically? How did past studio spaces or systems influence this space?

GM:: The set up definitely evolved organically. I wasn’t completely sure what my job was going to be and my boss had never hired someone to specifically do conservation before. Each new assignment required a new procedure that had to be researched. As I read everything from textile conservation manuals to woodworking guides, I learned which tools I needed to purchase or make and hung them from hooks on my worktable, the wall or made shelf space.

HKPS:: Do you consider yourself to be an organized person? How or where have you learn your organizing habits and systems? Have you ever worked with another artist or gallery that you learned any organization from?

GM:: I would say that I’m organized even if it doesn’t always look like it. I’ve mostly learned to organize by trial and error, due to the fact that I need to work in a space for a while before I can really know where everything needs to be. That said, I’ve also learned to organize from previous jobs and art school. I was a shop tech for the printmaking department at Kansas University and my primary job was to keep the place neat and clean.

HKPS:: What tips can you offer regarding your use of schedules, systems, tools or processes that help you maintain organization in your studio? Do you purge, clean or de-clutter your supply stash and space on a regular basis?

GM:: I do purge the space of things like spare cardboard and fabric scraps every few months or so. For safety’s sake I always try to keep the the floor clean and first aid easily accessible.

HKPS:: Please describe how creative cycles of organization or dis-organization affect your creative process? Are there certain phases of projects that are more or less organized?

GM:: As I work on more than one project at a time, it’s hard to keep the space continually clean. It’s also important to have space to work, though, so I take short breaks throughout the process to clean up.

HKPS:: How much thought do you give to your artistic body of work in terms of historic value and the overall legacy you will leave behind? How do you store/archive your work or records?

GM:: I work on antiques, so I suppose the historic value is already established. My primary goal is always to assure that these things will last as long as possible. Most of the textiles are folded and stored in rolling shelves, behind glass. The more fragile ones are rolled on tubes as they cannot withstand folding.

My greatest wish is that through seeing how other artist work we can learn from one another. There is no ONE correct system or way of organizing. There are as many creative systems as their creative makers! My aim is to highlight these unique makers in each interview. A HUGE thank you to Glen for allowing me to intrude and put him on the spot in the shop! It was so inspiring to see both his conservation and his personal art studio. Thank you Glen (aka Karl) for sharing both spaces with all of us and how organizing affects his creative process in all of his creative work. I’m envious of his job and was amazed that he learned all his conservation skills while on the job! His work is truly amazing and speaks to the historic value and cultural legacy of textiles all over the world. I’m so grateful for companies like Sarajo and the talented conservators who work with them. It was such a delight to stumble across Sarajo last fall and I’ve been so excited to share this. Please check out their website (or go in person if you are in Portland) and the personal work of Karl Belvedere who is a really talented artist working in all sorts of mediums AND you can Ask Him Anything!

* Inside the Studio was my brainchild in 2011. There are a lot of popular studio features on the web and in magazines but I’m specifically interested in showing how organizational process influences the artists studio work. These photo’s are not styled and are typical of how the artists working studio looks. I request that each artist leave their space as it would be on a daily basis (just like I ask my clients). This series is meant to highlight how artist REALLY work rather than showing STYLED shots (popular in home and organizing magazines and blogs). I’m sure just like me, you are fascinated by the “behind the scenes” sneak peek into these artists working lives!

Save

Storage Solutions From Artists Studios

by Filed Under: In the Studio, Organize, Tips & Resources

I found so much inspiration and delight visiting with all the artist I featured this year. I thought it would be helpful to look back at some of the clever ideas storage Solutions From Artists Studios that were shared throughout the year.

Lisa Abernathy‘s storage style reflects her creative style. She uses vintage luggage, both affordable and practical as a storage solution. Just be sure you know what’s inside-add a creative tag to the handle.

Tami Boyce maximizes her space by using every inch efficiently, including the closet. Reinvent the space by removing the hanging bars and add shelves and bins as needed!

Create a visual hanging inspiration wall with flexible wire and clips. I like this solution so much more than bulletin boards (for an inspiration wall) because you can accommodate a variety of sizes and shapes and quickly change things out.

Clear glass message boards (Ikea!). These are practical and stylish and the wall color behind the glass creates a much more integrated look.

Christine Lane keeps things flexible by using rolling carts (Ikea!) which are great for projects or anything you want to be mobile, or just add wheels to any small storage bins!

John Duckworth uses good old fashion bulletin boards. These are great for schedules, projects and more structured planning. Add categories such as names, dates etc.

Wow, I’m jealous of John’s sliding walls! This could be so useful in many studio spaces and I don’t see this done as often as is possible. Great for showing work and for large ongoing projects (like quilts?).

Lotta Heleberg hangs threads on a hooks. Any variety of hooks and pegs are great for keeping supplies used regularly close at hand.

I love how Jocelyn Chateauvert has modified this bakers rack with old window screens for holding light weight items (in this case hand made paper objects). This would be a great drying rack (for handmade paper, felt, fabric, yarn, clothes etc) if you have the floor space.

Another great closet. This time the door would not open into the space so Jocelyn took it off, cut it in half, added hinges and rehung it. Clever lady!

Cone 10 Studio‘s uses S-hooks in their clean up space. So many great uses for these little do dads. Do you use them? Should you be using them?

Barb Blair makes use of vertical baskets which are great for rolls and anything tall and awkward. High work tables on wheels, also a great idea for studio spaces!

More S-hooks and magnetic strips in Barb’s studio. In this case she’s used a magnetic knife holder for tools. There are lots of great organizing solutions in the kitchen section of hardware stores (and places like Ikea and Container store) that are useful in creative spaces.

Kris Westerson uses numbered notebooks. Assign a color and number to different notepads to keep your ideas, lists, research and writing all together by category.

Mary Edna Fraser used a re-purposed twin bed here…she raised it up HIGH on legs to accommodate storage underneath (a bunk bed could also work!) and horizontal space for her long silk rolls. This is a great solution if you need deep storage but I would not recommend it for things like shallow boxes or anything smaller that would need to be stacked.

SCAD Studio walls are lined with something like cork to pin anything to. I love being able to pin right into a wall anywhere and I wish I had a wall I could convert in my studio!

I adore Amanda McLenon‘s re-use of a shutter for her paints. This is quintessential Charleston Style!

Save

In the Studio with Dee Clements Of Herron Clothier

by Filed Under: Art, In the Studio, Inspiration & Education, Organize, Systems & Techniques

Welcome back to another sneak peek into a Fab Fiber Artist studio, Dee Clements of Herron Clothier. I’m so thrilled to be sharing her work with ya’ll because I’m very proud of Dee! She and I met (as roomies) back at Penland in 2011 when she was there for a weaving workshop and I was there for a textile exploration class with Jason Pollen. Dee and I have stayed in touch via the interwebs…mainly facebook and now instagram. Why am I so proud of Dee? Well, she’s a super sweet, hard working and talented weaver and since we met she has mastered the art of moving (to Maine, back to Chicago and a bit of a pit stop elsewhere if I recall) and more important her own art of weaving! Dee’s textiles have been picked up by several national brands and you can learn more about that over on her blog and her work has outgrown her small studio space. I am truly grateful she’s invited us in to see and learn more about her organizing triumphs and challenges, especially as she’s about to move studio again! If we are lucky maybe we will get invited back into her new space but for now I’m happy to share her un-staged, real working weaving studio!

HKPS::What age did you suspect or know you were an artist?

DC::When I was a kid, I was always drawing or making up some craft project for myself. I was a bit of a latchkey kid so I learned how to keep myself entertained and I could sit for hours with an art project or just drawing pictures with crayons and be perfectly content. I am still like that and I still love crayons! I have some things in a box from my elementary school days and there is this packet from my first grade class that we had to fill in answers to. One of the questions was what do you want to be when you grow up? And I wrote in my first grader check scrawl, an artist or a veterinarian.

HKPS::What mediums do you work with?
DC::I’m a weaver. I like to use natural fibers, nothing that is chemically processed. All of the fibers I use in my woven work are from small US farms.

HKPS:: Where do you make your art, how big is your studio and how long have you been in this space?
DC::I have a space behind my home that I use for my studio. I have three large floor looms an industrial sewing machine, an overlock machine and a cutting table along with shelves of yarn. I am beginning to outgrow my space, as my business grows, I am at the point that I am looking to move to a commercial studio space. This is both very exciting and a little scary.

HKPS::When you began working in this space did you plan any systems for the overall set up or did you let things evolve organically? How did past studio spaces or systems influence this space?

DC::I have a general idea usually of how I like to set up my studio. I need to have all things set up so I can just move from sewing machine to loom to table easily and organically.

HKPS:: Do you consider yourself to be an organized person?
DC::Yes and no. Organization is a thing I am constantly working on and trying to improve. I am not organized by nature but I strive hard to be. I have systems in place that work for me. I have learned how to use spread sheets and folders, that is helping me a lot. I organize my yarns by fiber and color and size so that I am not searching for something when I need it quick. It’s still a work in progress though, my organizational skills.
HKPS::Have you ever worked with another artist or gallery? If so did you learn any systems for organizing?
DC::Yes, I have worked with lots of artists and galleries. Organization is not really the first thing that comes to mind when working with them though.
HKPS::How or where else have you learn your organizing habits and systems ?
DC::It’s nice to visit other people’s studios and see their systems, especially ones that work well. I have also learned really good tools for organization from past employment.
HKPS::What types of schedules, systems, tools or processes do you use to help maintain organization in your studio? Would you like to share any tips?
DC::Hmmm, systems. Well I use a lot of file folders and shelves. Shelves for finished products, shelves for yarn and file folders for invoices, paid invoices and my reciepts and expenses. I keep good records in a n excel spreadsheet for my business stuff and I like to use old coffee cans to hold my tools. Organization is something I am constantly working on and teaching myself. I am messy by nature. As my studio grows and expands, it will be important to keep things labeled and make sure everything has a place that it lives. My studio is an organization work-in-progress.

HKPS::What kinds of materials/tools do you find challenging to keep organized or locate when you need to use them?
DC::When I start working I use things and put them down where ever I am, I am a messy worker in my studio. I usually get into a flow so I lose things all the time when I am working. Mainly small tools like bobbins or my snips or my pen. I keep detailed notes while I weave and I am always losing my pen!
HKPS::How many projects are you usually working on at once? Is this due to space constraints, creative process, organizing systems or other influences?
DC::Anywhere between 3-9 projects. I have projects booked through next Spring and it is a matter of prioritizing by deadline. I am moving into a new commercial studio at the end of the summer that is 700sq ft as opposed to my tiny 200 sq ft right now. I am really looking forward to spreading out a little and feeling the delight of having actual space to move around in. right now, I have a lot of shelving and things in jars and folders to try and keep organized. But I am definitely busting at the seams.

HKPS::How often do you purge, clean or de-clutter your supply stash and space due to space or other constraints?
DC::After every project I complete I usually do a big clean up. I like to freshen the space for the next project. I try to use everything because I hate waste. That said, it has to be necessary to be in my studio and it has to be utterly useless for me to get rid of it.

HKPS::Please describe how creative cycles of organization or dis-organization affect your creative process? Are there certain phases of projects that are more or less organized?
DC::Large scale commissions are usually messier for me than my production weaving projects. For my wholesale accounts, I keep very organized. I have to for my clients. I work in a very systematic organized way when I am production weaving and making products. For my tapestry pieces, those are more art based and my process is more free. I let myself deviate from my weave plans and I like to get messy. Because those are essentially my “art” and one of a kind, the chaos of messiness with them helps me creatively.

HKPS::How much thought do you give to your artistic body of work in terms of historic value and the overall legacy you will leave behind? How do you store/archive your work or records?
DC::I give a lot of thought to this. I keep a very detailed archive of all my work and I keep detailed notes and sketchbooks of all my pieces and the processes of making them. I use high quality fibers, I work with small us fiber farms, I never use synthetic fibers. My work is heirloom quality and I am a perfectionist about that. I want my work to live on after I am gone.