Maria Santacecilia Dibujos y Tintas

Do you feel like you spend hours practicing, but your art is stuck—exactly where it was a year ago? Do you sense that invisible wall that won’t let you move forward, and the frustration that your hands can’t create what your mind imagines? If the typical advice to “practice more” doesn’t work for you, it’s because the problem isn’t your technique or your materials. Practicing without Direction: The Creative Hamster Syndrome The first mistake, and perhaps the most common, is what I call the “Creative Hamster Syndrome.” It’s believing that “practicing a lot” is the same as “improving a lot.” And there you are, hours at your desk, drawing, painting... running on a wheel that takes you nowhere. Sound familiar? You open your sketchbook and draw whatever comes to mind: an eye, a character from your favorite show, a hand… but without a real purpose. The problem is that practice without intention is just a pastime, not training. Many artists practice every day without a plan, and that inevitab...

Todo para el artista visual  

  Errores comunes  de principiantes de una carrera de arte . Pensar que la obra de otro es sencilla, que el artista que  la hizo no se tomo tiempo. Copiar. Seguir las modas. Frustrarse ante no ser seleccionado en una convocatoria en la que se han presentado Investigar poco No leer textos de arte  Creer que van a producir la gran obra Ahorrar en investigacion utilizando pocos materiales. Quedarse solo con las ideas, no accionar,  Dejarse llevar por la opinion de otros, artistas o no. Ser demasiado exigentes consigo mismo y con su trabajo. Pasar rapido por los procesos, sin documentarlos  Common mistakes of beginners in an art career Thinking that someone else’s work is simple, that the artist who made it did not take time. Copying. Following trends. Getting frustrated when not being selected for an open call in which many applied. Doing little research. Not reading art texts. Believing they will produce a masterpiece. Saving on research by using few material...

  Bergman maintained very specific rituals to sustain his work: “Today I write with a pen, but not just any pen… it must be a very special one with a very thick tip… which gives me pleasure…” In addition, he imposed a limit: to write no more than three hours a day, even if he was in the middle of a scene, because the work started to become boring. He had a precise morning ritual: getting up early, having breakfast, walking, not reading the newspaper or talking on the phone, working at a spotless desk. After about 45 minutes, or when his back warned him, he would take a break to walk or look at the sea. For him, “writing scripts is a compulsory exercise” and “in the profession one cannot be undisciplined… I constantly struggle against my own lack of discipline.” Summarized in external words: “Writing the script is just the arranging process. The working book is fun.” Work with Actors: Intuition and Emotional Contact Bergman fully trusted intuition and human connection: “I only use m...