Debra Keirce


 

 

Why I Paint in Miniature

 

Why Do I Paint in Miniature?

 

 

I have had the opportunity to answer this question since the early 2000's when I began entering miniature fine art shows. Originally, I researched groups and genres in the art world that focus on tightly rendered, highly detailed realism. I learned about photorealism, hyperrealism, fantasy art, Trompe L'Oeil art. All of these are still influences in my work today. But the miniature art world intrigued me, and it was there that I found opportunities to enter art shows and group forums, and get to know people in societies. Like everything in my art experience, it was the art that drew me in, and the people with their life stories that has kept me there.

 

 

All of the images in this blog post are original paintings by me, Deb Keirce, that fit in the palm of your hand. The objects in them are 1/6 original size or less. They are painted with very little texture, using stipple and hash style painting strokes.

 

 

Here are some reasons to consider painting or collecting at least a few pieces of art in miniature, to see if you like it:

 

- Miniature Fine art offers a more intimate viewing experience. Collectors are encourage to hold it in their hand, look closer through a magnifier to see the piece the way the artist saw it while painting it.

- Since miniatures are small, you can fit them into tiny places and they are perfect for people who are downsizing their possessions.

- The small size means it is easier and less expensive to store, ship, frame and hang miniatures.

- There are many different ways to display miniature paintings. You can hang them inside a larger frame, group them in mosaic fashion, display them in plate stands on tables or mantles. However they are displayed, you will want them to be at eye level because viewers will want to look closer.

- When miniature art is in shows or venues with larger work, it almost always gets noticed. Miniatures are more common than most people realize, but they are unique enough to warrant a second look.

- Personally, I believe that painting in miniature has improved the way I paint larger. I paint from 2 inches to 2 feet tall. Even in my larger works, I use a magnifier when I paint the center of interest in those pieces. Sharper focal points help strengthen compositions.

 

 

Here are some misconceptions people often have about miniature art:

 

- True miniatures are small depictions of larger, decorative art. But they are not painted to match the couch or room decor. In fact, collectors rarely buy miniatures because they match the bathroom towels. They purchase work this size because they feel an emotional connection to the art.

- The purpose of miniatures is not to fit as much detail as possible into a small space. We don't paint on rice or pencil tips. We are more interested in composing art that fits into the focal field of vision of the viewer. In other words, when you look at a large painting, you can only focus on a small part of the painting at one time. It turns out, this focal field of vision is about the size of a miniature fine art painting.

- Composition is different in miniature art than it is in larger art. Miniatures need to be more detailed, because the viewer sees the whole painting at once, until they look closer. Larger work requires places in the composition for your eye to rest, and you typically see the most detail at the center of interest in the painting. For miniatures, you go from detailed to extremely detailed as you move toward the center of interest.

- We don't all paint with small brushes. While I don't use half inch brushes much in miniature, it's more important for me to have pointy brushes that hold enough paint to allow a steady flow.  A quarter inch round brush with a resilient pointed tip works much better than a script brush with three hairs in it.

- Miniature paintings actually take longer to paint than their larger counterparts. You have the same number of brush strokes as a larger painting, which will typically be less detailed. Finessing detail in very small spaces is time consuming. Also, while most of us find lighted magnifiers necessary in our process, they do hinder the painting speed.

 

 

These are some societies you may want to look into, if you are interested in learning more about miniature fine art:

World Federation of Miniatures

Hilliard Society of Miniaturists, Wells, England

Royal Society of Miniature Painters, Sculptors, and Gravers

Miniature Artists of America

Miniature Art Society of South Africa

Australian Society of Miniature Art

 

 

For contemporary artists and collectors interested in visiting or participating in miniature art shows, there are several such exhibitions. Here is a list of selected miniature shows that are representative of miniature fine art being shown across the world today:

 

Miniature Art Society of Florida Annual International Exhibition every January in Dunedin, FL USA

Sulphur Springs Valley International Miniature and Small Works Art Show every February, Willcox, AZ USA

Seaside Art Gallery Annual Miniature Fine Art Show every May, Nags Head, NC USA

Annual International Juried Miniature Show at Parklane Gallery every May, Kirkland, WA USA

The Art of the Miniature Annual Invitational Miniature Art Exhibition at The Snow Goose Gallery every May, Bethlehem, PA USA

Heartland Art Guild Miniature Paintings & Sculptures Art Show every July, Miami County Historical Museum in Paola, KS USA

Art Gallery of Fells Point Miniature Show, every October, Baltimore, MD USA

Annual Gateway to the Rockies Art Show, Aurora History Museum, every October Aurora, CO USA

Miniatures and More Invitational Show, Albuquerque Art Museum, every October, Albuquerque, NM USA

Council For the Arts Annual Miniature Art Show at The Capitol Theatre Center every November, Chambersburg, PA USA

Miniature Painters Sculptors Gravers Society of Washington D.C. Annual Miniature Exhibition every November, Bethesda, MD USA

 

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Why I Host Workshops For Other Artists

"Crab Study" by Debra Keirce under the supervision of Sarah Siltala

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Why do I host other artists in my home studios? Why don't I just teach out of them myself, and exclusively? A student asked me this question recently, and then pointed out that it doesn't make sense, financially, for me to host my competition. 
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"Well," I answered, "if I wanted to make as much money as possible, I would not be a professional artist. My engineering career was much more lucrative." But still, this question deserved an answer. I've thought about it quite a bit before and since.

Like many people in their 50's, we have a large house that we aren't quite ready to move out of, and our three adult children are mostly living on their own. They come back occasionally, but things are a lot quieter around here. We live in Northern Virginia, just a few miles from the Loudoun Station metro stop that will take you to Washington D.C. within an hour. We are a 15 min. drive from Dulles International Airport. And over the years, I've come to know hundreds of the artists in a one hour radius of where I live. This includes The District of Columbia, Arlington, Alexandria, parts of Maryland, and the foothills of The Blue Ridge Mountains. In short, people from many different socio-economic, geographic, ethnic and demographic communities can be at my doorstep in 45 minutes.
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"Chalice Study" by Debra Keirce
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This got me thinking about what, if anything, I could do to foster an arts focus in my community. They say charity begins at home. Ah - what good timing! I happened to have a home I can put to good use!
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I began by volunteering to facilitate and host workshops for friends, and I found there were many benefits to doing so.  For example, I was meeting new people, and they were like minded people. These people were from my community, but some were flying in from other states and even countries to learn. I never would have met those folks by just attending local art openings. Another unexpected benefit was getting to know the instructors better. I provide food and lodging for the instructors I host, and even though I was friends with them, it was so rewarding getting to spend more time with them. We visited museums in D.C., dined out, or just went for walks. These relationships grew as a result of those experiences. 
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Best of all though, was the feedback I was getting. When they experienced workshops in my home venue, students felt so much more relaxed, confident, and connected to the other workshop participants. They enjoyed the meals and snacks I provided, and said it was like they were getting together to paint with friends. Since I made sure we all communicated for several weeks before the workshops, in fact, they had developed friendships with each other before they even came to my home studios.

"Study of Connor" by Debra Keirce, under the supervision of Juan Jr. Ramirez

 

One day, after teaching an amazing portrait workshop here, my friend Juan Jr. Ramirez suggested we go for a walk. He proceeded to lay out a logical argument for why I should turn this into a business, and host contemporary master artists who I haven't met, but I admire. DebKArt Home Studios was born on that walk, that day.

 

Juan was right. While teaching is fun, hosting is so rewarding! Not only do I get to socialize with amazing artists, I am learning so much and having so much fun. While I am still keeping tuitions as low as I can, we have a minimum number of students required for each workshop to happen. This ensures that it doesn't cost me money to host these workshops. And, any profits can be used to purchase better equipment for future workshops. 

 

Several students are registered for their second or even third workshop, and several instructors are set to return to teach again. I am really excited for the renowned instructors coming to teach here next year. So far, DebKArt Home Studios is a huge success. On a personal level, hosting workshops has enriched me immeasurably. I have been invited to give several art talks, a solo show at a local college, and I've been invited to participate in several art shows. All of these occurred because of contacts initially made through DebKArt Home Studios. Financially, I expect this venture to be profitable enough one day to pay for inspirational travel trips. 

 

So the next time you are looking for an art workshop, whether you are a student, an instructor, or a host, consider home studios as your next venue. I think you will be pleasantly surprised at what you can accomplish in a family room and dining room near you. I sure was!

 

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TJ Cunningham Paints From Life, Outdoors - Accept the Challenge!

Please share this opportunity with anyone you think might be interested!

 

FIGURE PAINTING, PLEIN AIR PAINTING, OIL PAINTING

 

 

Want a challenge? Learn to paint the figure from life, outdoors!

- Instruction is relaxed, in my home studio and outdoors in the Broadlands, VA neighborhood, limited to 12 students

- TJ will teach you how he paints a live model outdoors

- Learn to see and depict reflected light and color

- Each day in the workshop you will learn techniques that set master artists apart from their peers

- Artists of all skill levels are encouraged to come and learn

 

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WHEN: May 17, 18, 19, 20, 21 in 2017, 9:30am - 4:30pm

WHERE: Ashburn, VA

 

Tuition = $485

Tuition includes use of easel if you don't bring one, transportation to plein air painting sites, fees for live models

Also, a gift from DebKArt Home Studios: snacks, beverages, light lunch

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Acceptable Payments: 

Check made out to:
Debra Keirce 
21454 Basil Court
Ashburn, VA 20148
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OR,
Call me at 571-236-0047 if you would like to provide credit or debit card information
Please note that credit card payment will be $503 to cover the 3.75% Square Register merchant fee.
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OR,
PayPal:paypal.me/DebKArt  Please send $500 to cover the 3% PayPal fee

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Payment in full is required to reserve a spot in the workshop, and you are committing to find a suitable replacement if you cannot attend for any reason. Less than 60 days before workshop dates, we will not be able to give refunds of any kind. For workshops with waiting lists, we can offer full refunds up to 60 days prior, minus the PayPal or Square Register fees if you paid using those methods.

 

NOTE: I do not advise the booking of non refundable travel and lodging tickets prior to 60 days before the workshop. I will contact students before the 60 day mark, in the unlikely event we will not be able to hold the workshop as scheduled.

 

 

Description:

 

The focus of this workshop is learning to see reflected light and color in plein air figure painting. Working from a clothed model TJ Cunningham will demonstrate his process during daily demonstrations and then assist attendees as they complete their own paintings. This focused, five day workshop will be conducted out doors with live models. All levels of experience are welcome. Flesh-tones, drawing, gesture and basic anatomy will all be discussed. 

 

 

Visit TJ's website at:

CunninghamFineArt.com

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For more information please contact:  
Debra Keirce 
571-236-0047 

 

 

 

Supply list

1. Surface
I recommend bringing at least three canvas panels. Sizes that will work well range from 11x14, 12x16 or 16x20 inches. 
2. Brushes
I recommend bristle brushes sizes 2, 4, 6, 8, 10, and 12. I use both flats and filberts along with a small,l round watercolor brush for details. I use Robert Simmons Signets almost exclusively. However, feel free to bring the brushes you are most comfortable with unless they are stiff from lack of proper cleaning.
3. Paints
I prefer to use the paints made by Robert Gamblin. You can find all of the paints listed below by following this link: www.jerrysartarama.com. However, feel free to use another brand or shop locally if you would prefer. I recommend buying a 150ml tube of Titanium White and 37ml tubes of all the others.
1) Titanium White
2)Cadmium Lemon
3) Cadmium Yellow Deep
4) Cadmium Red
5) Alizarin Permanent 
6) Golden Ocher
7) Indian Red 
8) Transparent Earth Red 
9) Viridian
10) Cobalt Blue
11) Prussian Blue
12) Ivory Black
13) Odorless Paint Thinner (purchase at any hardware store) for cleaning brushes.
French Easel and other Equipment 
There are many different easels designed for the plein air painter but the most common, straight forward and affordable that I have found is the French Easel. Most local art supply stores carry them and they are readily available online. Follow this link to see an easel that I would recommend: www.jerrysartarama.com  Debra will have aluminum portable easels you can use if you do not bring your own.
Also, an umbrella that attaches to your easel can be very helpful. Direct sunlight on your painting or pallet makes it very difficult to make accurate color judgments. Follow this link to see the tool I’m talking about: www.jerrysartarama.com. It’s listed for sale separately close to the bottom of the page. We will have options to be in shade if you prefer.
Bags, hats, water bottles, comfy shoes and clothes are all recommended.

 

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