Jean Campbell’s Frequently Asked Questions
Biographical Information
Q. How long have you been painting?
Off and on, for more than 50 years.
Q. What made you decide to become an artist?
I have early memories of wanting to make art. My mother was very artistic, and I loved doing this type of thing with her. She painted, mostly in watercolors, and frequently attended creative workshops, such as ceramics. One of my favorites was a cake decorating class where she brought home a magnificently decorated cake every week.
We did lots of creative things at home during the holidays, like decorating cookies to hang on the Christmas tree or painting eggs for Easter. So, to answer the question, I would guess that my mother strongly influenced my artistic longings, but I don't think I ever made a decision; it was just something I knew.
Education
Q. How did you learn to paint?
I always loved art class in school. Art was where I excelled, and it felt good because I surely wasn't going to win the spelling bee or kill it on the debate team.
I was ten years old when I took my first formal painting class. We lived in Winter Haven, Florida, and Mom found a studio that taught painting on Saturdays. I remember really enjoying the classes. The teacher used oils, and I still have a couple of the pieces I completed at that time.
Q. Where did you go to school?
I attended the University of Montevallo in Montevallo, Alabama. I received a Bachelor of Fine Arts in 1981 with a concentration in painting. While there, I received the Excellence in Studio Art award in my senior year. I enjoyed my time there and planned to continue painting as my career of choice.
Career Path
Q. How did painting as a career work for you?
Well, at the start, not great. I did a few shows early on and entered competitions, but I didn't have a lot of positive response, and the money wasn't coming. I guess you could say I gave up the notion that my job would have me sitting at an easel every day, but I never gave up the idea that I was a creative, and so creativity was a feature in all the jobs I took. For instance, I landed my first professional position as an advertising director at a computer retail chain, back when they had those. My interview was to be about providing illustration work, but the woman who I was supposed to meet had since left her position. Somehow, I ended up with her job. They gave me a Mac and a stylus, and a lovely soul named Klina Dupree, who I wish I could find and thank, taught me how to use the tools. One thing I can say about myself is that if you give me something to draw with, I'm going to be able to use it. I learned to create images on that computer. I recall overhearing the store manager talking to the owner of the company on the phone, saying, "I don't know how she did it."
That serendipitous happenstance would be the start of decades of computer graphics in various forms.
All the while, I continued to paint… on canvas, on my walls, for my babies' nurseries, and so on.
Q. Looking back, how do you feel about your career path?
I do wish I could have found a way to stick it out. It was incredibly tough and discouraging, and I wasn't getting much support at home. Caring for my girls became my priority, and I'm proud of that and of them. After my marriage ended and I was on my own with these two little beings, having an art career didn't seem like an option for me. I know others have done it, but at that time, I didn't have the bandwidth to make it happen. However, I enjoyed my varied career positions and fulfilled myself with art projects for my home and my girls, just as my mother had done.
Looking back, I can say that mastering computer graphics, learning video editing and technical writing, and understanding the business world provided me with an edge that is invaluable to me now that I am back on the job as a full-time artist.
Artistic Process
Q. What do you strive for when you paint?
My work often depicts simple, ordinary objects or creatures pulled from the garden or everyday life, where I see something more. The truth is, I paint light. I sense some message in the captivating play of sunshine against shadow, much like the feeling of a lingering dream that you can't quite remember. Visions of gorgeous, natural light endow me with a wave of feeling as though I almost understand life. These moments give me a strong awareness of he importance of interconnectedness. The inspiration is so soothing and fleeting that I want to capture it, record it, and share it with every person that comes along.
Q. What media do you use?
Although I started with oils, discovering acrylics was like Christmas for me. The same workable ability without the smelly, messy paraphernalia required with the medium of oils was liberating. I like to work fast with my strokes and paint application. If I've handled an area on a piece and decide it isn't working, I don't want to have to wait for days to fix it.
I occasionally play around with pen and ink and watercolors, and these pieces tend to employ a stream of consciousness approach. Sometimes I want to make art where I don't have to think about it in the front of my head. It's a good way to relax and loosen up.
Q. What size are your paintings?
To date, my smallest piece was a 6" x 6" still life, and my largest is a 4' x 4' wall hanging, so I've got quite a variety of sizes. Currently, my reproductions range from 6" x 8" to 18" x 24."
Q. How about commissions?
I do take commissions for pet portraits, and I am open to other subjects, but I will only take a commission I know I can do well. My husband asked me the other day to paint a photo he had taken of a busy street corner in France. My first response to him was, "That doesn't look like something I would paint." I might give it a try to stretch a little, but it would be unfair for me to accept a commission for something I'm not sure I can do fabulously.
I mostly work from photographs, but they have to be good photos, with great light, so commissions require a lot of back and forth with the client. I'm always going to retain the right to say, "I can't do an adequate job with this photo as a reference." However, I can take a photo I know will make a good piece. For instance, to recreate a pet's personality, I've got to see that personality and can happily take photos if suitable ones are not available. I would charge for my time and travel if that were required. If a prospect wanted a certain still-life setup, let's say a sunflower with a bird sitting on it, I might take photos or find stock photography online, put it together with Photoshop, then send the client the digital image I plan to work from. I wouldn't start until both parties, myself and the client, agreed to the composition. I give an estimate based on size and complexity, and require a 1/3 down payment to start.
I've done some work with the human figure and have also been working on portraits of my grandchildren. I've got one down, and four to go. I'm not ready to accept commissioned portraits at this time, but I will see how I feel about it when I've finished the series. Never say never, right?!
Available Art
Q. How much do your pieces cost?
I downloaded a worksheet from another artist, Krystal Cole, who provides learning videos and products for artists. There's a lot out there on YouTube. I've gained so much from her videos and other artists as well. I love that it is such a sharing community. She suggested deciding to charge by the hour or by the square inch. Because I may struggle with some pieces and return to them again and again, I can't justify charging by the hour. Charging by the square inch gives me the flexibility to take the time I need. I sometimes adjust the total based on how successful or unsuccessful I deem the piece to be. The formula has my work in a range of $60 for smaller pieces to over $1000 for the bigger ones.
I plan to give myself raises occasionally, just like everybody else gets. These raises will be based on my skill level and inflation! I worked corporate, 9-5 jobs for 40 years, and could only paint on the side. Even still, I've gotten better since college days. Now that I am painting full-time, I've seen leaps in my skills and anticipate significant improvement over the next few years. I'll increase my prices accordingly.
Reproductions of some of my paintings are also available for folks who want to collect art but can't afford to pay for an original. Everybody should get to own art if they want it. Reproduction prices range from $17 to $95.
Q. Where can I purchase your art?
I have a For Sale section on this website. I also participate in art fairs and festivals and you can find out where on the Calendar page. For local Birmingham folks or those who wish to travel, I'm available to show pieces in person by appointment. Feel free to reach out through my Contact page, and we can get something on the books!
Q. Are your pieces framed?
No. I tend to use very understated frames, if any at all. The owner should decide on framing, and that makes the delivery much easier and saves everyone money. I don’t have to charge extra for the weight the frame adds to the shipping cost, and I don’t have to add fees for a frame the purchaser may not even want. Some of my paintings have a frame of sorts painted right onto the canvas. All of them have been painted around all four edges, so they look finished even without a frame.
Q. Do you accept returns?
Yes, but because I go to great effort to be very clear about the piece regarding size and color, and provide plenty of detailed images of each piece, I feel the customer knows well what they are getting. I would not pay for the return shipping, but will refund the cost of the piece once it is returned to me in good order.