Today's Demo

"Rocks and Carpets"

Watercolor, 22 x 30 inches

This was the demo today. It is a fairly complex painting with challenges in linear perspective, atmospheric perspective, compostion, value structure, color and texture.

I attempted to show and discuss the thinking process in developing a decent watercolor painting, the preparation and planning to establish a strong composition to a 'standing room only' crowd of around 90 to 100 painters. it was exciting and fun!

As most of my readers know from reading this blog, and seeing the paintings posted here, I try very hard to go out to where other watercolorists visit rarely, if ever. This piece was more of a traditional watercolor painted so the audience would relate with the scene, as well as the structure of the piece. I attempted to show how the elements and principles apply in realism, as well as abstract painting.

If you were there, I hope you enjoyed it . . .and I hope you will comment here. All in all it was a fun afternoon, but I have to admit that it took several hours for me to 'come down.' I get nervous about these sort of things, even though I paint a lot.

This demo kicked off my ten week course beginning tomorrow, "Watercolor Beyond the Obvious." More about it later. Thanks to those who came today. You were a terrific audience!

Demo Announcement

Yep!! That's me . . .out in the field near Eymet, France.

But that is not what this is about. I am giving a big painting demo Sunday, Jan 24 at the Hoover Community Center in San Jose. Start time is 1:30 PM. . . .ending at 4PM

Look up Hoover Theater or Hoover Middle School in San Jose. The center is part of that complex and faces Naglee Avenue.

I would like to give an address, but, darn it! I don't have it. So, the next best thing is to get to the Hoover Theater at 1677 Park Avenue in San Jose, stick your head in the door and ask where the community center is. There will be people there to direct you.

Sure hope you can make it.

P.S. "Big" Demo means painting a big landscape on a "Big" piece of paper. ;-)

Testing Limits

"Chestnut St."

Unfinished- watercolor 22 x 30

When are we NOT LEARNING how to paint? Do we ever stop learning? Should an artist only paint what he or she knows? If I am the person to answer, I would say absolutely NOT to the last question. It is ALWAYS about learning!

So, what should an artist be stretching to learn after painting for 22 years?

Let’s start here: How about learning more about one’s capability? What about testing one’s self to remain in control no matter the circumstances at the easel? What of practice to smooth off rough edges in a project or series? How about testing “What Ifs” in color strategies? If you are a watercolorist, how about painting on wet paper and hurrying the process so the paper doesn’t dry? Or, what about a challenge to finish a full sheet in 90 minutes and driving one’s self a little bit nutz in the effort?

All of these things are about stretching. They are about experiencing circumstances out side of the comfort zone more often . . . . .so when they really do arise in a serious painting situation, the artist is more comfortable in working through the ‘emergency.’ It is in these times of horsing around to find out what happens that an artist gains precious experience.

So!! You tell me. Which is more valuable? A wide range of experience, or a few successful paintings done in the artist’s comfort zone? Do you suppose there is value in being able to anticipate the outcome of something the artist does, either by accident or deliberately? Of course there is! It is called mastery of the circumstances. And the only way one develops mastery is to try different stuff and create challenges. In other words, expand the comfort zone. So what if the painting tests aren’t masterworks?

The above painting was done on wet, saturated paper inside of a time limit . . .in a fairly large format to cause me to hurry to keep up with the drying process. I had fun in the challenge, didn’t finish, messed up perspective, but found some lovely little passages that made me want to do this again and again.

Last Touches

As usual, the painting in the last post was crying out to me about that big light valued shape jutting out from the painting. It was too ridgid, too edgy, too long, too "a lot of things." It needed changing.

But how does one change something which, in many ways appears 'right?'

I have learned over the years that if my gut is niggling at me about something in a painting, I should pay attention. So, I did.

A mere value change at the left end of that long shape . . .a lost edge here . . .a slightly cooler tinge at the far left of it, but warmer than the tone under it . . . then put it in. Oh! that changed how the other stuff around it reacted. So, a little wash over a shape or two to make them settle back and . . .there! I am calling it finished. My gut is quiet now.

PS . . .Some have asked "Did I do a sketch first?" Yep!! It didn't have all the nuances in it, but most of the compositional arrangement of light and darker valued shapes were planned.