Reflections

When I was a little girl, it was my job to polish my mother's silver tea service for Thanksgiving and Christmas dinners. This is her sugar bowl and painting it brought back many memories.

Reflections on metal are fascinating. Silver is painted much darker than you would think and the best way I have found is to forget what you are looking at and simply paint the colors you see. Tip: Turn off the left side of your brain and give free rein to the right.

Works for me!

Sugar Bowl and Rose   6"x6"

Planning for Winter

The weather has turned and rather than spend those days when plein air is not possible working totally from sketches/photos/memory, I am going to rediscover still life (subject matter that I haven't visited very often in the last few years). I have set up a corner with a light, various fabrics for draping, and have started a collection of different objects to paint, including some crocheted doilies that have been in the family for a while.

I seem to gravitate toward kitchen objects at the moment, and I like to raid the refrigerator for fruits and vegetables.

The little 6" x 6" painting below is a Granny Smith that pleased my eye. After I was done painting, I ate it and it was delicious!

Granny Smith    6x6

Little Bit of Heaven

I always encourage anyone who will listen to visit Alaska if they get a chance.  I have seen no landscape more spectacular. Denali guides get to see such sights as this, painted from several photos my son brought back from one of his expeditions.
I was struck by the graphic, abstract qualities of the landscape and tried to think of composition before subject matter. I will probably never make it to this altitude in reality, but maybe I can get there on canvas.

Josh's Office   9" x 12"  oil on canvas

Welcome Autumn!

When the weather turns cool I feel the need to paint in oranges, golds, and browns. My favorite time of the year urges me to head for the woods paint the glories of Autumn. When I can't get out, I bring the harvest to me in the form of pumpkins, gourds, Indian corn, and mums.

I never tire of their beauty and variety!

Autumn Still LIfe   oil on canvas  12 x 16

A Moment in Time

Conventional wisdom by conventional artists says that morning light is cool and afternoon light is warm. But the other morning, as I started out on my morning walk, I hadn't even gotten out of the driveway before I was stopped in my tracks by the light shining on a group of tree trunks. They were lit with an intense reddish light that was made all the more dramatic by the cool blues in the mist shrouded background.
I couldn't get it out of my head and so I painted it as best I could. I wish I could paint with light instead of pigments so that everyone could see what I saw.

September Morning Light   16" x 20"

Sometimes conventional wisdom needs to be ignored.......

I've got four hours....so paint!

Hiking in Trexler Nature Preserve is always a balm to the soul. This painting is done from sketches and photos taken on the trail. Deep summer is SO green....but there are a thousand different greens. I recently read that the human eye can see 10,000 different colors. How marvelous!! I will bite my tongue the next time I am tempted to complain about the color "monotony" of a scene.

Initial sketch in yellow ochre on a toned canvas.

After two hours of painting.

After four hours of painting.

At the two hour point things slowed down considerably. When I reach that point in a painting decisions become more critical, and so I become more careful. I put the painting away and let it "rest" overnight. Next day I studied it again (with fresh eyes), made a mark here or there, then signed it. Done!

The painting is 16" x 20".

Earthquakes, Hurricanes and Flooding, Oh My!

I made it back safe from Alaska (no problems coming back) and what do I find when I get home? First, an earthquake. Then, a hurricane. Cleanup from the flooding is going to delay me painting so many of the wonderful landscape scenes I encountered on my visit north.

I did sneak off for a few hours to paint a quick sky study and decided to see how close in value and how neutral in color I could make it and still have it "read" well. I tend to go for bolder colors and values that range from 1 - 10, so I thought this would be a good exercise for me. Did I succeed?

Grey Day Above    9" x 12"

Painting Turnagain Arm

Painted along Turnagain Arm today and was glad I didn't meet up with the black bear up the trail that several hikers encountered throughout the day. Lucky for all of us the bear turned tail whenever he saw anybody. I was in the same spot, morning through afternoon, and though I heard some noises I never actually saw the bear.
Several people stopped to watch me paint. All were courteous and encouraging.

Glorious weather, quiet painting time to myself. A good day!

Along Turnagain Arm they have some of the strongest and fastest bore tides ever.

Todays painting from the same spot as the photo.  9"x12"

Flightseeing in Alaska

I finally made it to AK and am coping with sensory overload. Too much good stuff!!

Went flightseeing around Denali and collected enough material to paint on for years.  The scale of everything is unbelievable. Talk about supersized!

Here's some pics.......

Flying toward Denali, still 40 miles out: highest spot in North America.

The two Peaks of Denali. South Peak (in front) is the true summit.

"The Moose's Tooth" - Love the names of some of the peaks!

I once heard a comedian say, "What America needs for vacationers is a good ocean in the mountains." Well, Alaska's got it.

Looking across Turnagain Arm. When the tide comes in it rushes up this river in a wave called a bore tide and can be 10 feet in height. Don't get caught in it.

If you are looking for a place with endless subject matter for the landscape painter, Alaska is it!

Alaska Vacation Start

Well, well, well.

I had everything so carefully planned. My Alaska Adventure has hit a snag.

The first leg (Philly to Boston) was delayed because of a thunderstorm. But, I still might have made my connection had they not discovered a "baggage count discrepancy". So, after waiting on the tarmac, it's back to the gate to resolve the problem. then back out onto the tarmac for another hour and half of waiting. I was 3 hours late for my connection. Thank you, US Airways.

The next flight I was able to get was for the next day and since the only motel in the area that wasn't full was $349 a night (airline wouldn't pay) I spent the night in Logan Airport in Boston. It's hard to sleep sitting in a chair. Supposed to leave on the new flight at 3:30  this afternoon, but my confidence is shaken and I am taking all promises with a grain of salt...a big grain of salt.

No pictures this post, though some of the people passing before me, lo these many hours, are interesting (if not downright strange). Was roundly cursed by a man (homeless?crazy?) who accused me of "running him off" when I sat down three seats away from him.

Thank you, whoever invented Excedrin Extra Strength.

Framing: this Artist's Bane

Wall of frames: be afraid, be very afraid......

Why can't someone invent a Universal Frame? I'm not talking about size. I'm talking about a frame that looks good on whatever style of artwork you put it around and doesn't cost an arm and a leg! Perhaps the only part I hate about painting is having to frame the thing. And yet I know that if you choose the wrong frame you can effectively kill a painting, so care must be taken.

When I was in college I often just "stripped" the paintings (nailed thin strips of wood to the outer edges). It was cheap, I could do it myself, and it went fine with the strange, abstract, and odd things we were required to create in order to get that degree. But the kinds of things I am doing now need more than that, and I would rather be painting than sawing and nailing frames together.

Custom framing (even with my 60% off coupon) is out of the question, so I haunt art stores looking for frames on sale and comb the internet (always a risk since you can't actually touch the frame and computer colors can lie). I also recycle frames that I already have. Paintings of the same size going to competitions at different times can wear the same frame, but for a big show where all your works are exhibited this doesn't work. Right now I have approximately 25 paintings sitting around waiting for a frame of their own.

My latest foray has been to frame my painting, "Heart of the Mill", that is off to a competition. It was the usual agony and the results were only adequate, I couldn't afford spectacular.

I have no solution except to soldier on. But if someone ever invents a Universal Frame they should get in touch with me. I'll buy a few!!

An Image of the Mill

Heart of the Mill   14 x18

Here's my entry into the "Images of the Mill" competition. Though I think most will portray a distinctive tall red building that is on the mill grounds I was struck by the sun hitting an old millstone leaning against the side of the mill house. It created a formal composition of basic shapes that captured me. The rocks beneath the stucco seem visually complicated until you just think of them as spots of color. Forget what you are looking at and put down the spots. When you are done it will be a rock wall.

Detail: Heart of the Mill

Now to find a frame!

Keep It Soft

The Clouds Roll In  8x10

Hay Days  8x10

 

Evening Falls  8x10

I have grown more interested in atmospheric effects as of late. Most of my works were concerned with the landscape and its varied appearances, but lately I have started to look up and see how interesting the sky can be.

I, also, have always painted in terms of sharp contrast and strong color. So with these three little studies I set out to keep the paintings soft and undefined for as long as possible. How much information can you convey without getting specific?

It turns out, quite a lot! These little paintings were done, almost exclusively, with a #10 flat brush. Only at the finish did I use a small round brush (#2) to make a few small lines and to sign my name.

*Tip: As long as you keep the edges soft, it is easy to make changes and suggest shapes. As soon as you put down a hard edge, you "pin it down". But, if a painting is all soft edges it can look mushy, and all hard edges can get boring. So beware of going too far in one direction or the other.

Daisies

I don't do too many flower paintings (hardly any) because they often seem too sweet or pretty. But to do one is not easy! Here's a quick study of daisies that I found growing out in the pasture. I find that it is very hard to avoid cliche's when doing flowers. Especially when dealing with daisies!

Daisy Study   6" x 8"

I Got an Award!

Kennesaw Pair    9"x12"

This weekend I entered this painting into an art show in the area and got an" Honorable Mention"! I'm so encouraged and wish I could paint all day, but......every time I put something down I lose it and this lets me know that the clutter has gotten so bad around here that it is beginning to act as camouflage. So today I clean up, then tomorrow I will paint. I always feel more relaxed and creative when my studio is straightened up anyway.

Maybe next time it a blue ribbon.

Plein Air in Carversville

I and three friends from the workshop that I recently took traveled to Carversville, PA and we spent a morning and part of the afternoon painting and enjoying the out of doors. We stopped to eat lunch at the General Store and had such a pleasant day we are going back again next week.

First order of business, Gather up all the gear. Pochade box, paints, brushes, medium, tripod, chair (if I need it. I usually paint standing), dry carriers, and camera. What you don't see is my big hat and sunblock (essential!).

We met in town, scoped out the area, and found lots of painting material.

Streams and woods.

A stone bridge crossing the stream.

A heavily backlit red barn.

Ok,ok,.....I know everybody and his brother has painted a red barn. But, the building adds structure to the chaos of nature and I like the backlighting. Never tried that before.

So I painted it!

In 1 1/2 hours I gathered enough info to paint a larger work if I wanted to, and though the shapes are somewhat awkward, it was the light I was concerned with and I am happy with what I learned.

No, she's not doing a painting of the back of her car.

When you can find a spot where you can use the back of your car as a taboret it is luxury plein air! Having a hatchback works great, too.    *Tip:You can actually paint in the rain with canvas and paints in the back, while you stand under the hatchback door.....unless you are super tall.

Painting the back of the Carversville Inn.

The light on a stone bridge was dramatic.

   In the afternoon the bugs descended and all the Off! in the world couldn't keep them away, but all in all, not a bad day!!

Northeastern Waterfall

You may think I labored over this painting....but I didn't!

You may think there's a lot of detail....But there's not!

I completed the painting (it's only 10" x 10") in three short sessions of 1-2 hrs over two days.


Everything was scrubbed in very fast and loose. Then later, I became a little more circumspect and carefully added some highlights.

That's all, the paint did the work.



Here are steps:

Quick sketch to show major shapes and areas of value.

Major darks scrubbed in. This and the next two photos are actually much lighter than they look in real life.
The camera kept lightening everything up, seeking a middle value for the photo (it thought it was helping me). It wasn't until the final photo that I discovered that by focusing on half painting and half white sheet of paper, then moving to the whole painting without refocusing, I could trick the camera and get the photo to look more like the actual color values (guess I need to learn more about digital cameras).


Live and learn....

Strengthening the darks and greens. Still loosey goosey.

Now, I slow down and start to add some lights.  I am thinking about what hue, value, and intensity are needed to make some parts come forward and others to recede.
Though the water looks white, it isn't. I haven't touched it yet with highlights.

I usually (but not always) work from top to bottom. You can see that the top looks much more finished than the painting further down.

From this point on I was adding only highlights (remember the dark areas were actually much darker than show in this photo).

And the results!


Once I had put in the sunlit water the sky looked much too dark, so I mixed up a lighter blue and restated the sky.

Workshop Week

Workshops are a wonderful way to immerse yourself in a learning experience and jump start enthusiasm. Being surrounded by like minded people can encourage a flagging ego and is a wealth of information as students share experiences and the instructor guides and critiques.

Bob Rohm demos at Cuttalossa Farm.

This past week I stepped out of my comfort zone (and isn't that part of attending a workshop?) and painted en plein air with Bucks County Art Workshops.  They offer an excellent variety of learning experiences and top notch international teachers. Jackie runs a tight ship and makes the painting experience a joy (Oh, those delicious lunches delivered to us each day...kiss Macario for me!).

Stone Ridge Farm B&B where Bucks County Art Workshops are held.

Bob Rohm was our fearless leader this week and led his small band to scenic spots each day where he would do a demo and then guide us as we worked. A great help to me was Bob's "Painterly Checklist" designed to make us aware of various compositional concerns (lightest light, darkest dark, most dynamic edge, etc.) Sometimes a painting simply isn't working, but we don't know why. This checklist can help.

I also threw caution to the wind by tossing aside my yellow ochre (my safety blanket for many years) and not toning my canvases before painting (hard to give up many years of tradition). Small changes, but for me big psychological humps to get over!

I generally avoid architecture of all kinds, trees are easier (who knows if a tree is crooked or not?), but decided to tackle the barn at Willoughby Farm.

Instructor came along and said "Stop! Don't do any more".  Thank you, Bob!
I have a tendency to keep painting until it is overdone, so it was good to have someone to put a stop to the overworking. Hopefully I will begin to employ some internal brakes from now on.

Pastels are something I haven't studied, so the demo Bob did at Stover Mill was especially fascinating to me. Building up careful layers of color was beautiful to watch. Watch out for poison ivy, though....

Friday was Critique Day and everyone put up their work for the week, to be seen and critiqued by the instructor. Critiques are a great way to learn as dozens of paintings are discussed and the instructor points out various aspects.  Good stuff!

Sheep shed at Cuttalossa Farm. Daniel Garber had his studio at Cuttalossa.

So I've already started saving my pennies and making plans. I'd like to do another workshop next year!

Anticipation

Big day tomorrow. actually a big week! This week I am taking a painting workshop and am expecting an exciting week of new ideas and getting to rub shoulders with fellow artists.

I'm heading over to Bucks County Artists Workshops to take a plein air class where I am sure we will visit various scenic localities in upper Bucks County. Getting my gear ready and trying to make sure I don't forget anything, though I am sure that if I come up short on supplies some kindly fellow student will help out. Praying for good weather!

I'll be reporting on my progress....don't expect any masterpieces, though. That very seldom happens in a teaching situation. You're supposed to be learning and "stretching" yourself, stepping out of that comfort zone and trying something new. Hopefully the masterpieces (or at least the competent paintings) should come later.

Storm over Slifer Valley - 16 x 20   oil on canvas

Three S's for Plein Air

Frank LaLumia says that there are three S's to plein air painting: See it, Simplify it, State it.

See it: You must look beyond the beautiful elements and penetrate to the essence of the subject. Color and Value relationships between these elements are the foundation of your work. And you must translate a three dimensional world onto a two dimensional surface.

Simplify it: Keep the essential and eliminate the unnecessary. If you cram everything out there onto the canvas it will be chaotic and confusing. Decide what attracted you to the scene to begin with and emphasize that. Anything that doesn't support and enhance your idea can be eliminated. Here's where preliminary sketches are a help. Work out your ideas in a thumbnail sketch and you save a lot of time and paint.

State it: Millard Sheets said, "Don't search with your brush. State it!".  Decisions must be made all the time, but once decided, proceed with confidence. "State it" combines visual perception with technique. And because of the time factor in plein air painting, say it with as few strokes as possible.

I enjoy seeing the progression of the painting as an artist works, so here's something I just finished photographed at the halfway point and after finished.

Halfway through - this is painted on top of another, failed painting (I am ever frugal).

Finished painting - "Autumn Fields"   11 x 14

Permission to Experiment, Sir!

I recently read in a newsletter that I receive about an experiment in which they gave children a new toy to play with and then filmed them, keeping an account of how long they played and how many ways they found to use the strange new toy. Some of the children were shown in advance about several things the toy could do, while others were just given the toy ("Look at this! How cool is this?") and told to play.

The results? Those children who were NOT told how to use the toy played with it longer and found more ways to play with it than those who WERE told.

When I teach I have found that there are always a few students who will take what I show them and use it as a springboard to expand on the idea and loose their creativity. But, most people seem reluctant to experiment and need my permission to try something unusual. I suppose this is a trait we acquire as we are growing up and is usually a good idea when it comes to self preservation (experimenting with fire when you are very young is one example of something that could have tragic results). So, we often must relearn that trait of inquisitiveness and inventiveness.

So I am giving you permission to experiment, to play, and if what you try doesn't work out.....whose to know? You are not being graded and the only consequence will be that next time you will know what NOT to do.

Have fun!!

Kennesaw Pair

Here's a little experiment where I violated some of the rules of composition, just to see what would happen, and you are seeing it here because it worked (if it hadn't it, it would be in the garbage never to be seen again). Instead of placing the two trees in a standard way on the canvas, I chopped off the bottoms making them more of a visual barrier that you must get around before you can enter the picture.

Not standard, but it works.

Quickie

I have such a pull toward refining whatever I work on that I am always in danger of making what I paint look like a photograph. And with apologies to Chuck Close, if I want it to look like a photograph I will just grab my camera and take a photograph.

So, a lot of my artistic life has been a conscious effort to loosen up and not be so enslaved by the exact image before me. But not being tied to the image before me does not mean I am excused from all the elements that create a good painting. I still must balance color, value, shape, texture, rhythm, repetition, space, etc, etc.

So here's my assignment to myself: Complete a small painting in 1 hour, working alla prima, and using twice as much paint as I usually do. I am so stingy with my paint (it's SO expensive) and this, by all accounts, can cramp your style and slow you down.

And here's the result.

It is rough and unrefined, but I am happy with it, nonetheless. It is only 8" x 10" and I used a #6 flat brush (about 1/2 inch wide) most of the time to keep me from getting detailed too fast.
Pushing the paint across the canvas surface created actual texture (as opposed to visual texture) and made for a rich surface.
I may use this study for a larger, more refined painting later on.
Or maybe not.... maybe I'll let it stand on its own.



*Tip - squeeze out twice as much paint onto your palette as you think you will need. That way you won't skimp on pigment and you also won't waste time having to stop to squeeze out additional paint and disrupt your painting rhythm.

Wonderful Day....Epic Fail!

 Visited Trexler Nature Preserve in Schnecksville, PA, the other day and had a glorious time tramping along their well maintained trails and taking photos for future reference. I will definately be going back!

There are miles and miles of hiking and horseback riding trails that offer unlimited scenery and are rated "easy", "moderate", and "hard" (this is so that I, a novice hiker, won't wander onto the wrong path and wind up missing for days as I try to crawl back to civilization along a trail nicknamed "Death March").

The weather was spectacular and I thoroughly enjoy my hours in the woods. I even stopped to do a quick little painting, but the results were less than stellar (hence the phrase "epic fail" in the title).

Trexler Nature Preserve in PA.

I parked myself on the edge of a field, dragged out all my gear and went to work.

Here's what I saw.

My set up. The pochade box is the one I made (instuctions here).

A quick blocking out of the shapes.

First lay in of color.

After one hour.

I set a deadline of one hour for myself because I have a tendency to pick at things and get too tight too soon. Choosing such a short time frame forces me to loosen up and cover more ground, faster.

But, after and hour I was very unhappy with what I had. In the distance I could see a couple of hikers coming up the trail, so rather than answer questions and try to justify a poor painting (not sure why I should care what they think, though), I just packed up and started back.

What went wrong? I think I had two main problems. I should have seen it then, but when you work outside you have to think on the fly and that is something that gets easier with practice.

Not enough value contrast : next time I will bring a medium that speeds drying. That way the colors will not sink into each other and I will be able to more easily show contrast.

Not enough color variation : green, green, and more green!! Yes, there really was a lot of green out there, but I should have used a little artistic license to change those colors and add interest and depth.

So that's my analysis. What do you think?