From Laura: "I agree with the Balanced Statement in both of your examples. For me it has become like that....there is enough instinct, when you get in the zone and allow it to flow, that the painting "works by itself". Yes, rules are good to fall back on, they can carry you through the dry moments when not in the flow, but I think you're right there too, a painting following rules too closely doesn't have much soul, looks trite and mechanical....

One side note. Have you ever read Julia Cameron's "The Artist's Way"? Talk about "soul". Its more than just reading. Its a "doing". I've been doing the Artists Way thing for 25 weeks now, it really has changed my life and taken me to an amazing level of creativity. If you haven't read about it, pull it up on Amazon and see what you think. It would be a great recommendation for artists trying to get unblocked...."

Good ol' buddy from Colorado David H wrote: "While it is true that every artist should know the language of art, knowing the language still doesn’t mean that the painting is a work of art. I think you left out an important ingredient to this conversation and that would be “emotion.” The idea of having something to say about your subject, real or abstract, tends to break one out of the need to paint with a formula. Also, knowing the language of art, the Elements and Principles of Design, doesn’t mean that one is working through a formula. As you have stated, being able to critically analyze one’s work is an important tool for artists.

That can only happen through the language of art. I would also like to add that learning to have a conversation between one’s work (through the language of art) adds to the pleasure of being an artist searching for just the right process that speaks to the artist’s emotions about that particular subject. It seems much more satisfying knowing how, when and where to break rules rather than going through an artistic life breaking rules one never knew existed. Learning the language of art does not promote working with a formula. Never looking at new paintings as a totally new experience with a whole set of new emotions and technical problems promotes working through a formula".