M.E. BAILEY ART

A Breakthrough

2012-02-08T18:04:00.000-08:00

"Straddling the Mean"

Watercolor, 22 x 30 inches

This last week was a big week in my class, entitled "Watercolor Beyond the Obvious." It is a ten week long course with multiple goals: to paint a series of paintings around the same subject, to learn about and apply the elements and principles of design and to get past mental barriers preventing success. The class is lively with lots of lecture and examples presented, while the participants paint two 22" x 30" paintings each week and bring them for critique. Each class session features over 40 paintings for the class to see critiqued.

The above painting was a preparation for class to illustrate the design principle of Harmony. It also was used to introduce the idea of the Golden Mean and how it might be applied in composing a painting.

Using M. Graham's richly pigmented watercolor paints, this painting was developed using the red and blue green complimentary colors . . . . .opposites on the color wheel and showing a possible way of relating the opposing / contrasting colors and values via the small colored lines across the picture plane. On the red side, the blue green, blues, and greens were employed in the little line strips to relate to the other side of the painting where the same colors appeared in the rectangular shape. And, conversely, the strips within that shape were colored in the colors that appear in the big square shape on the left. The objective was to relate the two sides.

George Post, a famous California Regionalist painter from the past taught his classes to "paint relationships." That is bucket full of words which sailed right over my head the first time I heard them. But now, after many years of painting, I could not agree more! Relating dissimilar things by emphasizing their similarities, or imposing similarities, as I did in the above painting, is what Post meant. It helps bring a unity to the painting and offers the artist seven different avenues to approach imposing some sort of relationship . . . . .through the use of line, size, shape, direction, color, value or texture. As you can see, line and color were used to impose something of a relationship between the contrasting spaces in the above painting.

It was a big lesson for everyone, including me! It took me many years of painting to come to this understanding so I could express it in words and show it visually, too. A breakthrough!

Leftovers . . . .

2012-01-27T15:12:00.000-08:00

"Path to the Beach"

watercolor 22 x 30 inches

Leftovers . . . . .Yep. That is what this painting is. It was still a "start" when I left from the Monterey area last week. Today it is finished!

Oh! Did I mention that it really does have all this color in that locale? There is a fairly new California State Park near where I was staying; Fort Ord Dunes, State Park. This is the outer edge of the old, decommissioned Fort Ord. This locale was the spot where the soldiers club once stood overlooking the Monterey Bay and Pacific Ocean. In fact, I was stationed at this place when I was a young man of 19, serving my military obligation. I cannot remember it ever being this spectacularly beautiful.

Painting this subject brings interesting challenges in color design. If you know much about color compliments, such as red and green, when they come together they neutralize each other and make browns and grays . . .even black! So, the watercolor painter must resort to all sorts of different approaches and tricks to get this sort of color intensity to occur. That said, I think I would have stood on my head to try to make it happen. To see such a scene is beyond what the mind can imagine.

As for the title of this article, "Leftovers," the word conjures up ideas of old food for a meal which has been left over from a previous meal. And, certainly, not very appetizing to many people. I could not resist the title, however. It fits my sense of humor!

Some leftovers, eh?!

Until next painting . . . .

Still on the Edge of Heaven . . .

2012-01-21T13:42:00.001-08:00

"Carmel River Mouth"

Watercolor 22 x 30 inches

A hiatus on Wednesday to carry out a work assignment prevented me from painting, but it sure didn't stop me from thinking about being back at the easel while at work! Sometimes, plein aire painting can be a full blown compulsion for me! This week I was certainly in that compulsive behavior zone!

One of the very first workshops I ever attended was at this location some 20 years ago from a gentleman by the name of Gerald Brommer. You may know of Gerry or even attend his workshops. I know that he has given some 600 workshops all over the world. The Monterey area in Northern California (which is where this painting was done) was one of his favorite haunts. It was his paintings of that area that swept me into taking up this delightful pastime. I will be forever grateful to him for his encouragement and for setting an example for me to follow for the rest of my life.

That said, I wish there were spectators attending this painting session. I could do nothing wrong it seemed. It nearly FELL off my brushes. There was a mellow feeling as I set up my gear and proceeded to lay out the composition. Every move, every stroke, every wash and every glaze seemed as though nothing could possibly go wrong! There are occasional moments like that in the pursuit of painting. They don't come often, but when they do there is incredible excitement (almost like a drug high!) that follows and keeps me floating for many days afterward. One would think that after 24 years of painting that sort of feeling of euphoria wouldn't come around much, but it sure does for me. When I think about this sort of reward, I become very spiritual and quite grateful for the gifts I have been given. (amen!)

There are a few more paintings that happened this week, two of which are still in the category of "starts" and must be resolved in order to declare them finished. I will post them as soon as that happens. Meanwhile, I am returning to teaching my ten week class "Watercolor Beyond the Obvious" on Monday of this coming week. So, I must prepare, rather than paint.

Knowing me as I do, though, I imagine this compulsion that throbs within will win out in a day or two!! ;-))

Spending Tuesday in Heaven

2012-01-18T20:16:00.000-08:00

"Orange and Blue"

Watercolor 15 x 22 inches

As promised, here is the result of Tuesday's session on a hillside near Big Sur, California. As you can see from the about photo, the ice plant is colorful at this time of year . . . . .and finds itself in the most in hospitable places which, I think, are impossible to reach in order to germinate. But there it is!!

For me, this day was a day of, literally, falling in love! I have been dreaming about putting these images on paper with watercolor for weeks now. And here I was, back to the wind, being cautious not to spill my easel over the edge and into the water. What an incredible, beautiful day!!!

Putting the varied colors of the ice plant into a painting like this is a challenge. There are many greens mixed with reds of varying temperatures and intensities. After many attempts, I find that exaggeration seems to be the only way to intermingle those colors and to carry the emotion of the place. Rocks and water are one thing, but rocks and water with brilliant reds and oranges . . . . . . . .? Now THAT is something to dance for!!

I had to miss Wednesday, but am going back out on Thursday and hope that the forecasted rain doesn't appear until late in the afternoon.

Ciao !

A Little Bit of Heaven . . !!!

2012-01-17T18:59:00.000-08:00

"Lobos Rocks"

Watercolor 15 x 22 inches

Some days seem as though I live, literally, on the edge of heaven. Monday and Tuesday of this week it seemed that way.

We are staying as guests of a favorite art colleague right near the Monterey Penninsula in California in a place called Carmel By The Sea. And it really is on the edge of heaven. Some of the most beautiful scenery on the planet is in that vicinity. Pebble Beach is part of that area.

My wife and I are staying there with only one thing on our minds . . . .to paint and to relax. The holidays and various travel obligations have kept us dancing through the coals, so to speak.

While it has been a piece of heaven, it has been COLD ! Beautiful, clear weather, but ice on everything in the mornings. But I am going out painting anyway!! Bundled up, with long underwear, wool cap and everything I can carry from my studio to sit by the sea and paint! Wow !!! The wind bites. The people stop with silly questions, but it is still one of those times for which I am grateful to be alive and able to immerse myself.

So here is the result of Monday's painting excursion. Tuesday's is in the wings ready to show her face, too. Rain is expected, but I have taken enough photos to be able to paint this beautiful place, rain or shine. Sadly, I haven't got internet access where I am staying. So, stay tuned. It might take a few days to get all this stuff posted. Meanwhile . . . . . .Yippeeeeeeeeee!!!!!

Kicking Off 2012 . . . .

2012-01-02T12:53:00.000-08:00

"Morning Tide"

Watercolor 22 x 30 inches

Following a challenge by my friend and colleague, David Lobenberg, we have been both painting the same subject from the same photo. When the challenge was issued (by Dave) I wondered about making changes to the composition. The lighting, the value and color changes in the rocks, the foam, the waves, the sky all presented different challenges. I couldn't wait to get at it! It has taken me nearly a week to complete this painting. One of the reasons it took so long was that the original photo had the bottom 1/3 of the image solid dark rocks. In my humble opinion, the bottom part of the image needed a passage of light in order for the eye to get into the body of the painting. So, I created the entire lower third of the piece to bring that about.

I might have jumped the gun a bit, not waiting to see Dave's painting, but have been so deeply involved in "getting it right" that I could not wait to post the results. I am expecting Dave to post his piece any day now.

For those who are wondering "how" this piece was done . . . . . beginning with the sky ten to fifteen graded washes were glazed over each other, using red, yellow and blue. The big rock in the mist was laid in part way through the glazing process then repeatedly glazed over with the various washes in order to 'push it back' and envelop it into the colored mist.

I had a lot of fun working this piece as it was a return to a level of concentration which bordered on being in a trance. . . . . . .which is the probable reason most of us painters paint.

Happy New Year to All for 2012 !

Breaking Out . . .

2011-12-21T10:41:00.000-08:00

"Patches"

Watercolor 22 x 30 inches

I had no idea the business of art and the business of art society stewardship would keep me so busy. Add to that a little bit of part time work, home duties etc. and life simply escapes me.

I have been cussing under my breath for some time about the robbery of painting time and finally have broken out to get to pure easel time. Oh, I have been at the easel for little snippets of time, painted a bit, but in the end my dissatisfaction with the effort made it not worth it. But I know better. Of course it was worth it. I was showing up for the muse to come visit. Maybe she didn't, but I worked at keeping my paints and brushes wet.

A few days ago, I drove to the Monterey Penninsula to visit a dentist there. My eyes popped out of my head as I could see acres of ice plant draping the dunes along the beach in every color of red, rose, russet, orange, burgundy, magenta and more. I had my trusty camera with me and a little extra time to gather a few reference photos. This painting, "Patches" is exactly what I was hoping for! It still isn't up to my standards when I am in the studio daily, but it sure relieved those achy painting joints . . . .and my grouchiness from not really getting to put in some creative time.

Happy Holidays to you and yours! My wife and I have lovely plans which have much to do with our family . . . . .and my easel!!

Dealing With Angst

2011-10-10T10:17:00.000-07:00

"Enlightenment"

Acrylic on stretched canvas 48 inches x 48 inches

Last weekend, I held Open Studio in my home and studio. There was plenty of work to display. So much, in fact, that much of it had to be on the floor of the studio leaning against the walls and the furniture. After the weekend, we were 'treated' to an early rainstorm . . . .two of them, actually. The last one dumped quite a bit of water by our standards here. Enough so that it flooded my studio!! Mind you, it wasn't deep. but enough to thoroughly soak the carpets and everything else that was on the floor . . . . . . .including some of my work.

One would think I would have picked up all that stuff before the storm. In fact, I had worked much of one day outdoors to prep for the oncoming drenching, but thought nothing of the studio getting wet. After all, we have sump pumps, french drains and all manner of devices to keep it from happening. NO SUCH LUCK! All that artwork had to remain where it was for the next weekend of Open Studio on October 15, 16.

On Friday morning, I went to the studio to enjoy my day of freedom and to be able to paint. As I walked from the bottom of the stairs toward the work area, I heard the "squish" sound at my feet. GAAAARRRRRRRR !!!! Nooooooo!!

So, instead of painting, I ended up mopping and moping. And Schlogging heavy, soaked carpets to an outdoor location to drain and dry them (only if more rain didn't come!) By Friday night, the mess was cleaned up, the dehumidifier was busy evaporating the entire place and all the artwork was up off the floor . . . . .and the studio had been turned up side down!

Saturday morning I was beginning to twitch from lack of easel time. So, I went to my local art store, bought three large tubes of acrylic paint and a four foot square canvas (122 cm x 122 cm). I couldn't wait to get it home, mount it on the easel and attack it with abandon! I needed to vent!

In a matter of two short hours I had covered the canvas without a preliminary plan. I was slinging paint and hoping for some sort of non representational outcome. (If you have been reading my blog over time, you know that is NOT how I do my art. I plan!) So, there I was painting straight from my emotions letting my mind assist here and there for a few design decisions, but I had no outcome in mind. It had the effect of standing and screaming my head off for two hours. I was emotionally drained and satisfied at the same time. The next day, I returned to the studio, and looked hard at what I had done. Believe me, it is very difficult to separate emotional intelligence from mental intelligence. I was in a completely different state of mind when I stepped up to the easel. So, I spent a few more hours tweaking here and there . . . . . . and up popped this figure in the painting . . . . . .All that was in that space before was a hot colored shape. This day, the shape became a figure. Who knew he would show up? Then, this morning, I sleepily realized I had not imposed enough color variation or tied a few things together to unify the piece and create a balance. So, back to the studio I went.

This is the state I left it in this morning. Is it finished? I don't know, really. But I do know my angst is gone. I feel better now.

Gems of Wisdom

2011-10-08T16:07:00.000-07:00

Yesterday, I happened upon Diane Santarella’s name in association with a gentleman, whom I have watched for years, William “Skip” Lawrence.

Being the person of curiosity that I am, I Googled Diane wanting to know more about her and her art. This act led me to two blogs . . . . .actually, more than two . . . . of Diane’s and Skip’s.

Departing from that line of thought for the moment . . . . .it has been my observation in my art life that there is much introspection occurring in the good artist, whether or not it be conscious. Coming up with ‘who am I’ for the artist is not an easy process in this society because we have so many distractions beginning with TV and probably ending with working to survive. The mass media has led us Americans down a path of cheap, easy to come by images that are usually shallow and don’t have much to say about the creator of the image. So, the authentic, honest artist must strip away layers of years of ‘indoctrination’ about conformity and acknowledging the accepted, conventional wisdom.

All that said, I have spent twenty five years trying to strip away all that stuff and back in 1994 was introduced to Skip in a one week workshop. Not that I wanted to paint like him, but was most curious about his ideas and how he might have stripped away the fluff of indoctrination and put his own, authenticity on the line. It wasn’t long after that workshop that I saw something in Skip’s painting history which made me sit up and take notice: Absolute Growth. That is a biiig deal in my book because most workshop instructors are about “How to Paint Like Me.” They do little to change out of fear that their followers will leave them. So, growth and change, in my eyes, is an act of outright courage. It is an outright confrontation of the fears which follow many artists.

Like many workshop instructors, Skip led the masses in how to paint the traditional watercolor images for some years . . . .he even published a book with those images in them. Then there was a sudden shift. And that shift has evolved into one of the most frank and authentic bodies of work I have ever seen come from a water media artist. He has consistently moved to higher levels of newness every single year! Moreover, he stands by his work and his ideas without waver.

Back to the subject of the blogs by Diane Santarella . . . . . .put in short verbiage, it appears she is the mirror image of Skip in her own authentic approach to art and living. It is a rare soul, these days, who seems to be able to articulate his or her presence in the events of living, and Diane is one of those rare souls. Mind you, I use the word ‘presence’ with conviction because there are few of us in life who can BE PRESENT in the moment of what ever is happening. We, as human animals, seem to add our ‘stuff’ to what ever is occurring, be it interpretation or part of the events of the past or combinations of both. Diane, on the other hand, seems to be present in every moment of her life and acknowledges the realms of possibility which lie in each moment. No small state of mind!

It seems to me that Skip and Diane have a unique place in living out their respective artistic lives: They are infatuated with each other (and they are married) because they can both SEE the absolute beauty and the reality of their presence in the moment. What each adds to those moments, via their art, is so vastly original and exposed that there is no BS in their world. No wonder their lives are so intertwined.

How glorious!

Here are a few links to follow if you are interested in Skip’s thoughts about art and Diane’s words and art. Obviously, I found both to be quite compelling!

http://dsantarella.blogspot.com

http://www.blogger.com/profile/00699936117444218506 on this page are seven links to as many different blogs.

http://skiplawrencestudionotes.blogspot.com/ Skip’s studio notes

A quote from Diane: "Ultimately, if you're going to do something personal, you have to look at your own mind, your own heart, to do it, Not out the window."

And another Santarella Gem:: “Approach each moment fresh, use your knowledge and skill as an assist, not a crutch, to discover the possibilities within each action, each choice.”

Someone once said, ‘Every moment is a gift. That is why they call it the present.”

And, in case either Skip or Diane stop by this blog . . . . . .thank you both for being so real and having the courage and wonderful audacity to offer it to all of us!

2011-09-26T12:41:00.000-07:00

Your Nose in A Tent

Open Studio this coming weekend ! Open at 11 AM till 5PM.

What you see above is less than 1/6th of what will be on display. No kidding: over 100 framed pieces, both oil and watercolor. And plenty more unframed . . . . .SOOOO MUCH to see!!

If you need directions, just drop me an email to tell where you'll be coming from and I'll shoot directions to you. The email address is in the bright blue sentence almost directly to the right of this post.

Don't miss this annual event! It is the only time I put up such a massive one man show.

Wine, cookies, nibbles, art chatter, giggling, general goofing off, and painting demos.

Come enjoy the fun!

Mike

The Endless Fountain . . .

2011-09-15T21:59:00.000-07:00

"Parade"

watercolor 15 x 22 inches

Every year around this time, to get ready for Open Studio, I clean out my flat files . . .and sometimes, I move furniture in my studio to readjust things. There is a serendipity that occurs, literally, every single year: I find works I had forgotten about completely. Many times they are simple musings, others they are terrible failures I had hoped to save at some point. Yet, once in a while, an old painting will surface that rocks me back on my heels and makes me wonder why it was hidden away. Here is one, "Parade," which I cannot imagine why it was hiding. Of course, I had to put a few finishing touches on it, but, for one reason or another, I love looking at it.

I believe this painting is approaching 12 to 14 years old. I can see quite a difference in the way the paint sits on the surface versus how I paint now. . . . . .a sure lesson for not throwing away your old paintings: we can really see our progress.

I found a few more, too. But you'll have to wait to see those. :-) That flat file has been giving up surprises every year. There must be something pushing that stuff to the surface!

I have come to the point that I don't worry too much about having paintings for Open Studio. 10 drawers of paintings have never let me down!

By the way . . .are you planning to come to Open Studio?

The Last One . . .for now

2011-09-08T11:35:00.001-07:00

"Misty"

watercolor 15 x 22 inches

It is already passed the first week of September . . . .and my task list has grown to huge proportions . . . . . .

Open Studio here at my home / studio begins October 1 & 2. I am just now beginning the preparations . . . they seem insurmountable right now. With over 45 paintings to mat and frame and to set up the house and yard to accommodate hundreds of visitors and over 100 hanging paintings, the chores are beyond my ability to remain positive about.

NWS's (National Watercolor Society) Annual Exhibition opens in October with the Awards Banquet preceding the opening. As president, I must prepare for this grand event and officiate as well.

Oral Surgery looms in the next week, too! And work (business) beckons, also. So, for now, painting must go to the back burner, sadly. Our best weather is this time of year, too, the call to go outdoors to paint en plain air is a siren I can hardly ignore.

Here is the last painting of the rock series . . . .which was all based on observances in Yosemite National Park. As with all the rest of these paintings, a loose style, timed at 90 minutes (reasons explained later), with a somewhat presentable painting was the goal. Mostly, it was just about standing at the easel and soaking in the pleasures of the running paint and the vibrating colors to please my soul.

Hope to see you at open studio. If you would like my address and/or directions, email me. Just click on the "email me" just above the Facebook Fan Box, opposite this text on the right. I'll send you everything you need to get here . . . . .save for tickets from Italy, or India, etc . . . .;p)

Sometimes they do and sometimes they don't . . . .

2011-09-05T18:40:00.001-07:00

"Sickle Rock"

watercolor 15 x 22 inches

And this was one of those times . . . .I got lost in the shapes and failed to pay attention to the contasts of light and shadow . . . .I suppose I became a little heavy handed with the darks.

But come on! Give a guy some slack! Once in a while ya just gotta slip into something that just doesn't ring the bell.

The only thing one can do in a situation like this is to step back from the easel and shout "NEXT!"

In other words, chalk it up to experience and go on to the next one. Who knows, maybe some terrific notion will pass through my head while whipping up another one and be able to come back to this piece with a different attack. Stay tuned.

The Source

2011-09-01T09:07:00.000-07:00

"Stoneface"

watercolor 18 x 24 inches

So . . . .tired of rocks? Take a look at this . . . .a solid granite wall with mature oaks and ponderosa pines growing out of the cracks. This wall could be one 1000 feet (300 meters) high . . or more. The model is from the neighborhood of where my rocks lie . . . .Yosemite National Park in California. The rocks seen in the previous posts fall from cliff faces like this . . .and sometimes from enormous heights.

The abstract patterns of line and shape in these cliff faces make a painter ponder them for hours on end . . . . . . .and usually go home in frustration when attempting to paint them.

Inactive?

2011-08-31T07:22:00.000-07:00

"Squatter"

watercolor 15 x 22 inches

If you are wondering if I have again become inactive, the answer is an emphatic no. I just returned from driving 500 miles, one way, to San Diego, to jury a show for the San Diego Watercolor Society. It is an interim show with an experimental theme. It was a rushed trip, but well worth the time spent. I listened to two books on tape while driving, met some of the SDWS officials, saw some extraordinary paintings and learned a few more life lessons in the process. And, Oh yes, I did paint the morning I left to drive there.

I think there are five pieces left from my binge that I haven't posted, yet. Here is one of them. . . .

This series is really excellent for illustrating the effect of large shapes and how powerfully they hold a painting together. In the end, this series is much of the same stuff, same color schemes, and similar designs . . . .actually a similar formula, but just modifying the rock shapes and positions in the picture space. In other words, it is all abstraction.

There's more. Stay tuned.

And Another . . . .

2011-08-26T07:33:00.001-07:00

"Merced Gold"

watercolor 15 x 22 inches

Thsi subject is simply terrific for putting strong compositions together. The shapes really lend themselves to commanding and dominating the picture space . . . . .everything else in the painting is just support of that one idea. Which, incidentally, is how all good paintings should be . . . elegantly simple.

Just look at Sargent's works . . . .not a lot of extra stuff . . . . just simple shapes of figures or buildings . . .and generally they beguile the viewer because of the light and the way the shapes occupy the picture space.

This big rock is a large as a small house in reality. And its shape and edges are fascinating. I love the way the white sits in the yellow dominant field. The yellow provides such a feeling of light and season.

Am still 'at it' as I am putting nearly three paintings a day away. There is more to see! Stay tuned!

More From the Binge

2011-08-25T07:39:00.000-07:00

"Merced ZigZag"

watercolor 15 x 22 inches

You may be getting the picture that I am playing with rocks . . . .but more than that, playing with big compositional shapes. This one resembling the "S" shape.

This piece, along with the others, are all from pictures along the Merced River just below Yosemite, where the canyon is still steep and big rock slides are commonplace. Some of the rocks there are mind bogglingly huge . . . . .and their shapes are really interesting. At certain times of the day, the light and shadow make wonderful abstract patterns . . . .there must be several hundred photos of them in my computer files!

One would think 'Painting simple things like rocks? Easy!' Nope ! I have been messing with painting the darned things since twenty years and am still trying to master them. Sure is fun trying, though!

As for the Binge, there are more paintings to reveal later. Stay tuned.

Painting Binge

2011-08-23T15:19:00.001-07:00

"Slide"

Watercolor 15 x 22 inches

Yesterday, I opened a can of "crazy" in my studio. I must have soaked it all up, because I went nutz! Painted three finished paintings before 5PM.

As I said in yesterday's post, I had sooo much fun!

This is the first of three paintings . . . .actually, more . . .because I did 2 more today! (yes, I am bingeing).

After a week long workshop and harping at the participants about sizes and good shape design, all that stuff was ever present in my mind as I painted these. Beyond seeing rocks and trees, look for the shape of the light value (not just the white ) and how that shape connects to all four sides in the shape of an upside down Tee. Big compositional shapes are what makes paintings strong and bold . . . .and sets up a dominance which leads to unity.

Okay, enough preaching. There are more to see in other posts.

Meanwhile, I am still on a painting binge.

Time Crunch and Demo

2011-08-22T17:31:00.001-07:00

"Sunny"

Watercolor 15 x 22 inches

This last few weeks has been unbelievably busy!! And I have been gone . . . .teaching . . .officiating . . .more teaching . . . .

I returned home from Sacramento, California, where I had given a 5 day workshop "Watercolor Beyond the Obvious," and near exhausted myself in the process. I awakened Saturday morning in a panic . . . I had to give a demo THAT AFTERNOON for a local art store who had just taken on Daniel Smith Watercolor Pigments. I hadn't prepared at all. What is more I hadn't touched a paint brush since my last post . . . surely over a month had passed.

To the studio! I had to rally . . .big time! Coffee in hand and nothing in my mind as to what to do or how to do it . . . . . .I grabbed my trusty sketch book and opened it to the first image that made any sense and began to paint. I had around three hours to get ready.

Demos can be a problem for me because I freeze up. I never know what I should paint or what sort of methods I should demo. The set up usually dictates a specific way to paint, too. That is either with or without an overhead mirror. The mirror allows the watercolor painter to lay his or her board flat or paint at a slight incline. Without one, the painter is destined to use an easel and paint vertically to the audience can see. And that is not how I usually paint. Well, you guessed it . . . . .there would not be a mirror. So, I was in a stew, wondering if I could pull it off.

Anyway . . . . .I went . . . .some 60 people were there with standing room only! This was the demo painting . . . . ."Sunny."

The best thing to do is to relax, I suppose, and just let whatever is going to happen happen. It is sort of like working in your own studio. Cut the worry and just be present with the paint. It was fun to commiserate with the audience about the design decisions and to cut up a bit. They were a terrific crowd!

After it was finished, I had concentrated so hard, I couldn't get the silly thing out of my head. So, on Monday, I went to the studio and opened a can of crazy! Yep! I went there and painted three completed paintings . . . .and they all came out okay. More about those later. But I haven't had that much fun in the studio for a long time!!!! Whooopeeee!~

Returned to the Easel

2011-07-21T11:36:00.000-07:00

"Plane Compression"

Transparent Watercolor 22 x 30 inches

Okay I am back! Hawaii was fantastic ! Frankly, however, I have been itching to return to the easel here at home.

This piece is quite similar to the other non objective pieces I have completed in the last few months. It was half finished when we left for our Hawaiian Holiday

All I needed was one look at it's lonely, half baked existence on the easel to awaken my juices and get me rolling once again. I arose quite early this morning (4AM) to get after it. I am still not certain that it is complete. I may let it hang around for several days before I declare it final and finished.

On another note, I put the last few non objective pieces down on my studio floor this morning and lined them up next to each other. They all look very similar . . . . .which has both good and bad points . . . .it is a spur in my sides, though, as it indicates that I am becoming stale. Gotta move on to another 'theme' . . . . .which may not be all that easy. I like the motif of floating planes and shallow space, which is what all of these are . . . .and I noticed that the compositions are quite similar, too! A change up is due!!

Until next painting . . . .

A Great Excuse !

2011-07-10T12:21:00.000-07:00

So! I haven't been painting because I have been travelling. The last week of June, I was in Boone, North Carolina, teaching some brief workshops for Cheap Joes Art Stuff. It was a wonderful experience and a terrific opportunity to get to know some marvelous folks.

This week and the next I must report that I am undergoing a loathsome serving out of an obligation I committed to some months ago: I am spending two weeks in Hawaii. Yes, it is indeed difficult. The weather is more than special and the scenery is something out of a story book. Painting? Not at all . . . . .well, some little sketches. But who can paint when there is so much to look at here?

Right in front of our housing . . . . .a condo right at the edge of the water . . . . Sea Turtles surface every minute or so. Big, blue green waves smash the rocks and send snow white plumes of foam 40 to 50 feet in the air. The pounding of the waves can be heard at night while we sleep. I tell you, this is very, very difficult to endure! ;-)

Swimming, snorkeling, eating, walking, sight seeing, eating, visiting galleries, eating and just plain loafing is what my wife and I are doing. Am doing a lot of reading and simply resting . . . . . .heck! I shouldn't even be doing this!!!

So, please forgive my laziness. My easel will see me soon enough.

Meanwhile, I am laying claim to this excuse.

In My Face . . .

2011-06-11T09:39:00.000-07:00

"Confetti and Spears"

watercolor 22 x 30 inches

After posting a non objective piece last week, I immediately ran to the easel to do another. Sketches were already done and I was psyched to hit a home run! I have worked on this piece daily for over a week, putting in three to four hours per day.

It wasn't until I photographed the piece and brought it up on the computer screen that I saw some glaring errors . . . .and I don't mean smudges or brush sloppiness. I mean design errors that shocked me. This piece has been in my face for over a week and I never saw the errors until now.

We artists can become so driven and focused on something that we completely miss that which is right in front of us . . . at least I sure do!

I am a bit of a fanatic about composition and design, yet make the same mistakes over and over again. For example, the large light shapes which float through the composition in this painting are, I suddenly realized, centered in the page. That is, the intervals or distances between the bottom of the shapes and the bottom edge of the page are the same intervals as the distances from the tops of the shapes to the top edge of the page. Darn!! Why didn't I see that?

Then, when laying in the spears and lines I was careful not to make any parallel to each other . . . . . . . . .Or, was I cautious enough? Apparently NOT!! Yikes! How could I have missed that?

I must admit that I spent much time and effort trying to avoid color errors and wasn't looking carefully at spatial relationships in the piece. I had set a challenge to work up a painting in a red analogous color scheme. I love the colors and textures and much of the movement through the piece. That said and noting the errors made (there are ALWAYS mistakes!) this is a passable painting.

I have a friend who is a Dolphin Fellow in AWS (an extremely high honor which recognizes artistic excellence) who says we have to do 10 or 20 in order to get "a good one." He does . . .and so to I.

So, like they used to say in the barber shop: "NEXT!"

Breaching Fear

2011-06-04T16:28:00.001-07:00

"Just Plane Spilled"

watercolor 22 x 30 inches

After a long layoff of painting abstracts/nonobjective paintings, I began to wonder if I could, indeed, do it again. Painting linemen, stilllifes, teaching, presiding over a large national watercolor association, working part time, etc. all take their toll on developing one's skills in the art world. My dear wife has been challenging me to do more of these kinds of works. Alas, I am as most of the other artists I know . . . . .afraid I might not be able to do it once again.

We all fear failure and, worse, going public with it. There is that ever lurking voice "Forget it! You never had it in the first place. Those others were an accident when you really had it. you've lost the touch," etc. etc. One must step up and face it head on, if for nothing else but to once again be able to say, "yes, I CAN."

What a difference in how life tastes when we can say that. Right?

I have had a sketch of an interesting composition taped to my easel for over a year. The day I painted the last painting of linemen (see last post) I decided to take the challenge. Working at it some four to six hours per day (every day save two) has gotten this piece to this place.

It is a fine effort to take on something like this because it forces one to focus on the elements and principles with nothing more to use as a reference, except for the initial shapes of the composition. Then it is a matter of subtle adjustments of value transitions, textures, movements, shapes, tangents, convergences, not to mention color dominances and harmonies. In other words, I have found that painting a piece like this takes every bit of design knowledge and calls into play techniques and color skills which have been developed over a long time. . . . . . . .and all of these can become stale if not used.

The last comment is that this sort of work is pure creativity. Copying, referencing, emulating, reproducing or mimicking cannot be part of this kind of painting. it all must come from within and from the hints the painting offers as the painter moves forward.

Now I can go back to my linemen and put some of these ideas to work . . . but wait! I have another abstract piece that I must complete first!

Yes, I CAN!!!!!!!

Thinking Compositionally

2011-05-28T09:36:00.001-07:00

"The Big Stick"

watercolor 22 x 22 inches

Compositional Sketches

There are plenty of those who are saying under their breath, “I don’t like these pictures of Linemen.” In other words, they might be thinking that these ‘pictures’ aren’t cute enough or pretty enough to decorate their house. Many painters today subconsciously appraise paintings from that point of view. Those artists are confined to thinking purely about the subject of the painting and how precious it might be in a decorative environment, instead of assessing the painting on the basis of its artistic merit.

That said, I have been wrestling with this subject for a few months and today I broke through to a new level of thinking. I finally was able to separate my compulsive little pea brain from trying to replicate the subject and moved into considering the abstract composition FIRST. What a difference it makes!

Seriously, I do know better. In fact, I teach this in my classes. But it isn’t always easy to make the shift. I might be the teacher, but I am vulnerable to habit just like the next person.

Let me illustrate what I am writing about . . . .refer to the sketches you see above . . . . . . .there is, essentially, two values in each of these sketches. It wasn’t until I reached the bottom sketch that I realized that I should consider the dark values as ONE SHAPE and how it sits in the rectangle or the square! Notice the little teeny sketch to the right of the bottom sketch. Doesn’t that abstract shape appeal to your sense of design? It certainly does mine! It was there that I realized (once again my mind says, Oh! I remember!!) that it isn’t the details but the arrangement of the value shapes and the ratio of their sizes that appeals to our deep abstract aesthetic senses.

Knowing that, I grabbed an old painting, flipped it to the backside, and began drawing in the big dark shape. Once drawn, I could see where some modifications were necessary . . . namely to move from a rectangle to a square format . . .there was an awkward space on the left. Then, the decision to put the horizontals at a slight oblique also added a nice tension to the composition. Also, I recognized that the crossbar on the background pole was not a good angle, so revised that, too, in order to drive the eye to the white helmets.

Once drawn, I pulled the three inch brush from its holster and began sloppily painting intp the dark shape and made sure to slop some color variation into the shape but keep the values the same (that was yesterday). The lights and the darks were set . . . .I left it to dry until today . . . .(and worried a bit about the light shapes of the light on the back of the one figure and the light helmets. I was concerned that those light shapes were too isolated.) It needed more of an abstraction of light passing through the composition.

In short, I lifted here and there to add more of a passage of light through the piece, enhanced a few darks here and there, pushed a few warm cool contrasts and carefully kept myself from ever considering details. . . . .or logic. For example, I decided not to fill in the cross bar brace and not to put an underside dark on the crossbar to the left of the pole . . . .why? Because those details would disturb the composition. Yes, those details would make sense but would affect the negative shapes.

I know this is a long explanation, but I believe this to be the place where I break through in the series to much stronger work. Thanks for being patient.

Tapping Into "That Place"

2011-05-24T14:35:00.000-07:00

"Sienna Linemen"

watercolor and Conte Crayon 22 x 30 inches

If you read the last post, it was about how this subject has reached me under my conscious self . . . . . that is, the idea of making something powerful and interesting is nagging at me both while awake and asleep.

That level of 'concern' or 'obsession' or 'compulsion' is healthy for us artists, I believe. It becomes a drive or a motivation which cannot be explained (unless you are a psychiatrist). It is healthy because it eventually bolsters confidence to do something . . . .anything! Once begun a flow begins. It may take multiple tries and attempts, but the soul insists that we continue.

After finishing one painting today, I was determined to do another, more simplified piece focusing on Line, Shape and Value. I had several sketches on my desk lying around the computer on all sorts of documents and scraps of paper (organized, eh?!). I grabbed them and headed for the studio after finishing my last post.

On a large sheet, I began . . . .but swore I would draw from the balls of my feet instead of my fingers . . . . .I would get full swing of my arm while in the motions of drawing . . . not flailing about, you understand, but putting some big, strong shapes on the page and doing it sans concern for accuracy. Then I took up my conte crayon and began with strong, heavy black line.

With a two inch stiff bristle brush I quickly carved in some value washes . . . and without concern for color. Just two siennas and a bit of ultramarine blue. I was seeking flat shapes and a strong, large value shape which established the composition . . . . .so I kept the values fairly close as I put in the big shapes. The entire thing took less than 45 minutes and (it seems) I have a strong start at finding that ONE piece that will stand above the rest.

More work is needed, of course, but if progress like this continues, a really good one should pop into existence soon. (that is if I can get the time to paint!)

Under My Skin . . .

2011-05-24T11:46:00.001-07:00

"The Power of Line"

Watercolor 18 x 24 inches

Thinking of Sinatra's song by the same title (and Michael Buble') "I've Got You Under My Skin" . . . .this subject has finally reached the point of bothering me in my sleep. The subject is under my skin.

Drawing figures who are at work is no easy task. Composing them inside a rectangle so there is energy and content spilling out of that rectangle is the part that is nagging at my every constant thought. Mind you, I have plenty on my plate, being the prez of NWS and also working part time in high tech AND teaching. It seems I am doing a bit of each of these things daily . . . . (spinning plates!) . . . . .and these linemen and composing something of them is bugging me!

It has reached the point where if I have a pencil or pen in hand (or nearby) I'll be doodling them on anything! The business papers have them. Phone lists have them. Recipes have them. The phone book has them. Meeting agendas have them . . . .everything except my checks . . .and maybe these guys will appear there soon.

As you might see, I reversed a drawing of a painting done back in December, added the element of the near vertical pole in the background in order to involve the other edges of the rectangle. Between the poles and cross arm lives an interesting negative space into which my 'boys' are placed. Their location of being scrunched into a corner with lots of space behind and above them provides the feeling of height. As you can see, this piece is rather loose, which I like . . . . but that is because I am still experimenting with different ways to say what needs to be said (what ever that is right now) and am painting on the backs of old unsuccessful paintings.

Why do that, you ask? I will, no doubt, gobble up 20 to 30 sheets of paper before I will begin to settle into a rhythm of confidence with the subject. It is coming along, but I have more work to do. There will come a point where I will be certain of what I want to say and how to say it . . . . what surface, what brushes, what textures, what edges and angles, what shapes and what color strategies. For now, while they are bothering my consciousness, I am taking heed that there is something more to do and to say. So . . . I am trying and waiting for those big sudden breakthroughs to appear.

The trick is to keep at it and don't give up and take advantage of the fact that they snoop around in my dreams.

Toying with Line and Color

2011-04-30T12:02:00.000-07:00

"Line Splice"

watercolor trial 22 x 30 inches

Few a few days I have been alternately prepping for a workshop and painting . . .among other things. This is a hurried painting on the back of a ruined painting . . .in other words, a trial of a few ideas.

The first idea was to set a mood of an approaching storm and a shadow of danger. That meant I had to use color in a way that was moody and foreboding to a degree: few, if any, pure dazzling colors. I chose to paint in a strategy of Shades, Tones and Tints. In this approach, tones dominate the image while I used shades for shadow areas and the darks. The Tints were reserved for the lineman's shirt . . . .the edges of it which were in the light.

As well, the use of LINE as an element in the painting was another item I had to fool with to get the feel of which technique to use to express the cables and phone lines in the piece. As it turns out, all but one are freehand. I tried taping the lines off . . . .it was too ridgid. I tried painting with a soft brush and it became too fussy. Then I happened upon a very stiff bristle brush, flat, used on edge . . . .that did the trick.

The gray sky area (the negative space) is much too sloppy for what I needed to accomplish, but now I know I must mix a large amount of wash to attain the uniform feel I am after. I will use a tub of premixed wash on my next attempt and use that as a mother color to establish color variation in the negative space.

The line work in the piece definitely gives a feeling of empty space which emphasizes the shadow of danger. The tree trunk and utility pole on the right of the piece hold the eye inward and make for a strong tie to the left margin via the wires and cables.

I like this one. When I return from my workshop, I will explore making a serious painting of it.

Playing Fast and Loose

2011-04-26T17:03:00.000-07:00

"High Powered Guy"

Mixed Water-media 15 x 22 inches

I am in my workshop season right now. Between traveling and teaching, working and leading a large art society, painting time is preciously little. So, I have to hurry and grab every minute I can . . . and mow the lawn, weed the garden, tidy up the studio, cook occasionally etc. (you know the drill.)

While I am doing all this, my series of linemen is eating away at my thoughts. So, I am slamming paintings together quickly, mostly as trials and experiments to try out new, more simplified approaches, such as have been mentioned in the last few posts.

I want you, the reader, to see for yourself what happens when an artist is on to something and the trials we go through to get to some worthy art. Sure! I can copy photos in this series. I have over 300 pix that I can use, if i wanted to do that. I am much more interested in making a revelation or a statement rather than a report or copy. That is going to take a lot of trials and errors. Eventually, stuff will roll out and be consistent with my internal vision (which I cannot quite see yet). The ideas and trials are already showing me possible paths and approaches.

This painting was a bit of a struggle in the composition department . . . .that is where to put him and how to structure the perspective so that a feeling of being right there pervades the work. I am getting closer!

It took deleting the pole and placing it much further to the right along the margin and using the cross arm to integrate the figure to the rectangle of the painting. The use of the element of line (no pun) to show the wires and cables and some edges in the piece bring another level of excitement to the surface.

Again, mixed media: acrylic underpainting, watercolor, gouache and tempera were all used to provoke a sense of solidity and roughness in the piece. I am thinking this painting could set up a very serious piece. But I am off to teach another workshop in a few days. Maybe I will get to the serious work next month!!! I gotta hang in and keep painting to keep the flow going.

Opaque Media

2011-04-26T08:15:00.000-07:00

"Stud Bucket"

mixed media 22 x 15 inches

"Spidermen"

mixed media 15 x 22 inches

In my search to simplify and still entertain the viewer with excitement in my paintings of Linemen, I have begun an approach using orange (or other color) stained watercolor paper as a beginning.

The paper is stained with a weak solution of acrylic paint and water. Once completely dry the paper can be painted over easily with watercolor . . . . .yes! It can! Because the acrylic soaks into the paper, the paper still accepts the transparent watercolor paint. This will make for some interesting surprises in the resultant color, that is for sure!

Then, by adding gouache to the process in certain places, the orange stain is covered completely because the medium is opaque. Using a random brush stroke strategy and letting the brush run out of pigment before recharging allows some of the orange to peek through. This has the effect of unifying the painting by having variants of that orange being the basis of all colors and values throughout the entire piece. Additionally, the surface has an exciting vibrating effect which is stimulating to the viewer.

In "Spidermen", above, I used tempera instead of gouache. I was most deliberate to also be conscious of edges and line in that piece in order for line to be an interesting element in the painting. The white helmets are pure tempera over the orange paper. The helmets are much easier on the eye in person. (The photograph seems to emphasize the impasto effect here.)

Obviously, I am still playing with simplified shapes and flattening the picture space. I have a long way to go to get what I am after, but the chase is absolute funn!! After all, it is only paper I am wasting.

Oh! You think I am wasting time too? Nope! I would have gotten older whether or not I was painting. Not a waste at all! I am LEARNING !!!

Size Matters . . . !

2011-04-25T09:10:00.001-07:00

"Bucket Crane II"

Watercolor 22 x 30 inches

So many times I have painted a subject too small for the size of the format on which I was painting (the paper.)

Whaddayamean, Mike? Too small? The details were right. The ‘picture’ looked like the subject.

Yes, yes. I understand. But one must look beyond the details and see the RELATIONSHIP of sizes in subject versus the rectangle in which one paints. The comparison says soooo much!

Usually, for the subject to have the necessary power in a painting, BIG is the answer . . . . . . .so big that it crowds the edges and spills over the edges of the rectangle to assert its power. Or those shapes may appear to be floating in space and not connected to anything if the subject shapes are too small for the size of the paper.

There are times, however, when that feeling of floating in space might be necessary. . . . . . .like the painting above. I painted this idea once before in the previous post. If you compare the two paintings, one can see there is quite a different feeling in this versus the last. In this piece, the shape appears further from the viewer and definitely higher off the ground. If you fear heights as I do, then a painting like this might affect you emotionally putting a shiver of fear into your consciousness.

This is where it makes a lot of sense to sketch first (before painting) and do so inside of a rectangle of the same proportions as that on which you will be painting. By doing so, one can see (and should examine) the size relationship between the rectangle and the subject. It matters!!!

Oh Cee Dee !

2011-04-19T11:53:00.000-07:00

"The Bucket Crane"

watercolor 22 x 30 inches

"Leaning Out"

watercolor 22 x 30 inches

"Two Hardhats"

watercolor 22 x 30 inches

Yes, OCD! Obsessive Compulsive Disorder. I think I have it. Maybe not full tilt, but I certainly act it, now and then. I wonder if it is something I eat. . . . .

I have been ruminating for a few months on how to simplify my linemen paintings and take them into another dimension. That isn't the part that is OCD. I finally decided, after a brief visit with Christopher Schink, that I would resort to playing with big flat shapes, with very little detail. All one needs do, is look at Schink's masterworks and one would immediately understand my choice to begin there. I certainly don't wish to copy his approach,(as if anyone could!). (Obviously a master, he is, eh?!). Instead, just focusing on big flat shapes will lead me to value and color approaches as well as texture and line.

These linemen are super subjects to play with because of the shapes they can generate when connected to their work and / or equipment. As you saw a few days ago, Dear Reader, I sketched 19 of the rascals and came up with some interesting abstractions of value and shape. I developed more sketches . . .near 40 now . . . . . . so, it is time to see where I can go with paint. Working this subject in series is bound to shake out some new, appealing ideas.

The OCD part comes in during my dreams! . . . . . not wanting to do anything except paint! I find 3AM seems to be my wake up time when in this OCD mode . . . .and definitely NOT on purpose! I just can't stop thinking about this stuff. So, it awakens me . . .even when sick or exhausted. So, I get out of bed and go to the studio to try some of my ideas and experiments.

Here are a few trial paintings. Mind you, these are just trials. When taking a 3 x 4 inch sketch up to 22 x 30 inch painting, spaces can look very empty and boring if not paid their due attention. These trials are to get a feel for the ideas in paint (usually on the back of some old, failed painting) then make some key decisions about design, then develop the paintings seriously. I have to shake the Schink influence and stick to my own vision . . . .and that, it seems is the cause of my OCD. I can't leave these thoughts alone!

More later . . . . . .obviously!! ;-)

A NEW ARTICLE

2011-04-18T14:31:00.000-07:00

A new article published on the blog of Creative Catalyst was just published regarding the role of art societies and why one should enter them. Of course, I authored the piece, but it is worthy of your attention if you are at all interested in entering painting shows, or are a painter. Just click on the word 'blog' above.

Making Value Studies

2011-04-16T15:58:00.001-07:00

I just returned from giving a workshop in Sonoma County in California. It was one of those great ones! Intense. Everyone pitching in and enthused to learn. Everyone doing the exercises.

My workshops are all about building a solid foundation of design. We don't paint pretty pictures just like the instructor. The lessons and exercises are powerful, insightful and full of challenge.

In coaching everyone and thinking about what I might do with my next paintings, I began to develop a craving to be at my easel. Ideas were sprinting through my mind!

If you have followed this blog, you may recall that last November I was working on Linemen as a subject. I felt these held a lot of promise for developing a unique and interesting series.

Exhausted from the workshop and spinning all sorts of images in my mind last night, I awoke at 3AM and could not sleep for all the ideas that were presenting themselves . . .and I was coming down with a nasty cold. So, I got up, grabbed my sketch book and a cup of hot coffee and went to work on the ideas.

I am looking to make these figures flat and to include some judicious use of line to enhance the image. Also, I have ideas for color schemes which may add some interesting mood. But first, I must work out the value abstractions. That is what these sketches are about: Isolating shapes of light arbitrarily, revising shapes, considering the ratio of Lights, Darks and Mediums. Additionally, trying to make some interesting shapes which will spice up the composition. In other words, making as many alternatives as I could dream up.

On one set of sketches I included two helmets to make a unique shape of white. In another set, I kept but one helmet shape and concentrated on shape and value within the single figure. Click on the pages if you want a closer look at the minor changes I made.

Surely there are more alternatives, but this will be a good start to get to the easel and try a few of them. I can imagine that I could be painting for the next several months (or years!) on this series, since it offers so much potential.

White Izzzn't White

2011-04-02T06:11:00.000-07:00

"Sully's Fresh Crab"

watercolor 22 x 30 inches

Nope! It just Izzn’t!

Our eyeballs just can’t see what we think we see.

Yesterday was another beautiful day in the sun . . .warm and bright . . . .a perfect day for Butch, my painting buddy, and I to go out and paint. So we went back to the harbor where lots and lots and lots of white boats live. I am telling you true: What seems white just is NOT!

The little device you see above is a value viewer. It is very helpful to look at an area, (such as the side of a white boat hull in shadow) to judge the value. When peeking through the little hole and comparing the value of the white in shadow, one can instantly see that it is more a mid value than a light white. Then . . . comes the problem of getting that value onto the paper or canvas. That big piece of white paper can really throw off our judgment, too. We make a paint mark on the big white page and the mark seems darker than it really is because we are unconsciously comparing all that white field with the value of the mark . Yikes! That little viewer helps.

BUT . . . .there is still another problem (these difficulties are some of the reasons artists find plein air painting so difficult) . . . .that is if you are painting watercolor, the paint fades after it dries. Which compounds the value difficulty!!!!! One must be able to predict how the value of a mark or wash after it is dry. GAAAADS !!!! Is there any end to this stuff??? !!

How does one solve it? The viewer helps. The rest of it is fixed with plain old mileage.

Huh? Did you say Mileage?

Yep! That is what I said. Let me clarify: BRUSH mileage. Translated, it means tons of practice.

I have been painting for 20 plus years and still find plein air painting full of problems and difficulties. Yesterday was no exception. After getting home from a 4 hour painting stint and looking at the painting in normal indoor light, I could see the values of my boat hulls were wrong . . .not dark enough. Like I said, white just izzn’t white!!! So, several glazes later (and spoiled pristine washes) I came up with this painting. A lot of fussing and much self talk about what I will do next time and solemn vows about not letting this happen again, I finished the painting attempt.

You may think this is an okay painting. It was certainly fun and most instructive, but I simply MUST go back and try again and again. Butch and I discussed this aspect of being a painter: the compulsion to get better . . . . .and it is indeed a compulsion. Maybe someday, with enough brush mileage under my belt, it might happen. For now, though, it is best to focus on doing the best I can and having fun in the process because to be out there is simply a total gassss!!!!

2 1/2 Hour Flight

2011-03-18T09:52:00.000-07:00

"Balls!"

Watercolor, 22 x 30 inches

Flying!!!

Yesterday, a short break in the weather (between cold rain storms), prompted a friend and I to go paint en plein air.

We arrived on the site around 12:15 PM . . .a light breeze was blowing off the harbor water and sun was out. If you have ever been to a large harbor with both working boats and pleasure boats, it can be a confusing morass of stuff. So, we took our time wandering and looking for the best spot from which to paint.

Why, I do not know, but I decided to really challenge myself: Paint a full sheet: 22 x 30 inches in the short time we had set aside to paint . . . .I had be gone by 3PM. By the time we had finished surveying the harbor for an ideal view and painting site, it was near 1PM. Two Hours left and I had a full sheet to finish in that time!! This is crazy!!! Who can do thaaaaat?

I set up my easel and paints and began the scramble. Pencil in hand I chose two boats among the hoard of masts, tarps, wires, lines, docks, net hangers and paraphenalia. This was going to be a race! So . . . .I began to think: Begin with a middle gray and block in the shadows, forget accuracy and just reach for blobs of color and value. Just react. Don't get to concerned with painting 'stuff'. Just react . . .and do it fast.

The wind was blowing lightly, so my easel was in danger of being thrown into the water. I couldn't leave it to consider my progress . . . .I had to be right on top of it in case it decided to behave like a falling tower and begin to fall toward the drink. Out came my two inch brush and I began slapping on wet paint . . .it ran, but I continued to "fly" unconcerned and just paint. To make matters worse, the paint in my palette was drying as fast as I would wet it. Mix a wash and get two strokes before it dried. (This was becoming nuts!)

I kept going. By then the wind was blowing. The board on which my paper was mounted was moving around like a flopping sail! I held it with one hand and painted with the other! It was 3PM. Thanks goodness, it was time to quit.

This was the result. I like the loose, direct quality of the piece, but it is by no means a strong painting: When you paint in the sun, the paint bakes and becomes a bit muddy. Oh well! What the hell. We got some sun, fresh air and different scenery out of the deal. In all, it was a great day. This painting will be a piece of scrap for some other purpose (but my wife actually likes it!). But you, Dear Reader, get to see that $%*&# happens! Us painters have to stick together knowing that our work doesn't always score big . . .or score at all. Plein Aire distractions or not, that is just the way art is. Some days the results are good and some days they aren't . . . especially when you are flying fast and loose.

Lest We Forget

2011-03-11T16:28:00.000-08:00

Still Life # 100

Watercolor, 15 x 22 inches

Okay already! I have been very absent.

I have, however been painting. But not painting like you might think I have. In the last 9 weeks, most of my efforts have been aimed at new, solid examples of design approaches and how to use some of the tools. For example, I have painted some 14 different times the same drawing in 14 different color approaches to illustrate how mood is affected by color choices.

Also, I recently did a number of pieces focused around the principles of value design. And it was actually fun. (Have you forgotten that you took up painting because it was fun?) Yes, it was fun. Nothing earth shaking came out of these many little examples, but it has certainly helped me become much more convinced of the many ways to manipulate the elements and principles of design.

While I have been teaching (and earning a living, too,) I have also been working at being the leader of the National Watercolor Society. And, not surprisingly, leading brings with it worry and sometimes angst. Not that anything is wrong at the society, but events have to be managed and people need to be coached (or whatever) . . . and this causes me to awaken out of sound sleep, sometimes. So, at 4 AM, after such a mental episode, I will make the coffee and go directly to the studio to paint.

Lately, my mind is brimming with ideas to put in front of my enthused class. Along with all the other concerns racing around in my noggin. Today was no different I flew out of bed at that horrible hour of 4AM studio bound.

Texture and Pattern are to be the last lesson next week. So, I set about making another still life painting (number 110!) to see what I could do with texture and pattern. WOW! What happened!? I just let my silly side take a seat front and center. Last week one of class participants used a similar backdrop for their painting, like this grid pattern you see in this painting . . . .I decided to used it and do some other textural 'stunts' to bring home the effects of pattern and texture. Before I knew it, I was having so much fun I was actually giggling as I made the painting! Yes! I was laughing out loud.

This may seem somewhat near insanity, but I can assure you it is not. You see, I began painting several years ago (23) just for fun. That 's right I was intent on doing this for fun. Every time I paint, silly thoughts come to mind about what I might do . . . .or my first watercolor teacher (Her name is Oneida!) and how much her lessons still make me smile to myself. . . . . or trying to discover some way to include a silly approach into a serious painting.

I suppose we must, from time to time, not forget why we began this journey. We are doing it for FUN! Right? So, when we get frustrated with our lack of progress or ruined paintings, isn't the most healthy thing to do just to call to mind our reasons? Isn't it cool that we can completely escape, make funny representations of stuff and giggle while we are at it? Pretty soon the purposes intensify, (like entering competitions), but the real reason we do this is for FUN. Let's never let go of that!!

I had a BLAST making this painting . . . and I think it shows! (It also counts for brush mileage!)

Workshops . . .

2011-01-11T14:30:00.001-08:00

"Sonoma Vineyard"

Watercolor

22x30 inches

The painting above is from a series of photos taken while on a visit to Sonoma, California to spend a weekend with a dear friend, Mr. Dick Cole. As you may know, Dick is a fabulous painter and is the President Emeritus of NWS. The reason for my visit last year was that I was taking on the presidency of that same organization. So, being the pals we are, Dick and I, and our wives, during that weekend, sat about drinking the fine wines of the area, sightseeing, dining at a great restaurant and generally shooting the breeze about the directions and my vision for NWS.

I hadn't accounted for the fact that my workshop schedule might be impacted by taking on the presidency of such an august body as NWS, but it has, indeed. I am disappointed that I must follow a more limited schedule than usual. Because priorities dictated that my NWS 2011 schedule be set first, I could make only a few commitments for workshops. Now that the schedule has been decided, I am fortunate to report that I have but two to three available time slots for 2011.

If you know of an organization that is seeking a lively watercolor workshop instructor to bring design and composition to life for a group of enthusiastic painters, have the organization email me at mebaileyart@comcast.net.

I am expecting to be on both coasts of the USA more than once this year, so give me a shout!

Meanwhile, I will be "suffering" (while living the dream) with brush in hand at lush locations, such as Sonoma or California's central coast to make some excitement come to life on a piece of paper or canvas. Rough life!! ;-)

An exciting year is ahead and I plan on being right in the thick of the excitement!

Realities of the Painter's Voice

2011-01-08T09:11:00.000-08:00

"Girl in Hat"

watercolor 30 x 22 inches

An older painting suffering from the Painter's "Voice"

Ah! You might think that the 'painter’s voice' would be how he/she puts paint on the canvas and the content of what he paints to be his/her voice. Well, you would be right in most cases. However, I wish to speak about the OTHER voice.

In spite of what some would believe to be true, great painters are not popped from the womb already skilled at the level of master. Nor do some take up the brush and make instant success with whatever they attempt. In fact ALL painters (who happen to be human beings) live with a voice inside their head which is continually kibitzing and making commentary on virtually everything the painter does, has done or even is considering as possibility to do. That is the voice of which I speak.

As a painter who took up the sport later in life, of course, I immediately sought the advice and instruction of those whom I considered to be proficient at it. The reason for this was that the voice within was urging me onward to learn quickly because I wanted to impress my wife and kids with a fabulous artwork I could hang over the couch . . . .and I was willing to work at it for a week or so. (hint: laugh here)

BaHa!! After watching these demonstrations and listening to the experts (on video or live) explain how easy it really was, I heard the voice screaming at me from inside, “You’ll never be able to do this. Better give up now before you embarrass yourself. You are not talented enough. It’s too late for you, Screwball! You should have begun when you were age two! Etc.Etc.”

Apparently, I wanted that painting above the couch more than I wanted to listen to the voice, (By the way, I am still trying to get the perfect one!) because I kept going. A few good painters had whispered to me that they were not happy with their own level of skill, thus empowering me somewhat.

You may wonder why I point out my foibles and failures . . . even show off the latter to other painters and here on line. Why? It is because, over time, I have come to learn that those ‘experts’ or ‘masters’ or ‘those who are sooooo talented’ are all suffering and arguing with their own voice. I have witnessed many who simply gave up painting because they came to believe the voice.

Oh! Have I mentioned that our relatives and family and friends often join with the voice? Have I mentioned that mothers in law and others will urge our spouses, sometimes, to urge us to give it up? Have I mentioned that the battle for personal confidence in the realm of painting NEVER stops? That’s right, it NEVER ends. Have you considered that if you became a great painter, that the art critics would be standing to have their voices heard above the din of faint praises and try to mitigate your skills? Oh, yes. You see, all of those other people speak only for their own taste. Let me repeat that another way.

Those who criticize or offer their advice (particularly those who don’t paint and know little about it) are always trying to express that you “should” paint according to their taste . . . . .not yours! Think about this: The reason you wanted to paint in the first place was to have some fun, make pretty pictures that YOU liked and maybe a bunch of other reasons. The biggest reason is to express your own tastes . . . .not someone else’s.

In the classes and workshops that I instruct, I place much importance on the value of failure in the learning process. I also try hard to explain to those whose voice is nearly overpowering their painting efforts that we ALL have this evil, negative little loudmouth at our internal microphone. Sadly, few believe that everyone has it. Most people believe that they are singular and alone in their battles with their inner voice. Others refer to “confidence” or “courage” because they believe that that is the name of some special quality that those ‘experts’ have . . . .and that they never need to deal with the little bugger who lives not so silently within us. Baloney! ALL artists deal with it. Musicans, teachers, managers, ditch diggers and athletes, too, wrestle with it. In fact, all people do have that little rascal piping up with unwelcome commentary!

Because this inner competition is the absolute reality of finding our artistic path, I believe that learning to shush the voice is as important, if not more important, than mixing color or learning to draw.

I have been called unprofessional because, supposedly, I am supposed to present the image of perfection and to make painting appear easy and nonchalant. What do you think? Do you find that, as a painter, you are bolstered in some way by learning that we all struggle with the voice? Do you find relief knowing that every artist needs to become deaf to what relatives and friends and critics have to say? Do you rise up with your brush in hand with greater courage because you finally learned to say “To hell with you, Voice! Shutup!”? Or, do you believe that more teachers and ‘experts’ should relate their own struggles and explain the realities of the often solitary aloneness we feel as creative people? Or, do you think I am a buffoon for pointing out that we are human? Really! What do you think?

Let me say here that insanity is not the subject. Nor am I saying that one should ignore sound instruction. Learning is about dealing with our demons. Learning is not some special skill handed down from heaven. Learning is about sweat, effort, trials, failures and occasional successes. Learning never, ever stops for us artists. So, we must tune our ears to those who can lead us. The first one we must shut out is the one person who will tell you that you are better off baking cookies. Listen to those who empathize with your struggle and urge you onward. Listen to those who make it plain that every artist, no matter their station or level of achievement, fights their demons with sheer effort and work.

Then there is the other aspect of the voice . . . . .the aspect that drives us forward to become more discerning about our work and to follow our suspicions and feelings about it. We must develop the ‘selective ear’ to our inner voice and know when to listen and when not to listen.

Oh! One last thing. . . . . . Listen to those painter who have a sense of humor about ‘being professional.’ They are the ones who will snicker at their own voice and reply to it with some sarcastic retort while they joyously sound off about how fun this process really is. They are the ones who will giggle about having paint on the toes of their new shoes or paint on their new sweater because they just couldn’t help themselves and just HAD to paint without regard to what they were wearing. After all, if we are crazy enough to not change clothes before we pick up a brush, there Must be SOMETHING wrong with us! Right??? ;-)

Big Honor

2010-12-07T10:53:00.000-08:00

"Line Dance"

Watercolor, 22 x 15 inches

This painting was just invited to be exhibited in the 2011 Taiwan International Watercolor Exhibition. Artists from the USA, China, Japan, Korea, UK, Australia, Russia, Singapore, Taiwan etc will be included. What an honor to be included among the world's finest watercolor painters!!

I am humbled!

Rocks in My Head

2010-11-19T09:24:00.001-08:00

"Rocks In My Head"

15 x 22 Inches, Watercolor

For as long as I can remember in my painting life, painting rocks and water has been an endless fascination. Reflections, currents, textures, shapes, and the contrasts between granite and fluid draw me into a state of which I cannot describe.

I remember the day well. I had risen from breakfast to go outdoors to paint. The weather was perfect. But where should I go? There was so much from which to choose. Then it struck: rocks in the river!!!!!! I couldn’t get to the car fast enough!!! It wasn’t long before my shoes were wet and I was assembling my easel as fast as my hands could move.

In reviewing the paintings made in Yosemite, this week, with a friend, I commented that I got the same overwhelming calm and simultaneous excitement when I was fishing at the edge of a small river or creek. I have experienced that feeling since I was a little boy and can remember well being at a certain spot when I was six years old picnicking with my parents.

Then there are the towering rocks of Yosemite. When I am there, they fill my dreams. And I like very much the sheer fun of painting bizarre designs from sketches and memory. In those paintings I allow myself the freedom to Play. While at creek side, however, I am swept up in all the dazzling light, the movement of the water and the glory of the fresh air and wildness of it all. It seems to me that I could no more shift into the ‘play’ mode there than to fly.

But put me into the studio without distractions . . . . .anything can happen . . . .and that is for another post.

From Afar . . .

2010-11-03T22:09:00.000-07:00

Am in Yosemite National Park, Painting. Yes, that is all I am doing here . . .and, believe it or not, I am actually fried . . .that is to say, tired!!! I have been working hard morning, noon and night. Up early and at the easel . . .then outdoors to the magnificence of this place and try to choose something to paint. The choices are actually easy . . .stand in one place . . .just about anywhere . . .and there are 10 to 100 paintings within mere paces.

But that is not what I am here to share. To close the loop from the last post, the linemen are finished after five (count em!) that is Five separate paintings until I deemed it finished. I was searching for something near perfection for this piece as I have ideas about putting it into a show soon. We'll see.

Try as I might, the photo seems a bit edgy, though the painting is much softer. I am not sure what to do about it, but will be paying attention to that next week when I return to my studio for more painting.

The title of the piece is "Pole Dance." Watercolor 18 x 24 inches

So You Think . . . . .

2010-10-26T12:17:00.000-07:00

Sketches and trial composition and color studies of Linemen at work

pencil and watercolor

So you think it’s all talent?? I say Baloney !

It seems every time people comment on the work of artist, including my own, these statements are overheard:

“You are soooo talented.”

“I could never do that.”

“I tried it once and didn’t do well, so I never did it again.”

I say “Baloney!” because over the years I have spent painting . . .and counting all the failures which no one ever sees . . . . .it has been hard, focused and devoted W O R K ! That is not to say that the efforts have been unhappy, or that there has been no frustration or disappointments. Quite the contrary! Underneath all of the paintings before now has been study. Diligent, concentrated investigation and attempt after attempt to resolve unsatisfactory results has been the daily rigor.

Here is an example of what sort of effort goes into developing a painting from an idea.

First, there are the sketches to determine how the artist wants to compose or present the subject. Often, the effort stops there. Once in a while, though, an idea persists and further development is called for.

Rather than paint the mundane, ordinary stuff we see daily, why not elevate it to a different stature. In this example, I spent a full week exploring different color schemes while also considering different compositional ideas. Oh, sure I had reference photos from which to select ideas and approaches, but after several drawings on tracing paper, modifications had to be made to make clear what was being said visually.

In the end, I did develop a painting from these studies, which I will show in the next post. The point here is not the finished product, but the effort over fully two weeks of daily work to bring that painting to life.

Talent? Baloney!! It is trial and error and error and error and trial and more trials and more errors. It is having the stubbornness to not be swayed by the failure to deliver the goods on the first try, or the second or even the third, but to attempt again and again making refinements along the way.

Mastery is not a trait someone is born with or is given as a gift. Every good artist I know puts in way more time than many folks do at a job. They dream about it at night. They read and study about it. They drill themselves in exercises and studies. They are often compulsive about it. They are willing to risk failure daily in order to have the opportunity to make a single success at painting.

So, if you want to really compliment an artist (musician, dancer, actor, painter, sculptor etc.) let them know you appreciate their insatiable efforts to get better and better. It really is quite a cool way to live . . . . .it is most fulfilling!!

Using Opaques with Watercolor

2010-10-07T10:32:00.000-07:00

"Floodlight"

Watercolor, 22 x 15 inches

A few posts ago, I mentioned that I have been fooling around with opaques. Namely, I have been using gouache in addition to using the transparent pigments in the same painting. The opaques have been used separate from the transparents to provide a subtle contrast. For example, the tree in the foreground uses gouache in foliage. While this helps the foliage stand off the underlying colors and values, it also has the effect of making the tree advance in the space . . . .or seem as though it is standing freely in space.

In addition, the opaques are used in parts of the sky to lend the atmospheric effects and the effects of diffuse light. Obviously, there is much much more to learn with these pigments and the ideas are literally keeping me awake at night! That is the exciting part of being an artist! The newness never seems to wear off . . . . .there is excitement at every turn for me. Many of my blog readers know me and can vouch for my enthusiasm over painting. It seems just as boredom begins to lurk, some new idea comes up and springs me into action . . . .and then the energy kicks in and I am off and running to paint a bunch of new pieces.

The last several paintings on this blog have employed the use of opaques in a variety of places. Maybe you can see where. Or better yet, why not come by the studio this weekend to see, in person, the paintings. As you already know, it is open studio weekend join us!!!

Sometimes I play

2010-10-05T14:26:00.000-07:00

"Bottom of the Dome II"

watercolor 15 x 22 inches

Sometimes I Play . . . .

So, but now, you know I am having Open Studio this coming weekend and the net weekend from 10AM to 5PM (Oct 9,10 and 16,17) . . . .

You also know I have been painting a lot these last two weeks when I should be doing chores . . . .but I am finished with that stuff for now. So, it is time to PLAY!! Yes, you read it right: P L A Y!

My form of play has to do with challenging myself to some outrageous (maybe not this time) or challenging art “reach.” What I mean by “reach” is to do something I do not normally do . . . .in other words, try something new and different, where I have to reach to make it work.

I learned to reach when I did a series of 100 + still life paintings, all of the same set up and same point of view. The project forced me to focus on doing something other than copying the subject. Namely, to concentrate on shape, color, value, texture and line instead of the subject itself. My challenge typically is to narrow down some aspect of one or more of those jest mentioned elements. For example, instead of copying what something looks like, such as a tree, I will take on the challenge of shape design through the entire painting.

In this painting, shape design was definitely at the top of the list, as was line. I set out to use line as a source of entertainment and to make flat, angular shapes. A ‘good’ shape is not symmetrical and has a notable direction. Each shape bounded by the orange lines follows those two ideals. There is more to it, though; something enters the equation called “dominance.” In this case as you examine the outlines of each shape, there is an angular nature to all but a very few. That angular characteristic adds a familial similarity to all the shapes which brings about a sense of belonging . . . . . . .often referred to as repetition, this aspect of angularity ‘dominates’ the overall picture space. Had this aspect been left to be random, chaos would have ensued and the painting would have had a confused look about it. There is room for a few shapes with gentle curves, which add some subtle contrast and interest to the repeated character of the shapes.

This was simply plain fun to paint! The dazzling color, the hyped up contrast of color against dark, the zippy and often vibrating red orange line and the passage of blue violet through the piece excites the eye in many ways. I had done a piece like this a year ago and caught myself mentally revisiting what I had done. I caught myself hopping up and down with excitement as this piece neared completion.

Sometimes, you just have to play.

Answering Urges

2010-10-03T11:10:00.000-07:00

"Autumn Heat"

Watercolor, 22 x 30 inches

In my last post I mentioned that Open Studio is approaching this coming October 9,10 and 16,17. Okay. So you already knew that.

In getting geared up for it, I have spent much time in the studio cleaning, tidying, making displays for visitors and other stuff. While there, of course, the ideas for paintings keep showing up as I am puttering. Eventually, I find myself in vivid dreams at night until I cannot stand it any longer . . . . . . . . . . .I rise at 4AM, make the coffee and head to the studio.

Did I mention that I am going on my annual trek to Yosemite for a week long painting retreat at month end? Oh yes!! And I always begin the build the excitement a month ahead.

So, there I am in the studio mucho early and thinking about Yosemite. What am I to do? give myself a manicure????? Heck no!!! I turn on the computer in which there are hundreds of my photos of Yosemite and begin sketching. And the ideas are romping through my head at a fast gallup!

Recently, I have been playing with some opaques in my paintings, using gouache in various places to gain different effect. There is another place where I am excitedly chomping at the bit to 'see what happens' when I put the opaques to work. I am finding I can contrive some very interesting effects with them, as you can see in this painting.

I'll be posting more about my experiences with gouache, as I have already completed more paintings and put it to use.

Conflicting Urges

2010-10-01T10:52:00.000-07:00

"Yosemite Humpback"

watercolor, 22 x 30 inches

I just finished this piece. It was a challenge in color management because I first tinted the paper with yellow. As you already know, the addition of violet would be grayed and any blues would appear green. So, I had to play with pigments to get the desired effects of a sunny haze.

As I am preparing for Open Studio, which happens Oct 9,10 and 16,17 here at home, I am often hammered with the desire to escape from all the work and just paint. Making this event happen is fully three to four weeks of continuous work from framing, to tidying, to building display facilities in the yard to sorting the piles of work to see what qualifies and what does not. Since I am not one who does well in boring tasks, this big chore pushes me every year close my eyes and forget it. I suppose, the deeply felt urge to paint is an excape . . . . .but I painted anyway. And it is a good thing I did. The act of painting, for most of the painters I know, is a positive energy tonic for us all. It felt so good, I just HAD to paint another . . . .which I will post later . . . .and have ideas for more.

Oh! You are invited to my open studio. If you didn’t receive a card in the mail, send me your address and I get one into the snail mail right away.

Haste, Balance and Adjustments

2010-09-10T10:41:00.001-07:00

"Hobby Horse Dreams"

Watercolor 18 x 24 inches

Today, just as I am readying to depart to an NWS board of directors meeting, I kept noticing that I had a problem with my last painting.

This time of year is always difficult for me because it is a time of hurrying to complete many things in short time allotments. Open Studio at my home will be held October 9,10 and 16,17. The haste to accomplish all the framing and preparations to make that event happen without hitches is always a challenge.

As usual, I framed pieces I have painted in the last year. This piece, which you saw in the last post, was standing in its frame in our living room . . . . . .and while it stood there, it was as if a big hook and yelling voice was attempting to catch me. The piece was out of balance!

See the last post and observe the left 1/4 of the painting. That area was morose, dark and the only area like it in the painting. That area seemed as though it did not belong with the rest of the painting (striving for unity!). Also, the white shape seemed to be too far biased to the right . . .that is most of the weight of the shape was on the right. Something needed to happen to this piece! Something subtle yet effective enough to upset the current unbalanced nature of the piece.

I had to remove it from the frame, mat, glass etc. Then it had to go back to the easel for adjustments and some needed new elements of line. You can see the vertical / oblique wavy lines were added . . .but no change in balance. The Blue 'dart' was added to help direct the eye, but the piece was still out of balance. ( I wasn't just guessing. I knew what had to happen: the left quarter needed a hint of white to pull the eye back toward the left and to compensate for the right biased weight of the big white shape.) The lines and dart were needed elements for interest.

Darn! Wasted time! Not really.

Having learned the hard way too many times, it seems to me that a good painter never rushes to conclusions in finalizing any painting . . . pending shows or whatever the reason. I have, several times, framed paintings and put them in a show only to be embarassed by what I completely missed seeing. Good paintings need time to be digested and reconsidered. More often than not, after a few weeks of resting, a painting will reveal its inner workings and problems as the painter relaxes from the angst of the act of painting. I believe this to be part of the natural order of making art. You just cannot rush it. Many students find they cannot paint well in workshops. This is part of the reason. Good composition requires reflection, observation and thought. . . . . . and not just for a few minutes. Those tiny adjustments can often make or break a painting. And they may not reveal themselves for long periods. It is a matter of being patient and letting the mind dwell quietly on the composition. The painting process is not always won by the swift, but to those who remain in the struggle to compose carefully.

Moral: Put your pieces up in a corner where you can see them for an extended period before the "Finished" declaration is made.

Getting on the Horse

2010-08-19T14:37:00.000-07:00

"Hobbie Horse Dreams"

Watercolor-18 x 24 inches

In a few days I am off to teach a workshop on composition. And I have not painted in a while. I am rusty . . .a little out of practice.

A few days ago (see last post) I went to the studio to 'sling paint' and loosen up. I did that and more . . .I started the above painting using a derivation of a shape I had used before in an abstract painting. I liked the shape, so, what the heck: Let's build another abstract.

You might be thinking just have at it and see what comes, right? Nope! It is way bigger and more complex than that.

For me to do one of these takes days and often weeks. It is the best way I know of to get on the horse of painting again and put the brain into full gallup.

As I see it, any painting is about composing all the elements (line, size, shape, direction, color, value and texture) into a whole where the sum is greater than the parts. It is a process of choosing one or two large shapes and fitting them into the rectangular format in a pleasing way . . . . .but then the fun starts: Edges need to play off one another, textures need to be created, varied and changed yet be related in some way. Unity must be the result with contrasts and harmonies derived from all the parts: Hard vs soft, red vs green, dark vs light, etc. Value transitions and movements must be created in order to lead the eye on a path through the painting.

My rule is never do the same thing twice. For example, I may use a teal color (three times in this painting) but I force variation in each repetition. There are two small teal shapes and one teal line. One of the shapes has been lightened and made opaque while another is textured over with a tone . . . .so you see the teal shape, but know immediately it is different. The kicker is to drill one's self to make each mark feel as though it has 'membership' or belongs to the others. When that is done well, interest rises.

I will grant that someone there in cyber land won't like this painting. Maybe someone will say it is tooooo much! Too contrasty or too dark or too edgy or too something. That is okay by me. Every painting, successful or not, is a learning trial. That is to say, if the artist goes about making art via continuous experimentation and exploration to see what will happen . . . . .eventually that artist will excel at his or her art and most likely pass other established artists.

The trick is to get on the horse and ride like the wind. Put the spurs on and go as fast and as hard as one is able. The cool thing about getting on is this: If you fall off this horse, no one gets hurt!

Practicing What I Preach

2010-08-17T13:34:00.000-07:00

" Parked In The Sun"

watercolor 15 x 22 inches

I have been lamenting for several weeks (months) that I have not been able to paint.

You might recognize the following if you have not been painting . . . . . .doubts and fears set in about whether I am reallty capable to do this . . . .was I just bee essing the world? . . . .was that last good painting an accident that I will never be able to repeat? . . . . .Have I lost the touch? . . . . . . .and more and more and more! All this pours through our consciousness as daily tasks take us from the easel. Soon, the doubts are so strong that we become nearly paralyzed. Not only that I 'don't' paint, but it becomes I 'can't' paint!

For an artist who gets grouchy and irritable when I don't paint, the very sanity and comfort of those around me is at risk when long stretches between painting happen. It isn't pretty. ;-)

I have always preached to my classes to Just Paint ! Just go make a mess. Don't worry about what, just make anything. . . . .but fer gooness sake, PAINT!

After a long, long break, something in me snapped. I rose from the bed yesterday absolutely committed to go make colored puddles on paper . . . . .to sling paint and just get used to the feel of it . . . .go ruin some paper, Mike! . . . .just practice what you preach! Forget all the mind chatter and get out there to move some pigment around.

So, I did. It isn't up to the normal quality that I expect of myself, but that was not the goal. What a great feeling to throw something down with no expectations . . .just try something.

I have much to do in order to gain back my 'touch.' But. after yesterday, I am sure I can 'come back.'

It's good to be 'home.'

After Hiatus . . .

2010-08-03T16:05:00.000-07:00

"Slopes and Weather"

Oil on canvas panel

8 x 10 inches

I suppose vacation is something few artists ever get. Just look: I go on vacation and what do I do? Paint, of course!

Up in the mountains where everything is green, I was confronted with the choice to make everything green or should I exercise my artistic license and slather on some color Just for the heckuvit. I chose the latter and, frankly, I had fun doing it.

One thing I have learned over time . . . .that is if your values are right, you can do just about anything you want with color and come up with some interesting things. This little plein air oil painting was just such an effort. . . . .evening shadows, exaggerated slope angles, tree lines that became just shapes of color and a little angular house for contrast. The orange underpainting peeks through in places just for sparkle's sake.

It all added up to a late afternoon of fun.

Tooting or Complaining?

2010-07-01T16:25:00.001-07:00

"Bandits at 3 O'Clock"

Watercolor 30 x 22 inches

I suppose this is the only place one can come to toot their horn a little bit. Maybe a place to complain a bit now and then, too.

So here's both!

(Complaint) I haven't painted much for what seems like months! Yes, I have put a little teensy amount of time into a very complex watercolor which, I expect, will take months to finish.

(Complain #2) Time is getting away from me fast! Too many "duties," if you know what I mean. Those are things that MUST be done without question . . . .time limitations don't count.

(Toot) San Diego Watercolor Society's Annual National Exhibition accepted one of my paintings. (Ahem! Toot! Toot!) :p) That would be the above painting. You can see the title.

Some of you may not understand the title. Let me help a little bit. First, click on the painting and it will expand much larger. Second, most guys I have met love to "watch the girls" from whatever vantage point they have (obviously!). Outdoor workers are not exempt by any stretch of the imagination. And there are 'code words' among friends to alert anyone else in the group that a good "sighting" has been made.

"Bandits" is jargon used by US Air Force pilots for enemy aircraft. The clock time is the position in the sky of the 'bandits' with the cockpit being the center of the clock. In this painting, the alert has been sounded. You can figure out the rest from there.

Other than tooting or complaining, I just wanted to check in and say Hi to you all out there in the sphere of cyber.

Connections

2010-05-19T08:19:00.000-07:00

Hi Everyone~!

Every now and then a person crosses our paths who is out to make a difference for others.

Meet Chris Beck. An extraordinary painter herself, Chris bends over backwards to feature and advance other artists. Of course those artists benefit, but so does Chris.

I recently connected with Chris after hearing about her from other artists and after reading her blog. What an incredible and delightful person! ( I better say that, eh Chris? :-] )

She has recently keyed up a summary of my work on her blogs. Check it out! There is a second blog called "brush-paper-water." Check it out, too. Publicity is always welcome!!!!!!

Thanks, Chris!!

Plein Air Vertigo

2010-05-13T09:23:00.001-07:00

"Red Carpeting"
oil on canvas panel 12 x 16 inches

No Kidding! That cliff edge is over 150 feet straight down . . . .and a few bumps along the way!

Standing at the edge and painting really required me to concentrate because the vertigo was always nagging at me.

This location you might have seen before in other paintings and posts. But I must admit that I keep going back there for more. Yes, the vegetation is definetely that color . . . .ice plant . . . a succulent which carpets the area and displays these vivid colors. What a joy to paint . . . .even if I was a little bit dizzy!

Throw in the Towel? Never!

2010-04-30T08:13:00.001-07:00

Before Modification . . .

"Bad Dawg"

Final Version
watercolor 21 x 21 inches

Years ago, as I was learning to paint and making a few hundred attempts per year, I found only a few of those to be “good” paintings.

Now, as I believe that I know a little more about the structure of a painting, I am very reluctant to accept that a painting is finished too early. Now, I seek a greater complexity than before. But it is waaaaaay more than just complexity. It has to do with balancing all the relationships.

Recently, I heard it said that a symphony is marshalling all the relationships of sounds so that the magnificence of the whole is greater than the sum of its parts. Wow! Is that ever true for the painter, too!

The act of creating balance and unity among the relationships is the crux of painting fine work. There is intense mental strife in that effort for me. In other words, it is a continuous battle to adjust and modify until everything fits. And so many, many times in the progress of a piece I mutter “just give it up!”

I am finding, as I grow artistically, that it isn’t always one’s ability to paint as it is the willingness to risk failure over and over until a painting is finished. Every alternative must be tested, sometimes tried, to determine if the painter has gone too far or not far enough. At some point, making new marks threatens to spoil weeks of work. And it sometimes does.

When it does, should I quit and begin again? That is one possibility. Or, should I attempt removal of the mark, or modification of the rest of the painting?

I say never quit! Take the piece all the way to near ruin before giving in. Lifting paint out of a watercolor is not easy, but it is possible. Overwork? Of course! There is a patina which develops which can sometimes be most attractive and displays a bit of history of what the artist did to complete a piece if it is overworked.

This piece, “Bad Dawg,” is one such piece that suffered through several different endings before I finally stated, ‘that is enough.’ Overworked? Perhaps. Muddy? Some would say “yes.” Sophisticated? Maybe. In the end, taste prevails. Your taste? What does it say?

In the process of becoming more accomplished, learning to accept failure as a companion is absolutely necessary. The biggest part of that, I believe, is NEVER giving up.

Why Bother to Doodle??

2010-04-26T21:31:00.000-07:00

A doodle to settle down . .

Several years ago, a painter friend was telling me about studying with George Post. Yes, the famous California Regionalist painter. I asked, "what does he teach?" The answer was short, quick and unforgettable. She replied, "Paint Relationships."

I nodded with that "of course" look on my face while I wondered "what in the hell does he mean by thaaaat?"

That question haunted me for years. It wasn't until four or five years ago that I awoke one day with the answer. I had been reading books about design . . .(not just looking at the pictures!) . . . . . . .and, while asleep, something gelled in my mind. I understood what he meant! Man!! That took some time to digest that one!!

There are seven ways to cause things to relate. Yep! Seven. The very same as the elements of design: Line, Size, Shape, Direction, Color, Value and Texture. Take any two dissimilar shapes in a painting and one can relate them via manipulation of any of the seven elements. Color and Texture, for example . . . .give both shapes similar color and texture and they will relate.

A painting is a great combining of all of the elements. . . .those elements are the marks made on the canvas or paper. Relating all the parts of the painting is the art. Of course, there are different kinds of relationships, like absolute ooposition or harmony. The goal, usually, is unity . . . . .to make all the parts seem as though there is a feeling of belonging in the painting. I can assure you, it has nothing to do with things or objects.

So, then . . .should I set out to do a masterpiece every time I paint? Heck NO!! There are times when it is necessary to do warm up exercises . . .or when it is necessary to simply try something that might be niggling away at our consciousness . . . .or to just paint to feel the brush slithering out paint onto a surface. Doodling has a place in painting. To put it simply, to just try stuff without fear of ruining a 'masterpiece.'

It is my contention that all we artists do is try. (there is a big difference between 'try' and 'do.') We move paint around and often hope for the best. So, why not doodle for the sake of finding out new solutions?

The piece above was a 'sanity doodle.' That is to say, to paint just to keep my sanity. I was in Kanuga working hard to bring tough subject matter to reality for a group of driven workshop participants. Preparation for such anxious people can steal all one's painting consciousness, much less painting time. So, an hour before class, I doodled. Yep. Pointless, silly, exercises I made up just to see if I could find different ways to cause different areas of the painting to relate.

The painting will never, ever see a mat, much less a frame. But it does call to me to remind me that the doodling not only helped me settle down and be ready for class, but it taught me a few more little nuances about relationships that I needed to fully understand . . .and I will put that to work in a serious painting one day, maybe . . . . .or maybe not. But I feel more comfy in the knowledge that when needed, I can establish relationships in any painting. Doodling has shown me that.

The Power of Association

2010-04-23T08:03:00.000-07:00

A few bad boys

Nicholas Simmons, Ted Nuttal and myself

A few days ago I had a meeting with a young man trying to make his way in business. He has a head start because he knows the power of associating with those who are where he wants to be.

That is, he understands that we don't go through this world alone. There is great power in associating with others who are doing what one wants to do. In some circumstances, that power can be very negative, obviously, but if directed in positive directions it can also have extraordinarily positive results.

As you know, dear readers, I work quite hard at learning my craft . . .painting. Early on, I made it my intent to get to know other painters in order to learn from them. And there is much we can learn about anything from our acquaintances and friends. Often, it is nothing more than manners or how to behave in some situations. Other times, there might be technical information shared. And in still other circumstances one might get a glimpse of flashes of genius. Those flashes might appear in the form of an attitude or how one copes with the frustrations of their craft and their place in life. One might assimilate knowledge that they are not alone with their inner feelings of inadequacy and that all who are around them endure the very same challenges. Knowledge such as this can strengthen one's resolve to succeed and open the gateway to others' experience in unknown territory. In other words, road maps to get to new levels appear.

Yes, this is a philosophical musing. But an important one. If you are a painter and visiting here, there is much to be learned from all the links. But there is one more thing: you might make distant friendships with someone who might, at some place in the future, mentor you in some way. That is why I blog. It has been a form of association that has paid enormous dividends. It is also why I share the information I have learned about painting; to pass the baton . . .to give for the sheer pleasure of watching others make more of what is given them.

Last week, partly because of my attitudes about association and freely passing along a little wisdom here and there, I was an instructor at Kanuga Watercolor Workshops in Hendersonville, North Carolina. I must say I felt as though I was in the midst of a love fest! 250 people of like mind and heart all gathering in a retreat location for two reasons only: to learn about painting and to associate with painters from around the country. In short, a paradise for those who understand the power of association with other artists.

One would wonder 'why would four days at "painting camp" be so important?' One only needs to experience this once to fully understand the underlying importance of being there. Last week, painters such as Mary Alice Braukman, Nicholas Simmons, Gerry Brommer, James Toogood and the infamous Ted Nuttal gathered to spread the good news to their students and associates alike. Joan Fullerton from Taos, New Mexico, Don Getz from Ohio, Linda Baker and others who hail from the heights of AWS and other art organizations were also there. And they didn't come to hang out just with each other. It was all about sharing and giving. (If only the whole world was like this, eh?) We all had great fun together and we enjoyed associating with the participants who came to learn. But most of all, we learned from them.

Check these people out. They all have much to give . . .and they do so. Personally, I grew from the experience with each of them. Moreover, if you can arrange it for next year, set aside the time and the money to attend Kanuga Watercolor Workshops, you won't regret it!

I returned home exhausted from spending so much energy, but completely elated from the associations and friendships established. In short, it was a WOW experience!

On Value Transitions

2010-04-03T08:32:00.000-07:00

"Crumpled Considerations"

Watercolor 30 x 22 inches

Last week a gentleman inquired about my method in making these non objective paintings.

First a sketch. A simple sketch which shows two or three simple value shapes. Those different values must, in my mind, exist in a ratio of Large, medium and tiny. Which specific value group is one size or the other doesn't matter. I happen to like a large lighter compositional shape which reaches for and touches at least three sides of the piece. The dark and medium values would surround the large shape.

Mind you, when I refer to "light," it may mean several different light values . . . . . .that is lighter than everything else in the painting.

The big trick in putting this to paint is to first isolate the large light shape by blocking it in with various glazes of paint layers. The use of glazes assures variation and, if I am careful with different techniques, texture, too. Over several days, I will gradually begin to encroach on the big light shape along the edges, gradually changing value and color. By edges and the amount of encroachment, this could mean as much as covering the majority of the shape or as little as a mere centimeter into the shape.

The work ensues until there are a series of value steps from dark to medium to medium-light to light to lightest. Those transitions and graduations of value (and color) prevent the eye from being stopped by too much, or too sudden, contrast. Only at one location will there be a strident step from dark to lightest. And that location will be in a very strategic spot.

Gradually textures are created and, toward the end, there are a few stampings and spatters in unique places to help soften or assist a sudden value transition. In short, this process requires a lot of attention to edges and contrasts.

As the piece nears completion, there are always errors and problems with balance and misplaced contrasts. Sponging out areas using various masks (or not) helps to resolve many of these issues.

Overall, the goal is to make a painting which is completely unified from corner to corner, where there are relationships throughout the piece. That is where shapes are related in their character, value, color and or texture. There must be passages and movement through the piece and it must have excitement. That last word is the opposite of boredom. Every single square inch (or centimeter) must have something happening that is related to other parts of the painting, but in that relating must also be different. Texture stampings, for example, must be similar but different. VARIATION is a a key operative.

So!! There you have it. How long do paintings like this take? Weeks and, frequently, months!
Failure is my companion every step of the way. It is part of the process. The trick is to work the painting until it is finished: Never give up. Think think think think!!!!

NEWS . . NEWS . . .NEWS !!

2010-04-02T17:29:00.000-07:00

NEWS . . . NEWS . . . NEWS . . . .NEWS . . .NEWS . .

After too long a period, my website has been thoroughly updated. Nearly 50 new paintings and a new workshop schedule. Go Look!!

Suggestion: you might also, after seeing all the paintings there, want to go to "Artistic Musings" on the site and read a few of the articles there.

Check it out!!

Thanks to Marion Podolski (marion@podolski.com) who designed this website and is the person responsible for the update. Thanks, Marion! (any artists out there who need a great webmaster? Drop her a note. She'd love to hear from you!)

Planely Scattered

2010-03-25T14:59:00.001-07:00

"Planely Scattered"

watercolor 30 x 22 inches

The title today relates to what my life is like at the moment: Lots of different things going on, very little of it to do with painting.

Scattered, for sure. Distracted, yes, but my thoughts, dreams and actions all are centered around moving pigment in a related way to cause a viewer to entangle him or herself in a visual conversation with a painting.

Decidedly, a painted appeals to us on very deep, often unidentifiable levels. Questions like, Why do I get a feeling in the pit of my stomach when I look at this? Or, What is it that makes me want to touch this painting? Why doesn't this look like a 'regular' watercolor? This piece makes me relax. Why am I so curiously inspecting every inch of this painting?

These should be questions that us painters should be able to answer easily and create the visual stimuli necessary to ensnare them. We are the creators of the work, we should be able to steer the viewer to feeling something.

Often, in lectures to those who will listen, the ideas of what makes a 'good' painting are openly discussed and argued. There are three things by category, but those three things involve volumes of explanation. They are ""Content"" . . . .that which arouses our feelings and sensibilities, or a story . . . . .""Design"" . . . .The relationships between the marks on the canvas and/or paper, or how all the painting parts fit together . . . .and ""Technique"" . . . .how the paint is applied and is technique in concert with Design and Content. They are all inter-related in one way or another. That is, the technique and design must support the content. However, if the content is extremely strong, and the design equally as strong, technique can often take a back seat . . . or not be as important as the other two areas.

I am often asked what is necessary to be accepted into juried shows. These three items must be in concert to win that admittance. It may seem daunting to the novice painter, but the study of these aspects of making art is what this journey is all about. It really is much more complicated than just making a pretty picture. To grow and to learn about ourself and all that we can do with art is a high calling. It is a step into our higher self.

Not that there is anything wrong with 'pretty pictures,' mind you, but how many millions of them are out there? To put one's self onto the track of learning all the above aspects about making art is to put our minds to the purpose of being our highest self. I would say that is worthwhile, wouldn't you?

Studio Busy News

2010-03-03T07:58:00.000-08:00

"picasso" wet from the rain

No paintings today, folks. Just news.

It may seem as though nothing is happening in my studio, but quite the opposite is in play. It seems as though everything is coming at once.

First news is my entry to AWS was an award winning painting at NWS, but was turned away at AWS. Go figger that! Who knows why? It is always a crap shoot . . .luck has to play a part.

Second news . . . .my workshop season is in full swing! Am off to Reno this week, then to the Carolinas and beyond in the next 30 days. My studio is being used frantically as I prep for classes, exercises and examples for the participants . . . and the mess is stacking up. Any of you painters out there have difficulty keeping things in order in your studio? For me, the busier, the messier.

Third news . . . .I have a new "job." This job is one full of honor and responsibility to tradition and prestige. I must answer to those who have gone before me as examples and it won't be easy. However, I am hoping I will be able to bring new wisdom, new energy and lots of expansion to the post. I have been chosen as President of NWS (National Watercolor Society). I officially took office this last month. Busier!

If any of you out there have thoughts about the society or where you'd like to see it go, I would like to hear from you.

Many of you know of the other news . . . we have a new puppy. "Picasso" is his name. And, yes, he is very demanding and steals our attention constantly. (What were we thinking?? :p) ) Even busier!!!

On Composing

2010-02-02T08:55:00.000-08:00

Preliminary Sketches
Composition Idea
Figuring the Large Shapes

The demo in my last post came out well. In my humble artistic opinion, it had less to do with the act of painting and a heckuvalot more to do with the initial planning and composing.

I won’t say that “anyone can copy what they see” because that is simply not true. But seeing is not always the best means of making something extraordinary out of a bunch of ‘things.’ Namely, trees, cliffs, colored succulent, rocks etc. It is much more a task of arrangement of shapes, shapes, values, colors, textures etc. It is in the arranging or composing those elements together that wonderful things happen.

It begins in the early sketches and assessing those sketches for design flaws, then, re-doing the sketches to account for the flaws, re-assessing and making still more changes. In that assessment process, I find that I must remove my thoughts from the subject and move to considering how the various shapes combine to form three to five large shapes and how those large shapes interrelate with the rectangle of the canvas or paper on which the painting is made.

That recent demo (last post) went through this very process. Once I was happy with the large shapes which connected the edges of my rectangle, I could insert and fit the ‘reality’ of the subject into it. It took some cramming, shortening, shrinking, expanding, squeezing, eliminating, adding . . . .well . . . .you get the idea . . . .the subject had to fit into the composed arrangement of large light and dark shapes. Looking at the sketch above, it boils down to an abstraction that is interesting to look at in its own right.

For you painters who are less experienced, the large dark shape that sprawls across this page is actually a combination of many items . . .trees, grasses, succulents, rocks, etc. It is in the act of painting that the artist must use caution and value control to insure that the large dark shape is still expressed through that combination of ‘stuff.’

It may seem like hard work to those who “just want to paint.” But, I believe that the disappointment which most often follows rushing into a painting is a big price to pay. . . . .especially, when we artists put our treasured sweat and tears into the act of painting. It is worth the effort and time to work out the composition first, then set about getting it all on to canvas or paper.

Today's Demo

2010-01-24T21:22:00.001-08:00

"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

2010-01-23T12:23:00.000-08:00

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

2010-01-19T12:05:00.000-08:00

"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

2010-01-10T12:10:00.000-08:00

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.

The Ultimate Challenge

2009-12-29T17:24:00.000-08:00

"Breakthrough"

Watercolor 22 x 30 inches

click on image to enlarge

After years of painting and trying to tackle all sorts of subjects, I came to realize that it wasn’t the subject that compelled viewers to be attracted to a painting and then to study it . . . .it wasn’t the subject at all. It was HOW it was painted.

Well, you say, that’s great news! What the heck do you mean?

In a few of the last many posts, I have mentioned the elements and principles of design. (elements: Line, Siz, Shape, Direction, Color, Value and Texture. Principles: Unity, Harmony, Dominance, Conflict, Repetition, Variation, Gradation and Balance.) It is in the paying closer attention to these principles, rather than the subject, in forming the marks (elements) that one arrives at a good painting (or not so good.)

We have all had the experience of painting places we know, or painting from excellently composed photos, or painting from life. In those instances, much of the work of composing the elements . . . .shape, texture, color, value, etc . . . .is done for the painter. More often than not, however, while we believe it to be the case that the photo or the model will lead us to a good painting, the opposite happens. Something along the way is forgotten, left out, or ignored . . . .and that comes from relying on the subject to lead the way. To be a great painter, one must reach inside to find that which makes terrific art. It is in our most creative state that we bring something better in our paintings to the world. But HOW do we DO that??

That is THE question. It is the stuff that isn’t obvious which brings a viewer to an excited state of examination. It is the contrasts, the harmonies and the surprises that we dream up to make that happen . . . . . .and it takes lots of practice, patience and many trials. . . .and the study of good design.

One must separate one’s consciousness from the world to force that reach into our authentic creative selves to produce visual answers to the question of HOW. The best way I know of is to paint non objective abstract paintings. In my opinion, that is the ultimate challenge.

That challenge, which is to create something not before seen, means there are no visual crutches or prompts. There is no script to follow. It is design in its purest form.

To do it well doesn’t come easily . . . .in fact, it is the most difficult thing a painter can attempt. It doesn’t occur by coincidence or by slinging paint and hoping for the best.

It happens through meticulous painting and cautious, examination and consideration of painting alternatives. This piece, entitled “Breakthrough,” is such a piece, which has taken months to complete. A few hours here and there. Rest. Look. Evaluate. Rework. Enhance. Rest. Think. Wait, Look, think . . . .and on and on and on. I began this piece in August. Here it is December . . . 5 months later. And I am still looking, thinking and wondering if it really is finished. Is it the best I can do? Do all the parts fit? Is it balanced? Is it interesting? Should it go public?

In the end, it is pieces, like this one, that teach us painters how and where to fill in the blanks when we are painting from life or photos. The challenge of creating something from absolutely nothing is the ultimate stretch. But it is also the place from which the NEW and DIFFERENT are born. It is the place which delivers the unavoidable authentic stuff that only you can make.

If you are interested in attempting this, you may want to consider a one week workshop in how to produce abstractions in work similar to this. It is well worth the investment, as the time spent will awaken even the most experienced artist to the importance of good design. As it turns out, I give such workshops. Interested? Drop me an email if it isn’t on my website.( I haven’t posted the dates yet)

Another Approach / Experiment

2009-12-20T10:36:00.000-08:00

Recently, Stephen Quiller introduced me to another angle in watermedia painting. I do not know why it hadn’t occurred to me before now because I use a similar approach in oil paintings frequently. That is the idea of coloring the ground on which the painter paints. In oil painting, or acrylics, orange is often used as an undercolor, letting that color peek through in non deliberate places. It can make for a very unusual spark of energy in an otherwise mundane subject.

In this case, I painted a very thin coat of diluted acrylic paint onto the paper and allowed it to completely dry. Then drew my image onto that orange paper and set about painting the painting using sometimes opaque pigments and sometimes transparent pigments. The results are startling!

Here I have included a landscape with a very dramatic oblique dominance and a brilliant orange underpainting. That orange shows through and helps much of the foliage in the (lower parts of the painting) glow. The opaque gouache used in the sky and a few other spots causes the transparent passages to sing out.

Also, as a class demonstration, the still life (number 103, I believe) was used as a subject. A calmer orange was used in this painting and grays employed to cause the oranges and blue violets to appeal more to the viewer. This piece was literally slapped together to show how the underpainting could be used. Later, line was used through the piece to deliver more texture and interest.

The nice part of doing this is that it sets a color harmony through the entire painting establishing a strong unity. Even subconsciously, we see the orange shining through other colors, which sets a close relationship between all the colors used in the painting. It is a very effective tool to build dominance and unity.

Sort of fun and spectacular at the same time, eh?

The Chase

2009-12-08T09:29:00.000-08:00

"Sentinel Haze"
watercolor, 18 x 24 inches

There is a big message here if you are a painter. Read all the way to the bottom.

As an occasional art instructor it is my job to enlighten about the elements and principles of design. Enlightenment is one thing but applying that to which one has been exposed is quite another.

There are 15 words to wrestle with. The elements have 7, the principles 8. The elements: line, size, shape, direction, color, value and texture. The principles: Unity, Harmony, Dominance, Conflict, Repetition, Variation, Gradation and Balance. (Comment: others may argue the selection of words to be included or traded out, but we are all really focusing on the same things.)

Often, the student complains (as do I !) “How do you think of all these things when you are painting?” My truthful answer is really something to the effect of ‘that is what divides the novices and masters.’ And . . .as we all know, there are very few masters out there. . . . . . .but it sure is a wonderful chase to try to touch mastery every once in a while!!

Sometimes, execution fails miserably. The technique completely collapses in favor of some other dominating thoughts while in the act of mushing paint around. Other times, the technique is extraordinary, but the design has a major, uncorrectable flaw . . .and all who see the painting know it. They may not be artists or know anything of painting, but they can sense a design mistake in the pit of their gut.

The challenge to get content, technique and design all working together is mostly overwhelming. When they all come together, the high that an artist experiences is, I suppose, the entire reason for the chase. It is simply temporary nirvana.

On the last day of my trip to Yosemite 6 weeks ago, I stood in awe of the view of Sentinel Rock in a slight haze. I decided to exaggerate that visual effect . . .or at least TRY to . . . .and to experiment once again . . . . .let multi colored washes drain down a vertical page, then define the positive shape (the rock) by painting the negative shape (the sky) in an opaque (using gouache) colorless wash. The contrast of opaque and transparent would be opposite what one might imagine . . . . .that is the transparent atmospheric nature of watercolor would probably best be used in the sky (the illusion of air), while the rock would be thought of as a solid, dense mass (opaque.) I deliberately reversed that idea to see what would happen.

While completely absorbed in all of this stuff, mentally, while painting, I forgot my design principles. Yup! I became sidetracked with the experiment and paid no attention to the ridiculous design error that I had made and was constructing right in front of my eyes. I happily just kept painting. It wasn’t until completion that I realized that I had divided the space evenly (dammit!!!) and created two separate paintings on one piece of paper (double dammit!)

Oh well! It was only a piece of paper to begin with . . . .and now it is still only a piece of paper. However, I am saving this painting because it revealed an extremely successful experimental result which I will employ in another painting later. Lesson learned (again!!)

There is one last comment for the painters out there who read this blog . . . . . . it is the failures and the mistakes that give us painters the best lessons. While we relish and seek the successes, our best friend in the chase is those mistakes that spank us into those, “OOoohh! Now I get it”moments. I have learned to court failure in the chase. In painting, failure really is a friend and not something to fear. No one ever has been hurt or ever died from making a painting mistake. Through failing, we learn and grow!

Disdain for the Ordinary

2009-12-05T16:34:00.000-08:00

"Sentinel Autumn"

watercolor 15 x 22 inches

I suppose it is possible to tell much about a person by the way he paints and the paths he or she chooses. In fact, in my own case, it seems my disdain for ordinary work is written all over me and my work (at least, I hope my work shows that!)

There are many paintings out there of the same tired subjects. Half Dome in Yosemite is, perhaps, an icon, but it is also in soooo many paintings that I try to avoid it. That isn't to say that it is a bad thing to paint. Again, it is HOW it is painted . . .NOT WHAT was painted.

Looking back at my last post, speaking about having the paint speak up as paint and not something else, that really is another comment about avoiding the obvious.

Sentinel Rock in Yosemite drew my attention for most of the week there . . .and I painted it multiple times. This time, I worked at letting the granulation of the pigment speak up. (click on the image to see it). The tall rock was shaped somewhat like this, but that is where the reality gave way to the paint and let the paint make its statements.

There are one or two more pieces to post from that trip. They'll appear soon.

Experimentation and Inspiration

2009-12-03T08:04:00.000-08:00

"Oaks on a Wall"

watercolor, 15 x 22 inches

Often, in execution of the lessons I give in classes and workshops, I am distracted from a deep inspiration to create a specific painting. Other kinds of distractions come up, too, but all of them frequently take me off that inspired track. That is one good reason for taking a week away from everyone and everything to just concentrate on painting. Such was the case a few weeks ago in Yosemite.

Returning to class from Yosemite, I had to give a mindless demo of different ways to create textures or to give a sense of surface in a painting. I say mindless because it was simply a blank piece of paper and a bunch of different examples of stamping, lifting, spraying, splattering, smudging, dripping etc . . . .all with no image or intention of making a painting.

Meanwhile, in the back of my mind was a vision I had seen through the eyes of a zoom lens . . . .the face of one of the sheer granite walls towering hundreds of meters above my place on the valley floor. Full grown trees grew out of cracks on the stone! Yet those trees and the abstract patterns in the rock had me buzzing inside.

I took the demo sheet home and began experimenting with more textures and colors and ‘stuff’ just to see what I could come up with that **might** suggest those walls and their abstractions on that same sheet . . .just slobbering layer over layer.

Often, it is the coming together of sheer experimentations and the visions from inspired ideas that create works which arrest a viewer and hold their interest . . . .much more that a tired scene of something everyone knows.

Clearly, to be different, one must do different things at the easel. The painter must allow the paint to act like paint rather than conform to some notion about looking like something else. Experiments can show us painters new ways to consider our beautiful mediums. In fact, I believe most of our work as artists must be connected to experimenting.

Color Play, Too.

2009-11-20T14:52:00.001-08:00

"Sentinel Flats"

watercolor, 15 x 22 inches

I have a goofy, abstract side as well as a side of me that loves the implied realism which emerges when all of the elements and principles of design optimally meet.

That means that for ‘reality’ to emerge contrasts can’t get too far out of hand, shapes must be designed but recognizable, values must have their transitions and appropriate assignments. (by assignments, I mean that the dominant value of a region in the painting must have a dominance which seems to emulate reality.) And, of course, color has it’s place, too. Good color harmonies and gradations make all the difference in a well executed painting.

But!!! . . . . . .there are times when the playful side of me screams to get out. And . . .when that happens, just about anything will show up. In this case, it was more of what I had done earlier in the week at Yosemite. While Sentinel Rock was right out my back door, it’s shape is recognizable from all over the valley floor . . .and above the valley.

With sketchbook in hand in the mornings, I would draw from my previous sketches or paintings and redesign shapes . . .reorient their placement on the page . . .exaggerate or play down some shapes in order to call attention to something special. Set the values so the overall composition worked well, then set about painting it.

I just HAD to Play with color, too! Using a rigger brush with pure Perinone Orange (a brilliant red orange), I lined out all the shapes completely eliminating detail. Focus on shape, value and color. Period. Painting the inner parts of the outlined shapes in opaque gouache, holding down the intensity of the colors until the center of interest, where I played up the saturation, this was the outcome. Yep! It’s different, but definitely Yosemite.

By the way, if shape design is of interest to you, check out Peggy Stermer Cox’s blog (click here). (Check out her "Still Life with A Pony" images. What she does to keep a whisper of reality, yet make shapes leap out of the page is worthy of your time to go look. We could all learn much from her!

Watercolor En Plein Air

2009-11-17T08:35:00.001-08:00

"Three Graces"

watercolor, 15 x 22 inches

For many years I painted watercolors outdoors with friends. Some worked and some didn't. There was, however, a certain energy about the paintings that made them very recognizable from studio work.

Perhaps that energy is a result of the difficulty of painting with watercolor outside. I consider myself confident in executing an outdoor piece, but I must say that in spite of my confidence and speed of delivery, there is just something that keeps me in the studio. Plein air painting is a giant pain in the rear, if you know what I mean.

While I have worked out the kinks and the difficult processes of setting up and operating in a 'studio' outside, in the wind and blinding light, it is still a love / hate relationship for me.

While in Yosemite, I made, at least, one plein air piece per day . . . .and usually did a studio piece each day, as well. This piece, of the 'three graces' (I think that is the name) was one of those incredible days where every wash behaved, every color did what it was supposed to do and the wind only come along at the finish. Out in this meadow, near the base of El Capitan, the light sparkled on the edges of this giant set of rocks, while in the crevices the light hid in mysterious darks. The light coming through the yellowed trees at the base of the rockwalls were luminous. It was a blast to paint! But inside all of the processes, more lessons came forth which reminded me what I should be doing in the studio.

One of those lessons was to paint vertically if I want great washes. Having gravity naturally pull the pigment laden water down the page reveals granulations and effects one can never cause on a piece of paper, no matter how expert the painter might be. So, I am doing exactly that. I had forgotten how important it is and allowed the comfort of control to take over. Invariably, the discomfort of a painting getting 'out of hand' is when the great stuff shows up.

On to the next one! Let the paint flow downward.

2009-11-13T09:58:00.000-08:00

"Royal Arches"

watercolor, 15 x 22 inches

Depending on who you talk to, SIZE is an element of design. Size actually means “scale” or “Proportion” or “Measure.” That is to say in order for the eye to assess how large something is, there must be comparative objects or sizes to measure against.

We all ‘know’ how big a human being is (roughly) or the size of most trees. When we see a very tiny pine tree next to a large cliff face, we get a sense of the proportion of the cliff side. It is through clues like this that we artists are somewhat able to communicate that sense of enormity.

In this painting (on site in Yosemite) the scene is in the meadow near the Royal Arches. Those arches appear in the cliff side of the rock which stands straight out of the meadow and snuggles close to the very recognizable Half Dome. One simply cannot imagine the size of that cliff side without comparative objects nearby.

So, here is the attempt. In the early morning, the sun rises behind Half Dome and projects its light onto the face of the arches. It is an amazing . . . .and nearly overwhelming sight! To paint it . . . .that is another story entirely. It sure made me feel like a teensy little ant!!

Two Versions

2009-11-07T20:17:00.000-08:00

"Downstream Autumn"

watercolor, 15 x 22 inches

"Bottom of the Dome"
watercolor 15 x 22 inches

There is a park in California called Yosemite National Park. If you have been there, you KNOW that it touches the soul. If you have never been, it must be put on your 'bucket list' to go before the end of your life. If you go, you will, no doubt return. One cannot help but be struck with awe by witnessing the immensity of the granite walls.

I just finished spending a week there . . . .painting. The images I have posted during October were of that place. My heart and mind were already making paintings long before I went there. As a result, I had ideas for experiments and trials of different painting approaches when I arrived.

One was to use bright red orange line through a painting to define flat shapes. Another, of course, was to paint en plein air the beautiful Autumn foliage.

At the river bottom, under the shadow of the massive half dome, I painted some reality on my first day . . .and dreamt of the orange line idea for a few nights before springing from bed early one morning to dash out the idea. I rather like the imapact of the pure hues and tints against the near black ridge in the abstracted version. Impactful. But the other version offers a significantly different mood. . . . . A restfulness, I suppose.

It matters not. What matters is the idea was carried out. In later posts I will show similar ideas tried . . . .which offerred interesting discoveries.

It was a wonderful, magical trip with lots of revelations to ponder and try.

Overcoming Big Design Errors

2009-10-23T15:23:00.000-07:00

"Blowhard II"

watercolor, 22 x 30 inches

It never fails . . .or, so it seems. When I think I know what I am going to do . . .and begin without a substantial plan . . . . .I end up digging myself out of substantial design problems.

D’ya suppose there is a relationship there?

Okay, okay! The tree part is where I put all the plan time, but the rest of it got the best of me for a good while. First off, after the painting was blocked in and I had established the darks of the tree mass, it occurred to me I would be making two, not one, but two different paintings on the same piece of paper. I had divided the paper right across the midline of the page. Ouch!! As well, I had put a number of small shapes together slightly left of center, which crossed over the dividing line.

Oh NO!!! oh yes! Not only did I need to find a way out of the space division, but also I had created a large to small contrast well away from the center of interest (upper right) and set up a competition for attention. Gads!!

That entire ‘shelf’ on which the trees stood had to be broken in some way and I had to figure a way to have that big dark value bleed down well beyond the ‘shelf’ line so I would have a large, prominent dark holding a large chunk (more than half) of the paper real estate. I had to sponge off a bunch of pigment to obliterate the small shapes then use that space to create an addition to the large dark (the trees). So I did.

All of that has taken almost five days to bring to conclusion. There is a lesson here: Plan First. And not just in the mind. Make drawings and studies first. It seems like the long way, but it really is the shorter way.

Experimenting with the Elements

2009-10-22T08:13:00.000-07:00

Line Experiment

watercolor 14 x 21 inches

It has been a while since posting last. To get back into the painting mode I will sometimes take on a familiar subject and ‘let her rip’ by applying the paint in ways that are completely different than my normal painting ‘style.’ In this painting I used wet paper and an oil painting filbert brush to scrub in the paint. This yields wild and brilliant colors but also opened the door to using line in an otherwise different way. In the end, all of the elements (7 of them) are present, but some are emphasized in such a way as to attract attention.

This painting of half dome in Yosemite was more of an experiment than a painting. It may never see a frame or a mat, but it certainly allowed me to ‘get off the leash to run’ and get the crazy urges out of my system. It served another purpose: discovery. While fooling around in a free fashion, I found a few little ideas (like red shadows) and using dense, opaque colored line (integrating gouache into the watercolor pigment) atop the trees. This shifted the focus from the dome to the trees and the white shape behind them. These discoveries of how to exploit the different elements of design can often lead to new approaches in more serious paintings.

Open Studio is finished for 2009. Now I am putting everything away for next year and attempting to get back to living a normal life. Thanks to all who came and a special thanks to all my enthusiastic patrons.

More Self Promotion

2009-10-08T12:00:00.000-07:00

"Yosemite Awaiting Winter"

watercolor, 21 x 29 inches

There are just weeks where everything seems to work right . . . .that is to say work properly. And these last few weeks, have been very very exciting and rewarding . . .all the efforts are bringing wonderful rewards.

Over the last several weeks, I have been planning a trip to Yosemite while preparing for open studio. To say the least, I haven’t been able to get Yosemite out of my thoughts. A special about our National Parks on TV hasn’t helped, either. It served to hammer me into a mental place of craving to paint. So, this is another of the Yosemite pieces done while prepping for Open Studio.

Oh! Did I just say OPEN STUDIO again? I did. It is only half over. If you didn’t make it by my home and studio last weekend, there is still one more weekend . . . .October 17 and 18 from 11 AM to 6 PM.

The first weekend of OPEN STUDIO was exciting! We had approximately 500 people come to visit. Not all at once, but it was a steady flow of people for both days. With over 70 framed pieces up and my studio set up to accommodate lots of interesting art thoughts and demos, people were glad they came. Won’t you join us on the 17th and 18th?

Shameless Promotion . . .

2009-09-30T08:12:00.001-07:00

"Low Water"

Watercolor, 22 x 30 inches

SOLD

That time has come again. OPEN STUDIO at my house and studio.

In the haste to prep for OPEN STUDIO over the last several weeks . . . . . . .(Oh, yes! There is a ton of work to be done; framing, cleaning, setting up, arranging everything, cleaning and tidying and . . . .gads! The work is overwhelming! ) (Yes, I mentioned cleaning more than once.) . . . . . . . . . . .but where was I? Oh yes, In the haste for prepping for OPEN STUDIO, I found myself terribly distracted; to hell with cleaning. I wanna PAINT !!! I couldn't resist. So, I managed to sandwhich it in while I was doing my diligence.

This painting came as a result of several small studies I did at the easel while I was procrastinating getting ready for OPEN STUDIO. My mind was on a few other things, like lessons in value organization and composition for my classes. Those studies revealed this composition which has some merit, I think, for value discussions. But that is another subject . . . . . . . .

OPEN STUDIO IS THIS WEEKEND (OCTOBER 3&4) FROM 11 TO 6 PM. If you are in Santa Cruz, go toward Felton on Graham Hill Road. Once past the horse grounds (2.5 miles) you will see the green signs, with "BAILEY" on them, directing you directly to the house. Coming from San Jose, take 17 over the mountain and get off on the Sims Road / Graham Hill Road Exit . . .turn left on the frontage road. Proceed to the stop sign at Sims and turn right. At the end of Sims at Graham Hill Road, you will see the green signs. Follow them.

Can't make it this weekend? We are also open October 17 & 18 11 to 6.

In addition to OPEN STUDIO, my work is on display at Kuumbwa Jazz Center in Santa Cruz and County Bank of Santa Cruz. There is a reception at the bank's main office the Friday evening.

Okay. I admit it. I am promoting myself and my art here sans shame. (Last nite I was a guest on a local radio program to promote it, also). Nope!! My modesty could be noted as a weakness, I suppose. But Hey! Let's forget all that and let's party at my Open Studio!! Be there or be square, as they say!!! :-))

Resurrection

2009-09-10T09:04:00.001-07:00

"Edge of Summer"

watercolor, 22 x 30 inches

SOLD

At this time of year, I clean out my flat files to find what to exhibit at my annual Open Studio.

There are always a few unfinished paintings on which I became stuck, or unable to finish for one reason or another . . . . .usually it is some design indecision and huge doubt about continuing that causes me to stop and put the painting away. Often times, the painting will lean against my studio wall where I can see it. Eventually, the idea becomes stale and the painting ends up languishing in the flat file . . . .sometimes for 5 or more years!!

In the clean out process, I will invariably come across one or two that yell out to me to finish. And they do so with instant knowledge of what needs doing. You might even say that this is a resurrection from the boneyard because many simply wait to be destroyed and thrown out.

It is nice to be able to pull one out, now and then, which speaks to me so loudly. This one did . . . . . . .and I'm now happy that I saved it for the time to let my knowledge catch up to what was needed in the painting.

2009-09-05T12:23:00.000-07:00

Elhorn Road Value Experiment

oil, 8 x 10 inches

I recently watched and listened to an artist do a demo (in oil) and sat bolt upright suddenly, as if I had been slapped, as he mumbled something about value relationships in landscape painting.

Huh? What did he mean by relationship? Oh, did he ever explain it and demonstrate it!

He made something become so very clear that I was absolutely struck by the revelation. Mind you, some of you out there will simply say, “Oh, thaaaat? Of course I knew thaaat,” and wonder why I have been so asleep for the last 20 years. I may have missed it more than once, but this time I really heard it.

The revelation was this: A painting has four kinds of ‘planes;’ the sky plane, the ground plane, upright planes and angled planes. Tall trees can be upright planes or a solid cliff. Just so it is vertical. The ground plane can be the top of a bush, too if it is near parallel with the ground. His mumbled wisdom was that the sky is the lightest valued plane in the painting. The ground plane the second lightest (that is slightly darker than the sky), while the vertical planes were the darkest.

He went on to say that there were accent darks and accent lights which were the darkest of the dark and lightest of the light . . . . .to be used most sparingly.

The point was simply that the ground relates in value to the sky, as do many of the highlights. The angled planes are darker than the ground and, thus, relate. Inside all of these four sets are the values of shadow and light. In the verticals, the darkest shadows occur, while on the angled planes there is a subset of shadow values lighter than the dark vertical set of values, which are related between the ground and the verticals. Another way to say relatedness would be to use the word **compared.**

On he went. And it was amazing to me. I grabbed a painting that I had done en plein air a few weeks ago and put it up on the easel and saw immediately why I wasn’t happy with it. The value relationships were all wrong! In ten minutes I glazed over the painting following the above wisdom and VIOLA ! What an incredible difference! The painting not only worked, but it sang!! Today, into the studio I went to whip up a similar composition using a different color scheme, but promised to paint those relationships of value. Whooopeee!!

This is so worth practicing and making careful note of the values as I mix them on the palette. There is more to this, but for now, I am jazzed to be fiddling with the basic relationship proposition. I can already see that the foreground is much lighter than the sky. . . .and that bluish background shape needs to be a lighter value. What an incredible tool!

The Power of Line

2009-09-03T14:10:00.000-07:00

"Sax and Line"

Watercolor, 11 x 15

"Still Doodle 100"

watercolor, 15 x 22

Line has been used for centuries to create various kinds of art. In drawing, of course, much of that discipline is controlled by line. In painting, also, line plays a vital part in causing the mind to ‘see’ the artist’s intention. And, line can be both expressed directly, or it is often implied by ‘points’ or objects, where the mind imagines the connections and, therefore, can ‘see’ the ‘lines.’

As an element of design, line is often the first element put into play by the artist as he or she sketches or outlines objects and placement thereof onto canvas or paper. It isn’t until later that shading (values), texture and color are added to express some visual feeling of form and space. Line itself can be the dominant element in a painting. If used in certain ways, it can suggest, without actually delineating, shape or form through simple gestural movement in the picture space.

It is often challenging, enlightening and entertaining to select a single element from the list of seven elements and bring it to prominence in a painting. What is more, such choices can often set up ideas for new paintings.

I have shown some line ideas here in these two doodles (that’s what I am coming to call experiments that have no purpose of ever becoming a finished or a “work of art.” Notice how shape is merely suggested with line. Also, you may find some of the lines worthy of noting simply for their own ‘beauty’ or character.

Line is used in the still life doodle to show contour, surface, texture, direction and even shadow. . . . . .all of those things without actually saying any those things expressly. The other piece, line is used as a gestural suggestion without defining shape. The mind has to fill in the blanks.
Enjoy thinking about it.

Playing "What If"

2009-08-26T14:43:00.001-07:00

"Still Life-98"

watercolor, 15 x 22 inches

As you already know, I have been working on many different versions of this same still life.

Nothin' new, you say?

I would beg your indulgence for just a moment. Playing "What If" is no boring pastime. It is the sure path to discovering something new, something unusual . . . . .and certainly the path to finding one's personal voice in painting. Y'see, when the artist has nothing to lose and it doesn't matter what others think about a piece, that artist is much more willing to take chances and try things that may not make sense or to take risks when more 'serious' approaches would cause risk avoidance.

As this painting was finished today, there was a missing element in the lower right foreground. It was here that the risk was staring back at me and mocking me to go ahead. The pattern of "dotted i's" on the green vase needed another repetition and that lower corner needed some of that neutralized green to balance things. So, there it is. Could I have spoiled the painting? Yep. Was I taking a risk (can't erase here with all that surrounding texture)? Yep. Does it make sense or seem 'real?' Nope. Did it work? Yep.

I think, frankly, that little silly touch is actually funny. The entire tone of the painting (mood) is sort of tongue in cheek. The entire painting is constructed of "what if" shapes and colors and values. Reality is suggested when it couldn't possibly be that way. So, the doodling around with an old theme, just messin' with ideas to see what would happen exposed some new approaches having to do with repeating patterns, gradations, shapes and color intensities. I learned more today!

Isn't that what this painting business is all about? Growth and learning?

A Note To Followers and Visitors

2009-08-23T09:39:00.001-07:00

Go visit http://www.chriswillwalk.com/

Chris, a young father of two and loving husband, sustained a severe spinal injury a few weeks ago through a freak accident. And, he had no health insurance.

Read the story for yourself. Visit the blog. And do him and his family a favor . . . .just a small one:

If you have a blog, put the web link on it. . . . .and call attention to it.

Through whatever means you have, spread the word to others to visit Chris's site and blog.

This action will help make contact around the world and will implore those who see his and his family's plight to contribute or help . . . .even a little bit.

Just IMAGINE how many people COULD be helping if you put in a little bit . . .like a link.

The multiples that are possible really are mind blowing. Let's all pitch in with just a little help.

Link to http://www.chriswillwalk.com/. What have you got to lose?

Series Article

2009-08-19T13:33:00.000-07:00

Still life 93

Watercolor 15 x 22 inches

You have, no doubt, heard about the idea of 'working in series.'

There are tons of reasons for it, one of which is to improve on a theme. The least obvious is that through the confinement of doing some single thing over and over again is that the artist's creative mind is awakened and begins to work overtime. I say that it is liberation through confinement.

In fact, if you'd like to know more about the process of series work and what it can do for you and your art . . . . .or if you are a lay person and want to truly understand what the mystery is inside of an artist's work process . . . . .pick up a copy of the October issue of "WATERCOLOR ARTIST" magazine.

In that magazine is an article entitled, "Play it Again" authored by yours truly. I hope you find it interesting.

Oh, the painting above is another in the long series of still life experiments. This one was done yesterday. I do these when I yearn to paint but have no specific idea of **what** to paint. This helps me loosen up for paintings to come, exercises my creative muscles, opens thinking channels, allows me to experiment without danger of failure and on and on and on. Thought you might like to see how I 'doodle' with my paints.

On Glazing and Mist

2009-08-18T08:24:00.000-07:00

"Elkhorn Neighbors"

oil on stretched canvas, 16 x 20 inches

This painting is a breakthrough to new territory for me: the use of glazinng and also painting a convincing illusion of haze or atmospheric mist.

To date, most all the oils have been painted ala prima . . . .or directly. The great thing about painting watercolor effectively is that one must learn to mix value, as well as color. That skill has transferred nicely to the oil world and has helped in the setting up of atmospheric perspective. In this painting, however, so much was necessary to establish a sense of space and forms disappearing up the background hill that repeated adjustments of value and color (cooler tones) had to be progressively overlaid on dried coats of paint.

I am finding another world in oil painting . . . .one full of variables and methods, not to mention substances and mediums. It is a maze, indeed. And while I am foolin' round with this stuff, I am still plugging away at my watercolors . . . . . because . . . . .well, (ahem) it's "Home" to me.

Square Deal

2009-08-11T11:10:00.000-07:00

"Elkkhorn Backwater"

oil on stretched canvas, 12 x 12 inches

Having never painted on a square format before now, I have always shied from it because there was no dominant direction in the format. That is, neither dominantly horizontal nor vertical. Considering the golden mean, there is no way to express it in the square, at least, as far as I am aware. So, it is very important, in my opinion, to place dynamic, unsymmetrical, 'moving' shapes inside the square to excite the viewer. Otherwise symmetry leads to boredom.

The long, leading linear light valued shape on the water's edge leads the eye deep into the square in an oblique direction, thus giving the internals of the square some tension and movement. The end of that shape, or line, the viewer is immediately attracted to the orange shapes lying out in the distance. Much is going on in this seemingly quiet, static square.

On the way to another painting site a few weeks ago, we stopped at this location to photograph the beutiful contrasts of the hills, the swarming green succulent, the orange fungus ( I think it is a fungus), and the water / reflections. Having just finished painting for the day, we only had time to photograph and go.

Working from my computer monitor in my studio, I was able to take a few days developing this painting . . . .glazing, reshaping, refining, recoloring . . .what ever was needed to refine this to the art piece that it is. I enjoyed it and like the result!

Meanwhile, I am painting the interior of our home and removing old "popcorn" ceilings. the labor is abusive, that is for sure. What's more, the abuse doubles because I am away from my beloved easel. Some deal!!

More Amazement

2009-08-01T16:42:00.000-07:00

Click on this . .then compare

Okay. So you didn't believe that the color was the same in the last post? I understand. I didn't either, though I suspected it might be true. I teach color and judging color in the context of other colors is something which is taught and emphasized. I still wasn't sure.

So, Here is another shot for you to check out. Click the image. It will enlarge. Then, use your fingers or two pieces of paper to isolate the blue / blue green by forming a narrow slot through which you can only see the blue / blue green. You'll see.

I am still bowled over by this illusion !

I am painting. But this is really important to all painters to understand what happens to color on their canvas. I'll be posting some paintings to see in the next day or two. In the meantime, be well!

Much To YOUR AMAZEMENT

2009-07-28T10:55:00.000-07:00

Color Illusion

Those of us who are painters know that color is judged in the context of the colors surrounding them. That is to say that the way we, as humans, process color every color looks different when surrounded with other colors.

This illustration above is from an article in a Discover magazine blog which is a MUST READ

While you look at the above color spirals, you might be interested in knowing that the greenish and the blue spirals are exactly the same color!!!!!!

Yup! Blue green is the color . . .sort of a teal color, actually. Someone in that blog isolated the colors in photoshop and, sure enough, they are indeed precisely the same color. The color is influenced by the magenta and the orange stripes. Amazing, eh?

Disappearing Act

2009-07-23T08:33:00.001-07:00

"Flat Foot"

Oil on stretched canvas, 16 x 20 inches

This scene is a familiar one to me. I used to park at the end of this long spit of rock, in my car, when I was an older teen, to neck with my girlfriend. The road went all the way out to the end. Since then, much has been lost. And even recently, the sea eats away at this spectacular chunk of rock and sandstone.

This subject has been attempted before, several times, but this time my senses were able to add some interest by allowing some colors to be present that most folks would never associate with this grayish rock. Instead, I figured, let’s entertain the viewer. That’s the really cool part of being a painter. I can make that rock look any way I want it to appear. Hope you like it.

Life Can Be Cruel

2009-07-21T09:46:00.000-07:00

Please excuse my changing the subject here. This is very important to my family.

Years ago, my youngest daughter met an angel of a girlfriend. They went all thru college together and were each maids of honor at each other’s weddings . . . .and, of course, have been like sisters from the outset. I feel like Christy’s dad . . .she is a dear, dear friend. Her husband, Chris, met with a freak accident a week ago at a neighbor’s pool. The current prognosis is that Chris will not walk again. This is a strong young father who is devoted to his family and recently, because of employment changes, is uninsured and needs help. With surgeries, children to care for, and all the events that attend such a cruel change in life, medical and other costs are mounting beyond anyone’s ability to stay abreast.

I call your attention to this in hopes you may find it in your heart to assist in some way. See the new website www.chriswillwalk.com. This great family needs our help and our prayers!

Ginormous!

2009-07-20T21:56:00.000-07:00

glacier 1

Glacier 2

Glacier 3

The “walkabout” is over. I am back. I am painting again.

Back from where, you ask? From the cold, cold north!

We went to Alaska and Canada. And it was phenomenal !!

Here are some pics to see what we saw. Maybe you can get a sense of the immensity of what lies in Alaska. Click on each pic to enlarge it and view what is to be seen there. All three of the photos are of the same glacier.

Glacier 1 is a photo of a glacier as our ship approached it from a few miles away. The white glacier is the obvious. Beyond that, what appears to be a large pile of dirt just to the right of the hill coming into the photo from the left is another glacier (much dirtier) which has pushed huge amounts of rock and dirt ahead of it as if it were a bulldozer. That glacier extends far to the right for over a mile on its face.

Glacier 2 is a photo of the glacier as we drew up to it in the ship. You can see the ‘texture’ of this giant. No place to step. It is far from being innocent snow! This is centuries old, compressed ice with crevasses that are hundreds of feet deep in some cases. One slip and fall on this surface would be certain death. And when it calved . . . .the roar was deafening! This is no playground, that is for sure!

The next photo, Glacier 3 is a photo of the face of the glacier. Look closer!! Midway from center toward the edge of the photo at the 8 o’clock position is a kayak with 2 people in it. They are ¼ to ½ mile from the face of the glacier! The size comparison gives an idea of the scale of that ice face . . .over 300 feet high from the surface of the water . . . .and the glacier extends 300 to 500 feet below the surface!! Big? Heck! This is Ginormous!!

See If You Can Explain This . . .

2009-07-01T17:37:00.000-07:00

"Meadow Stripes"

oil on stretched canvas, 16 x 20 inches

Warms advance and cools recede, right?

I have been painting the wildflowers in this meadow over the last few weeks. In meddling with one of the last paintings to make repairs, I decided to take license with color. That is to change several things to see what would happen (the cool thing about oil painting is that you can cover up anything! So you can experiment till your heart’s content and not waste a single piece of canvas . . .you can always go back over it!)

In this painting, the dark tree line in the rear of the picture space is cool red. While the hills in the back are pale, warm blue. The sky is a warm, pale yellow. The big tree on the right is green and the foreground ranges from blue violet to yellow grays to dull greens. My color logic says “no, this won’t work” . . .but it does.

If I think in literal terms, red is warmer than blue. That part is okay. But why does the red recede like it does in the tree line? The two green trees in this piece scream with warm, intense greens in the light, but out of the light they are icy blue in places.

Maybe the key to this piece is the warm, orange underpainting, which leaks through the colors in the foreground giving it an overall warm, advancing presence. Do ya think?

Thinking about the color wheel, I suppose that the yellow greens live higher, more toward warm than does the alizarin crimson based tree line. Whadda mind trick this painting is. Maybe you can explain it to me. ( I am serious!)

P.S. I’ll be signing off for a few weeks. I am going on a ‘walkabout.’ That is to say I’ll be travelling for a few weeks. This time no paints will accompany me (ouch!) Painting has always been my mistress, but this time I am taking the real mistress with me. She gets all my attention on this junket. If you knew her, you’d wonder who’d be able to pay attention to anything else! I’ll prolly be chewing my nails and twitching from the absence of paint and making art when I get back, but we are going where it’s a bit cold. So, there’ll be some snuggling happening, I am sure of it! ;-) (Maybe that’ll help!)

Meanwhile, be sure to tell me what you think about this color curiosity in the comments section.

Oil Brushwork

2009-06-30T21:50:00.000-07:00

"Henry's Purple Patch"

Oil on canvas panel, 8 x 10 inches

I am not sure this painting shows it off well . . .or that any of the others do either. The reason I am not sure, is that brushwork is actually ignored, infavor of no brushstrokes being evident, in watercolor. I am a watercolor painter learning painting. Yep~! Us artists are ALWAYS learning. Always on the lookout for another way to say what needs saying . . .(or to avoid it).

As an element of design, texture is right up there with Line, Shape, Value and Color. It is clearly visible and adds a sense of tactileness to a painting. In watercolor, one must work to obtain texture. It some cases, texture is almost an after thought. Not so with oil. No siree!! With oil, you get texture with every brush stroke! It is when texture is not wanted that a conscious effort must be made to eliminate it. Just the opposite from watercolor.

I have been scolded and complimented on "brushwork." And it is the least able to be articulated verbally or in print in order to teach how to do it 'well.' It is perceived as good, or it isn't. At least, that is my take on it. Swirls, swishes, schmushes, schlobs and plops all count in the brushwork world. Its when to and when not to that makes the difference (I think). Brushwork expresses texture and edges throughout the painting.

I suppose one must have a sense for aerial perspective to know when and when not to emphasize it . . . .is that correct? Anyone have any ideas about brushwork? Sometimes, I think I am coming to terms with it and it becomes automatic. Other times I catch myself wondering.

Painting these meadow paintings is giving me lots of practice and plenty of room to try stuff. I am learning that holding that long brush by the last end of the handle makes better brushwork. I am also beginning to consciously make an effort to make it all different . . .lots of variation. I know there are some who would argue that, but I sure am not informed about it.

So, here's your chance, oil painters. Tell me bout it, if you can. I can't say I am mystified, but I am not far from it.

Exploiting The Rare

2009-06-29T21:34:00.000-07:00

"Violet and Mustard"

oil on canvas panel, 8 x 10 inches

It is a rare thing when nature gives up something so extraordinary that a painter feels he must return over and over and over. That is precisely what has happened over the last two weeks.
The blooming vetch full of violet flowers is under painted with yellow mustard flowers and bright yellow orange poppies. Yellow and Violet? How perfect is thaaaaat?!!

When nature hands us lemons, we make lemonade. When it hands us roses over and over again, we keep making bouquets . . . .and never for a moment taking it for granted.

So, it has been bouquet after bouquet as I trek to the meadow expecting to see the flowers burned out and gone and being surprised each time to find even more color! Normally, at this time of year, such a meadow has turned golden and dried out. I don't know why it isn't happening this year, but it is a rare occurrence. I may never get the chance to see it again. So, I MUST paint it!

I have done ten paintings of this site and may yet do more. Am hoping to produce one of large scale . . .30 x 40 . . . .to truly exploit this rare event.

Painting Wetlands

2009-06-28T15:11:00.001-07:00

"Elkhorn Morn"

oil on canvas panel, 12 x 16 inches

Here is another of the painting binge I have been on. Elkhorn Slough . . . .wetlands on the Monterey Bay in California. Just pull the car over and start painting! So much goes on here . . .wildlife everywhere of all kinds . . .birds, seals, sea otters, deer, . . . .and a few people.

As you can see, there is much to paint! Shapes, reflections, textures, shadows, lines . . . more experience to rack up (brush mileage). This was a wonderful day!

Brush Mileage

2009-06-27T08:11:00.000-07:00

"Reflected Umbers"
oil on linen panel 8 x 10 inches

A few years back I ran across a group of oil painters who were doing a painting daily. There were a few who were pretty good at it, but most were wrestling with the different painting skills. I have since looked up a few of those same painters and am astonished by their accomplished work. No one injected them with some masterpiece serum or told them “the secret.” (There isn’t a secret, save for one concept.) No one passed along some ancient potion to drink or introduced them to the teacher who could miraculously transform them into master painters. Nor did they arrive at mastery suddenly.

They already knew the secret to achieving mastery . . . .and they exploited it. For us painters, we call it brush mileage. That is to say that the more one paints, the better one becomes. Reaching mastery simply comes from a ton of practice. (Whadda concept !!!)

This painting looked like mush when I finally threw in the towel. Some careful thought, a wise crit from a friend and 15 minutes of patient rework brought what I wanted to say out of it. Those simple minutes seemed almost absurd. It came so easy. It sure wouldn’t have been easy 100 paintings ago! Something came about in the last 100 paintings.

It was the brush mileage that was adding up to bring a confidence with the brush that I didn’t have without all that practice. That’s what the daily painters knew. They knew when they started that a painting per day would deliver extraordinary skills. Amen !!!

More Meadow

2009-06-25T16:25:00.001-07:00

"Early Shadow"

oil on linen panel, 6 x 8 inches

"Cowell's Vetch"

Oil on linen panel, 8 x 10 inches

I can’t stay away! I know that in a matter of days, all the purple flowers will be gone for the summer. A ranger, who has worked in this state park for 35 years has told me he has never seen such a crop as this year. The sheer size of the area covered with purple flowers is truly awesome.

Nature has a way of sprinkling lots of different yellow among the violet, too! What a place!

Standing in the same spot, there were paintings all around!