Its simple to pick up my paint brush and express myself, laying down my feelings with paint. I can write about the landscapes I paint and spend hours explaining each object in a still-life. Jordan Rose is a different story. She is simply Jordan to most people, a special person. In my mind she is Jordan Rose, on my canvas she is Jordan Rose. This is my first blog about Jordan.

I've lost count of the number of paintings I've done of her and the drawings. Well, I've spent a small fortune on charcoal and pencils and I still have drawings in mind I want to do of her. She is a special person in my life. Two and a half years ago she brought Josephine into my life, another little person that brings a spiritual awareness to me and my work.

Today I worked on a painting of my roses and each stroke, each petal of each rose, carries feelings I have for these two people. How Jordan effects paintings she is not even in is mystery to me. Well, maybe it isn't a mystery, maybe I just haven't totally admitted to myself that I paint for Jordan now - Jordan and for Josephine. I reach inside myself to raise the level of each painting because of Jordan. For a while, there I was, headed for cruise control with my art. Now each stroke is important to me. I see in other artists works a spark that keeps each painting fresh and I wonder who the special person is inspiring them to stretch farther with each painting they do. Some paintings radiate with insight, feelings and hope.

I love selling paintings of Jordan, putting her into people's life. A few paintings I really would love to hold onto, but I love them more when I sell them. I figure those inviting the work into their home see a bit of what Jordan means to me. Now I have Josephine to share with people.

7 out 10 artist suffer from Photophobia. This career-ending infection invades the artist early in their career, slowing their development and in some cases prevents them from even starting a career. It can keep one out of competitions and galleries if left untreated. It can manifest itself in other forms of painting - like Plein Air. It first attacks the editing ability of an artists thinking, then easily spreads. One will be out in the field painting and simply be unable to leave something entirely unnecessary to the work off the canvas.

A barn with ten windows and a tree in front can look great in a photo or in person, yet doesn't transfer well to canvas. Even a great photo needs editing. An artists skills should tell him what needs editing. A photo of a man writing at a desk can make for a great painting when one doesn't suffer from Photophobia. For example, in the photo, we know the man has four fingers and a thumb even though we see only three fingers on each hand due to objects blocking our view of them. However, perhaps due to the style of painting the artist uses, the man appears to have just three fingers on each hand. Little things like too many windows in a barn or too few fingers on a hand can keep one out of a competition and a gallery.

Photophobia affects design and composition. Being afraid to change anything about the photo can destroy the design of a painting - and design is of utmost importance to an artist. A good design holds the viewer's interest, keeps the painting fresh looking and full of life. Artists become slaves to photos and the fear of altering them. They carry that thinking into the field and into the studio with them. I once saw a friend destroy a wonderful on-the-spot painting in the studio by corrections he believed necessary because of the photo he took of the subject. Believing the photo always to be the best way of capturing a subject can prevent one from developing as an artist.