Still Searching

"Sometimes It's Windy"

oil on canvas panel, 8" x 10"

I am still searching for the ideal brush and painting surface. The last two paintings have been worked at the end with a sable flat. It has a nice feel and leaves a beautiful streak of paint . . .as opposed to bristle brushes that often leave ragged edges . . . .I still use the latter for much of the work but find the sable is a great brush for finishing a piece.

I recently obtained some Ray Mar canvas panels. The weave is made for landscape painting and seems quite absorbant. This painting, I took someone's suggestion to coat the panel with a good coat of gesso. It takes a little while for the paint to soak in, so I will check later to see if the canvas drank everything or left signs of brushwork. Still so much to learn!

Today, I wasn't in a rush. I think it made a difference. Looking at the photo, however, it looks different than the actual piece in a frame.

Racing Time

"Afternoon At The Point"

Oil on canvas panel, 8" x 10"

Often, I am amazed at my lack of introspection in this painting process. Today was a day of catching up on errands and such. At 3:30PM I still had not painted, so I jumped at the chance, knowing it would be dark by 6-ish. I Love this spot and gravitate to it almost automatically.

Mind you, I love being loose at the operating end of the brush, but have noticed that I frequently don't put the finishes I should on these plein air pieces. I realize now . . .( after a hundred paintings ) . . . that unless I have set aside an entire day to paint, I am in the mental space to 'sqeeze it in' and get on with the other stuff (like work!) in the day. As I look at those pieces where I had but a short slice of time, I hurried. I hurried in a slap dash way. I dunno, but I am wondering if a lot of slap dash practice is good practice . . . . .or is a little bit of perfect practice better?

When grabbing the afternoon near the golden hour just before sunset, one is automatically in the rush mode to catch the light before it is gone entirely. I am going to have to ponder this question about quantity versus quality for a while yet. I am still searching for the 'right' surface, the most useful brush which gives me the effects that I want and, of course, the amount of paint that speaks loudest not only about the subject, but the artist.

Racing time, is, I think, the direction I will head for a while yet. I think less and react quickly without over-thinking. And that is a good thing. Eventually, quality does appear.

Now to go see what Mr. Schmid has to say in his book! ;-)

Homecoming!

"Impressions of Sims Road"

oil on canvas on panel, 8" x 10"

The workshop is finished. Open Studio is over (so over!!!). Daughter's engagement soire' was a blast. I could not wait to get out and paint this morning. The sun was out first thing. I ran to pull my stuff together and scramble to the site (one block away!). By the time I arrived, the fog had rolled in and enveloped everything so badly I could hardly see it.

I said, "Okay. This is what we paint: fog!" 40 minutes into the painting, it all broke and the sun came out. Change or stay with the plan? I changed.

After so many weeks and days of not being able to get out and paint, this was like a drink of cool water on a sweltering day! I had fun!! And I noticed that I am waaaay out of practice!

I know just how to fix that!! I'll be out there tomorrow, if it isn't raining.

Needed Advice From Plein Air Painters

While I am away teaching this week, I would be interested in comments from other plein air painters about what they paint on. I have ordered some panels and find myself wondering what other painters use and why. I would be interested in your thoughts about what you use and the sources. Just click on the comment link below and let me know. Thanks.

Before I Go . . . .

"Five Pears"

oil on linen/panel, 8" x10"

Before I go, I had to reacquaint myself with some special feelings . . . .those that run through my arm and abdomen when I am smearing oil paint on a canvas.

After not painting oils for at least 3 weeks, I couldn't go another day without schmearing a little color around. I have much to get done today . . .dismantle the open studio show, put the house back together, finish up my workshop preparations, then leave in the morning for a week to teach the workshop and attend to some important family matters . . .another marriage in the family is on the horizon!

So, before I get to work and before I leave, I just HAD to make some hasty marks about these five pears . . . .(there are only four now . . . I just ate one of the delicious, juicy rascals!) . . .no time for perfection today . . .just move some paint and get reacquainted. Monday next I begin again painting daily. Can't wait!!

Nervous !

"Workshop Preparations"

Sometimes, the notion comes over me that I must have ADD or be learning impaired in some way. The new color workshop is but a few days away and I am nervously wondering if I have covered the ground, made clear the lessons and not confused the audience. The angst grows.

I have been studying color, off and on intensely, and it is still confusing to me. I will look at a color I just painted and wonder, “How did I come up with thaaaat? What if I had to repeat that color? Could I do it?” After painting nearly daily for almost twenty years and building lots of charts for familiarization, it still escapes me to put into words how to get to a special color. Is it possible that there is no verbal explanation for sensory intelligence? Is there a deeper, non logical, sense or cognitive method that takes a painter to a certain color? How does that painter know what colors to begin with in order to mix and locate a specific tone, shade or tint?

I just don’t know. But I do know this: Practice, practice and more practice helps a lot. It awakens the ‘color muscle’ and tones it up. It even makes it strong.

I have been working on developing this 3 day workshop for over two months . . .even with the open studio preparations. A few hours here and there, then for the last week, nine and ten hour days in the studio practicing, developing exercises, explanations, puzzles and all sorts of applications for a set of ten colors to 12 colors . . . .every day!

M. Graham, a small, privately owned paint company in Oregon, has agreed to sponsor this workshop. As I have been working with these colors they provided, I am continuously surprised and amazed, over and over, at the density of the pigment and how predictable their paints are. ( I don’t know why I am amazed. I have been using their paints for a few years!) They manufacture lines of watercolor, acrylic, oil and gouache. And they are no strangers to this business! They ‘get it’ about what painters need and want . . . .and they cut the romance and meaningless statements out of their marketing approach. They simply make the best paint available. AND they are continually looking to make better what they already do. For example, the cadmium red pigment they use is chosen so that it is not absorbable through the skin! Their oil paints are made without toxic oils or solvents. Using walnut oil, they seek to produce a superior, non toxic product. They want to protect the painter and still provide a superior product that delivers clean, saturated color. My hat is off to the owners and the noble stand they make for quality and health protection. Moreover, they have created in me a steadfast loyalty that will not be easily shaken. Thank you, M. Graham, for your generosity and for your conscience!! I know 25 people who will be blown away by your product!

To make this workshop more than just theory, we are bringing Graham’s pigments to the workshop participants. This session won’t be casual theory, for sure! I made (and hand painted) 7 sets of 13 different colored wooden blocks for the exercises, explanations and painting practice. (you can see them in the photo above). As I am playing around and looking at these blocks in different combinations, suddenly the lessons I am teaching are sitting before my eyes in 3D!! Incredible realizations are appearing in ways I could never explain! These blocks will give hands on manipulations of color relationships! Color relationships is what this whole workshop is about; putting theory, lessons and perceptions to work by applying them in our paintings. (I can’t believe that I am attempting this in three days!!!).

As always, when the starting line is in sight, I begin to tighten up and get a bit nervous. I am still adjusting and tweaking the lessons and trying to keep them lively and effective. In the end, after one or two of these classes, I will have the feedback necessary to can the workshop or perfect it. I am hoping that this group of 25 painters will walk through the door at the end of the third day with new perspectives, attitudes and enlightenment about their use of color. In fact, I hope they get down right excited about this stuff!

Onward to the starting line!!!

Can Anyone Hear Me?

Can anyone hear me wimpering 'uncle?'

Can anyone hear me yelling at all? I am so tired, it seems I could go to sleep for a week or more!

But it is probably better that you don't hear. No one likes complaining. So, here is a run down of excuses why I haven't been oil painting.

10. I stayed up too late watching "The Bachelor" last night. (huh? Whaas thaaat?)
9. I awoke waaaay too early this morning. ( so? )
8. I ran out of titanium white. (doubtful!)
7. I have nothing to paint on, like canvas or linen. ( so, uh, what's that big roll in your studio?)
6. The buyers have been ringing the phone 24/7 begging for more work. (Beeee Essss!)
5. I have been lost in deeeeeep meditation. (You've ALWAYS been lost, dude!)
4. I ran out of gas. (That is simply impossible, knowing you, Bailey) (ahem!)
3. I am stuck on what I should teach at the upcoming workshop. (You????)
2. While I am busy all weekend hosting people at open studio, my honey-do list has balooned.

And the number one reason why I haven't been painting . . . . .

1. I have spent nearly every spare moment preparing for the upcoming color workshop to be given in Murphys, California

And furthermore . . . . . I am rising early running to the studio and digging in to make charts, color wheels, puzzles and exercises. Making and painting wood blocks to paint . . .and more. . . . .while I keep everything perfectly neat, and re-tidy, for this weekend's last open studio session. (Uncle!!)(Enuff, already!!)

Soon, everyone! Soon!!

A Twitch in My Right Arm

Quickly! There is a disturbing itch developing near the crown of your head. Scratch it!!!

When you scratched, did you draw blood or make a wound of any kind? Obviously, not. Since you inflicted no damage, how much pressure did you use? In what direction did you scratch? How many strokes did you use? Did you use fingernails or finger tips? Did you satisfy the itch? Yes? If so, how did you know when you were finished scratching? When it didn’t itch anymore? How did you know that?

My guess is that we all developed this reflexive and second nature skill through tens of thousands of ‘itch scratching’ occurrences. In other words, a whale of a lot of PRACTICE ! You know exactly how to scratch and don’t even think about it much when you do it . . . right? Of course!!

Color mixing and learning about color characteristics and applying that stuff in a painting is much more than pulling the ‘right crayon’ from the box. It really is about understanding the color relationships you are building into the painting. It is how this color is going to react with the other colors in the painting.

But . . . . . . . How does one KNOW about relationships and how a color will react with the others next to it, away from it, mixed with it, surrounded by it etc? How many books have been written about color? How many opportunities to practice mixing different greens have you,( the artist), taken to fill reams of canvas or paper to achieve that “knowing” of when it is right. How many different colors on your palette are possible to use in the mixing of greens? How much PRACTICE have you put in to learn it? Are you waiting for the right moment when you need that certain green to figure it out? Or, are you developing the skill quietly by yourself so, when the need arises, you can deliver it in spades?

I am preparing a first time three day workshop on Color Relationships to be given in Murphys, California near the end of this month. 25 participants will be there to learn more about the utility of color, color harmonies and color relationships. At least, we will be able to put out enough knowledge to make any painter “dangerous” with color if they develop and PRACTICE their skills AFTER the workshop.

How does one explain color harmony? Comments anyone? What about color relationships? How does one explain that? How does one awaken the thinking muscle about color when one is the teacher? I have ideas and would be interested in yours. Drop me a note or comment. Meanwhile, our house is still ‘the gallery’ for open studio. I am cleaning house again today and fussing with details and more outdoor clean up to get ready for tomorrow.

I am sure you would be interested in knowing my right arm is under severe “twitch observation” since I have not been able to find a moment to actively paint. The twitch is from brush neglect! And it is painful!!

You Had to Be There!

The Yosemite Display

The Garden Wall . . .both oils and watercolors

The Dining Area display . . .all small oils

Well, it's not over, yet. There are two weekends to go. We had a moderate turn out on Saturday and had a great crowd on Sunday. A number of things sold from every category! I will be making note of those paintings previously posted that have sold later. Today I have to complete some nagging things including a doctor's visit that I have been postponing. Hopefully, the studio will be smelling like turp this afternoon!

I heard some comments such as, "OMG!! This is NOTHING like we have seen on the blog!!" or, "These are spectacular! They look nothing like they did on the computer!" or, "Holy Cow!! These are amazing! They are everywhere!!"

The last comment is near true. There are paintings all over the house, the outdoors and the studio. There are a few missing from early sales, but there is still soooo much to see.

These is what some of the set up looked like on Saturday Morning just before we opened. The black walled display is our dining room. The set up outside . . .the masonite peg board wall has to be built for this event . . .then taken down, disassembled and put away till next year.

I sure hope you can come by this weekend or next!!

Uncommonly Busy Here

"Base Of The Wall"

Watercolor, 30" x 22"

Painted in November 2006 at Yosemite National Park

Hi! It's nice you came by to visit today. Sorry I have no paintings to show for the last few days. As you might already know, I am holding open studio here at my house beginning this weekend.

People wonder why I have made such a ton of work out of this event. Let me count the ways . . . ;-)

As you already know, I am somewhat compulsive . . .somewhat???? Whaddayamean, 'somewhat?!' . . . .seems mighty compulsive to me!!!! . . . . . .So, in the course of one year, I produce a lot of paintings. Just since May 1, I passed 100 new paintings. Of course, some went in the trash bin, but don't forget I was painting before that, too. For example, I spent a week in Yosemite, last year, following open studio and came up with some nice watercolors from there. In fact, here is one that will be appearing in the show. But that is another story.

Back to what I was saying . . . .a lot of new work . . . .there will be nearly 140 paintings on display for this event. In order to do so, I have to change the configuaration of the internals of the house, build a display (large!) set up out doors, protect everything from rain, clean studio and then do all the nit picking stuff, starting with the framing . . .making price tags, doing inventory, blah blah blah. Believe me, it is an endless, daunting undertaking.

Mind you, I am not complaining at all!! I chose this mode of living and, before I did so, looked on others who did the same sort of thing with great envy. I live the life I have always wanted to live. Frankly, even though this sort of thing is lot of bother and work, it is precisely a result of the fantastic blessings that have been bestowed upon me. For that, I am most grateful!!

I needed to make a post today to let you know that all is well here, I am just not at the easel these last few days. Be advised I will be tearing into it immediately after closing the doors on my first weekend.

Hope you can join us here for the fun. It would be great to see you!!

Compulsion and Haste

"Salt Pot and Pepper"

oil on linen on panel, 6" x 8"

I suppose, if anything, I am a compulsive obsessive about painting. Is it some sort of endorphin that I gain from moving the brush and solving challenges on the canvas? Beats me! All I know is that I am up to my hips in work that has to be done . . . .and I am talking drudgery . . .to prep for open studio. What do I do? I talk myself into a hasty session at the easel to pop something out for the day. Yes, this one has its issues in terms of a great painting . . .but I gotta git bizzy and quit messin around.

So, after making this little mess. I am off to continue from where I left off yesterday and to continue worrying if I will have it all done.