Even the Birds are Quiet

8x13 pastel on watercolor underpainting, Uart paper

It's six thirty in the morning at one of my favorite places  on the Potomac. The cloud layer is so low and the water is quiet.

continued work on large painting

After a week away from this painting I realized that while Sanford Gifford was able to paint in oil using values 5-10, it is more challenging in pastel. The reason for this is that as pastels become lighter they lose radiance. So I sprayed the whole painting with my new fixative, Spectra Fix (thank you Della for the sample.) I rarely use fixative and if I do it is only in the working stage, never upon completion. This seemed like a time to give the new fixative a try. Next I began adding darker portions, something you can not easily do on top of light pastel, unless you spray, of course.  The Spectra Fix worked well, had no odor, and dried with little if any color change. Yay! Not finished, but better. Click here to learn more about Spectra Fix.

Warm, Hazy Pentimento

10x10 pastel on watercolor and paper towel bits
I painted this one on a failed painting from yesterday. After I scrubbed the painting off all that remained was a dark pentimento and small paper towel bits on the surface. It's often nice to work on an old painting, although I wouldn't recommend paper towel bits.
I was happy with this one because the color harmony and mood worked. Finally.
Sometimes you feel like a nut, sometimes you don't.

simplicity with water

about 4x7 pastel and watercolor on uart paper
Today I went out to the field by the lake with a definite idea; which I promptly became lost in and couldn't find my way out. I wiped it down and drove down the road to the soothing water.
SIMPLE shapes with mood was the goal on this painting. Do not over work, were my instructions. I was happy with it. I only used a handful of colors and less than 50 strokes, including the watercolor. I am really trying to NOT FUSS and tickle.

goals for painting

10x10 underpainting
I often find myself becoming too literal. In effort to end this dilemma I have decided to make some changes in the way I work (for now). In plein air I have always been seeking to capture the fleeting effects of light, often at the expense of mood. Now I will still do those Vitamins, and also monochromatic underpaintings or drawings (similar to a grisaille, but without the detail)) to add color later in the studio. Color that MAKES the mood I want. Me, the conductor of mood. Wish me luck:-)

Reasons to paint each day, continued; Twins by the Water

9x10 pastel on Uart paper
A small field by the roadside in rural Maryland, often overlooked, caught my fancy as I struggle to get my mojo back.
Yesterday so many good thoughts were brought forward by artist bloggers. Be sure to read all the comments. It makes me think about how I handle my practice and why. Like Bob, I agree artists think painting ALL the time. We, as artists are always noticing the colors in the landscape and wondering why and how. We are thinking about the paintings in the studio or in our heads. We carry sketchbooks to draw. For me it can be more important to write down how I feel when I experience it, my response to color and mood. As Brian E described we are intentional when we work. Each day I go out for my vitamin. I have a plan or a goal in my head before I set up my easel. When you have a goal it's possible to reach it. Intention. (or training specific) As Brian M noted, yes we have a million things that can get in our way and many of those things are good (like Doug said). Still I feel firmly we owe it to ourselves as artists to give that time even if it is just 30 minutes. I roll out of bed, feed the cats and leave out the door at 6am so that I can "take my vitamin" even if the day a full studio day or totally kooky with other commitments. I know I am lucky because after a lifetime of fulltime work I now only teach part time. I consider it the biggest gift ever. When I finally made the leap- 2 years ago-I told myself to treat my painting as a job- with hours so that it can never be taken away. It's funny how people can think you can drop the painting time, but never the "real job." In teaching, we map curriculum. One tool teachers use is the essential question. So with Richard's help I developed my own essential question. Anytime someone asks for my time (that would take away from painting time) I ask myself "Is it good for the painting?" If the answer is no, that's it. It makes it easier. (I sound pretty rough, eh?)
A good resource for this habit/practice is the excellent book by Twyla Tharp, The Creative Habit.

Three reasons to paint every day

august 23, first painting upon returning, pastel 9x9

august 24, 2nd painting upon returning, pastel 9x9

august 24, 2nd painting upon returning, pastel 12x9

Painting every day is so much like taking your vitamins, exercising and eating right. Without it your health/painting health can suffer. For me it is so true. Is it for you?
I returned from the beach this weekend and went right outside to paint. In the last 24 hours these are the 3 paintings I have completed. It was a struggle. I felt out of sorts, as if I needed to re-friend my materials. When I paint every day I am in a groove, it's not as much about thinking as responding.
I wonder how other artists deal with this. How do you? Sure it's good to get away and rest your mind from burn out... but there's a price to pay. I feel like I am relearning how to ride that horse.
Oh well, the beach was wonderful:-)

Thistle field, in progress

10x24 pastel on lasgaux coated board
A studio piece, painted from all my thistle paintings (Whidbey Island). It too, is still unfinished. I will finish it when I return.

question for artists and Tiptoe

12x18 pastel on Uart
This is an illegal spare from my wonderful trip to Washington state. It's one of those rare paintings that it took 2 days on site to get this far. It is still unfinished.

Maybe you can help me answer a question...Does an artist need to have a value range and/or color style in which he/she works to signify a cohesive body of work? I look around and notice most do. Do you?
I look again to Sanford Gifford and George Inness...they did.

Away from Home

6x6 pastel on Uart paper
Right now I am actually away on Ocracoke Island, just hanging out. It is not a work trip... so I am trying hard not to work. I love this little island. It's known for its 16 miles of pristine beach untouched by a single building. The reasons to choose Ocracoke Island are for what it doesn't have. No shopping malls, no discount stores, no fast-food restaurants, no golf course, tennis courts, bowling alleys or movie theaters. Just quiet bliss. So all I do all day is read, swim and body surf. For the most part I put the computer away and turn off the cell phone. A much needed rest.
I have stored up some "illegal spares"( a saved painting vs. one genuinely done as a painting-a-day) such this is one. I painted this one in Washington state.

Happy summer!

Tree Edges, Lace Makers

9x9 pastel on Uart

watercolor underpainting

So this is what Janelle was talking about the other day. When we paint en plein air, it is so easy to become too literal. I guess the most successful part of the painting is the play between warm and color colors. The walk out to my spot was beautiful as well.

George Inness and Sanford Gifford

george inness -view of the tiber
sanford gifford- siout egypt

After working on a concept for a bigger painting I was in need of some inspirational input. What better reason to venture downtown to the Corcoran Museum and the National Gallery of Art? I had specific painters in mind- George Inness and Sanford Gifford.
I first visited Gifford's Siout, Egypt (above) and his The Ruins of the Parthenon: these two paintings blew me away. How did Gifford create light? Have you ever noticed the darkest dark he uses is a value 5 (which is technically a mid value!) and that is only for accents? Most of the painting is between 5 and 10!!!! The Luminists, of which he was one, were part of the Hudson River School. The factor that united the Luminists was their use of aerial perspective, hazy, light filled canvases. Brushstrokes were limited.
Next to his work is a huge George Inness called Summer in the Woods which has a more full value spectrum, very dark foreground and neutral light pinkish distance. Both paintings are filled with light, but in different ways. Inness does it with dramatic contrast and value, Gifford does it with temperature and value. Gifford's whole painting is filled with a heaven-like, soft, suffuse light and Inness creates a dreamy light, yet still part of reality.
Each man paints with a firm concept.
It seems to me that Gifford rarely deviated from his original plan,meticulously and incrementally aiming for the target. While Inness worked with a firm vision, but yet more trial and error as to how he attained his vision. I don't believe he tip-toed.
Sanford Gifford is the inspiration for my newest big work. I am trying to stay between 5 and 10 on the value scale. Tiptoe; something that is a challenge for me!

The beginning of pastel layers and denial

It's funny to me that the process of taking a photograph of an unfinished work makes it easier to see what is next. I guess it is the removal... or denial. It's as if inside my head it's saying, "That's not mine...oh look, if only that artist would..........." And then the answers are clear.

On another note, I was delighted to learn that my painting, Daybreak at Hawksbill Peak, is being used to promote the Shades of Pastel Biennial Exhibition. Check out the Wednesday August 12th, Pastel Journal Blog......click here- pastel journal blog. A big thank you to Pastel Journal for using it!

dusk slowly begins to pour the syrup of darkness

finished piece 18x18 pastel on Uart paper
after the first layers of pastel
7/31 watercolor underpainting 2nd layer
7/30 sketch
Using our small plein air paintings as fodder for creating bigger more conceptual works is a blessing and a challenge. While we artists know that photos lie and can not capture the same feeling that painting your own preparatory work can, using one's paintings still is no picnic. Most importantly, you have to develop a firm concept before attempting anything. (Am I sounding like a broken record?) I find that making written notes about the feeling and the place helps.
George Inness made his field sketches and then put them away for later reference separate. He wanted separation. I prefer to start from the plein air to the concept piece as soon as the idea is clear, preferring less space rather than more.

What do you prefer? And why?

Later there is a point in the process when the painting begins to speak. It's like the runner's high. It's that moment all artists love. All reference material can be put away...the trip has begun.

This painting was created from all my work at the slough this July.

New watercolor underpainting

27"x37.5"watercolor underpainting on Art Spectrum supertooth

Are you intimidated when beginning a new BIG painting?
I am. It's weird. Plein air work and small stuff (24"x 24"and smaller) are like water off a duck; comfortable and they just roll off. Yeah, not all are good, but intimidating, no. There's a threshold where it changes.
For weeks I have planned this painting in my head. Made a series of plein air works, visited the museum for inspiration and thought. Yesterday the notans and sketches were finally made. This morning I charged myself up to begin the challenge. With all art business finished yesterday, I had a good night's sleep (imperative), small walk, a soy chai and a clear head; now I was ready to begin at 7:30 am. It's like gearing up for an athletic event!!!!!
Freeze. Think. Freeze. Think. Finally the brush touched the paper and from there things flowed. The wall had been jumped. Now I will let it dry and re-flatten it. Tomorrow I will meet the next wall when pastel are applied. After the first stroke is down it is free sailing.

Why is it like this?
Does anyone else experience such intimidation?

through the trees

9x9 pastel on Uart paper

Today's painting was done earlier in the morning than yesterday's painting. The sun was still low on the horizon and provided a backlighting. Cooler and pinker than yesterday's work. In order to create the intensity of light I saw the trees needed to be as neutral as possible. That is, except of course, in the area where I wanted to hold the viewer's interest.

first glimpse of opulence

9x12 pastel on Uart paper
The 95 plus humid heat has made a beautiful HAZY landscape. This morning's light was pregnant with gold and dominated the whole scene. Today my friend Shirley asked me to define dominant color and dominant light color/light key. Truth is, for me they work together. The dominant color is the thread, the color that ties it all together. The color of the light is the color that is made by the light bouncing off of things, water, trees, stones...it's not local color. It's things suffused with light so that its no longer important what they are, except absorbers or reflectors of light. That's simply my understanding...anyone else?

extraordinary hour of calm

big, 36x36 pastel on marble dust board

I began this painting back on May 27th. I was inspired by a sunset walk through the fields I love. The deer were grazing without a care. The sketch and small painting were done for my experience. Since then the painting has been through many metamorphoses, some of which I have documented on this blog. I wanted it to feel tranquil mixed with awe. The longer you look, the more you see. Finally it might be done, hmmmmmmmm.

island reflections

6x18 about pastel on Uart
Stillness with glow was my concept. I have learned to sometimes use chinese white watercolor in some sections underneath to restore the luminosity on toned paper. I wish Uart made white paper.

Howard Ave Gold

about 8.5 x11 pastel on Uart paper
sketch underneath painting
my chosen notan

I usually do not chose to paint structures... just that, too much structure! But for this particular local show you must have an entry painted from town scenes to jury in. It must emphasize life in Kensington. hmmmm... I have thought on this one for along time before arriving at a suitable concept. The fog helped...always does. This little street is down the hill from my house. It has a row of tiny antique stores...real low key, not the expensive antiques. Down the road a tiny bit is the old Kensington train station. Phew! Finished that...now back to water scenes!

Early Morning Whispers

9x12 pastel on Uart
Woohoo, fog this morning, albeit accompanied by rain; life is good.
The goal of this painting was a combination of subtlety and dominant color. It is always important to decide first, what is the color of your light? Then you know your dominant color. Since the concept was quiet I restrained my palette to a handful of pastels.

Between

12x9 pastel on Uart
When beginning a painting your choice of format is your first statement. Square, rectangle, elongated rectangle, vertical or horizontal... which is your pleasure? Each has their very specific purpose. In choosing a vertical rectangle I wanted a more dramatic format with a push into the picture.
Think about your format choices....
Once again this brings me back to notans. Doing tiny notans in different formats not only helps your composition but it also stretches you to see other possibilities. I did a square, long rectangle and vertical before deciding.

Like a Warm Breath / or value does the work, color gets the glory

7x20 pastel on uart
Richard always says it, so it now feels like a running subtitle, "Value does the work and color gets the glory." Only with proper value is the viewer able to understand the space in the painting. All the beautiful color in the world won't make a painting if the value is inaccurate. Notans are important to make the composition of value. For more information on this please read pure Richard-pastel pointers blog-"seeing red".
While this painting is rich with the color I love it also reads space and light because of value. The reservoir was magnificent today.... heaven with that light layer of fog.

Light Dance on Water

9x15 pastel on Uart paper

The question is always, how much do you really need to put in your painting? Leave some for the viewer to complete. Allow the viewer to be part of the experience. To do that you must tiptoe into your work. That way you only paint what is essential and leave out the rest.
Words of wisdom from Richard.

hmmmmmm.oh...i love the river.

simultaneous contrast/ Opal Light

9x9 pastel on Uart

There are two ideas that Richard preaches: 1. simultaneous contrast, and 2. value does the work, color gets the glory. I will begin with simultaneous contrast. First read the section from Richard's blog.
Basically put in my words, simultaneous contrast is the song of painting. It's about relationships. A color does not sing until it is put next to another color and it relates to it. A light yellow green might appear warm but next to a yellow orange it is now cool. That same light yellow green appears very light but when placed next to the white yellow of the sky it seems darker. (simultaneous contrast works in terms of light and dark too) In this painting look at the trees near the top right. Here, there is a play with warm and cool. I used the same value to create an opalesence/ light. Because of their relationships the colors sing.

mark making and the artist

The goal for toady was to paint something with which I did not resonate. My choice was the reservoir at white out time-1:00pm. Then it became about something entirely different.

the hand of the artist

The hand of an artist is a very personal thing. It shows an emotional response, unique to that artist. A personality. It is very important to hold onto your own uniqueness.... that's what makes us artists. Look at your own hand. What do you think it says? Is your work distinctly your own? Can you feel it? Examine the beauty of Casey Klahn's, Richard's, or Tracy Helgeson's work. You can savor his/her exquisite hand in each piece.
I know when, in my comfort zone, my hand can be sensitive and playful. It's funny someone asked me, "Why do I continue to only go to Richard's workshops, do you want to paint like him?" Well the answer is, Richard is a true teacher. He does not teach me to paint like him. His works are absolutely gorgeous, but I will never be Richard. There is only one Richard. With Richard there is a dialogue on the learning process, something every artist must continue daily or stagnate.
Now, examine your work:-)