marla baggetta interview, part two

Interview with Marla Baggetta, part two
In the first part Marla talked about her 100 Variations and about giving yourself permission Click here to read part one.

Marla, "I throw a lot of stuff away. I have four categories: trash, wall, drawer, and frame. The trash, well that means I never want to see it again. The wall means there is something there and I will dig it out later. The drawer, well work goes in the drawer because there is something there but I really don't want to deal with it now. And some things get framed."

me- How do you get started each day?

Marla- "Getting started is the most difficult thing. I have every reason to be drawn to go into the studio and work or out to paint. I have all the stuff, the galleries, no financial restraints, and my husband is very supportive- he's an artist too. It couldn't be more perfect, but still I find myself procrastinating. I start the laundry, make some coffee, etc. I guess part of it is ok. We need to do it. You have to train yourself. Wherever you go there is inspiration, you have to train and be ready. I find that if I set up the night before, do a sketch, get something on the easel it helps. The blank page is the most scary thing. We artists are brave. Each day we approach that blank and create something new every single time. Give yourself credit for that. It's hard."

me- What do you listen to while you paint?

Marla- "Oh, my ipod is my friend. I would be embarrassed to say what is on it. Just total trash. I listen to trash because its like a big wash. I pay no real attention to it. If it was interesting I would pay attention to the music."

me- Would you talk a little bit about how you use concepts?

Marla- "I don't have a concept. I paint whatever entices me. I feel if it enchants me it will do the same for someone else."

next part..thinking about titles and favorite materials

Marla has many workshops coming up. I wish I could take one.

marla baggetta's interview, part one

Imagine painting this!!!!??? It's one of Marla's recent paintings. The minute she finished it and put it in a frame it  sold. She painted it after her series of "100 variations," a series many of us enthusiastically  followed. When we spoke it was the nucleus of our talk. Post by post I will reveal what Marla said.

Here is just the beginning:

me- I have watched your work for a long time, before the 100 Variations and after the 100 Variations. Would you please talk about the metamorphoses you experienced both in process and personally?

Marla- Before the Variations I didn't do much mixed media. My work was predominantly representational- pastelist's pastels. By doing the 100 Variations I felt so opened up, cracked open. I would now try anything with pastel. Nothing was precious. I was no longer trying to make something to see, I was just curious- what could  I make work? I tried so many things- oil, pastels into wet oil,  and monoprinting, to name a few. Anything goes. I would dig, scratch, and scrub.
I would just start and respond. I would not set out to do, say, a winter scene. Instead I thought how many times can I switch the color and value and still make it work? I wasn't thinking it, I was responding.
Now, I have more detail coming back in... but I feel I have that feeling of responding. It changed everything. A transformation.

me- I look at your new work, like "Evening Fire" (pictured above) and I see how different they are.

Marla- Variations gave me permission to do whatever I want to do. I used to feel I had to do a "Marla Baggetta." Now there are a whole bunch of Marla Baggettas and there is a thread that carries through them. Before I never would have painted colors like you see in Evening Fire.

me- What advice would you give to another artist reading this?

Marla- Galleries want the artist to have a consistent body of work. But remember you can do a lot of different things for yourself. Try everything you want. Paint everything. Give yourself PERMISSION.

roads and intrigue

9x12 pastel and watercolor on Uart
Roads leading in and away are always intriguing. They tend to make you wonder what is beyond. I had to walk over the hill before I could paint this. Maybe next time I will paint what's on the other side...till then you can wonder.???????

rendevous: new time, different characteristics revealed

about 7x9 pastel and watercolor on wallis
Back to the field this time early evening. Brand new time, she appeared changed.  Different make-up. I chose to look towards the light. It was a challenge. Lots of shadow veiling the soft grass and slivers of golden light. Some blues where the grass was green, some violets. The pinks were much more violet, but at places the grasses mix:green and tawny pink. I'll return tomorrow.

getting to know you, getting to know all about you

6x14 (about) pastel and watercolor on wallis
After some preliminary notans and sketches I usually like to take the time to articulate the feel and color  of the air. It can help.  Before beginning this painting I did over 10 notans, I was very unsure of my motivator. Then I began to write, "red bronze overtone, touched by greens, grasses tawny to pink to bronze SOFT. The beauty of age. "At that point I knew what to paint.

It turns out that my new field is a very old orchard. Once a awhile there are still signs of rows and apples. I went walking through the field and saw(not in any particular order): monarch butterflies, a beaver skull, trash, half eaten apples, porno dvds (go figure),  occasional queen anne's lace, and beauty everywhere. Picked up the beaver skull to take home. Left the trash , but I will  return and collect the it another time when I bring a giant bag. This field has a personality. Gotta love it.

what is essential?

Back to my new field for a visit. This location has such a subtle beauty that it is hard to describe. This golden sycamore nestled in the pink gold grasses made me almost drive off the road. The golds and the pinks were important but they could only have the show if the blue grey and violet came to play.
I must admit, I just loved drawing that tree.  It's grace and beauty blew me away. I know I am trying to reduce, take out what is not essential, but that grace wrapped in gold and pink was the most essential thing.
Here is the underpainting.

the secret to color harmony is grey

7x8 pastel on Uart
Grey or neutral colors are probably the number one most important tool for making a painting work. In oil it's easy to neutralize color. In pastel you have to choose the right family grey or layer to make your own grey. Oftentimes pastel sets include so many luscious colors- pure hues, like candy. They really should be used more as the frosting, not the cake. A really good set of greys is made by Girault.  They have sets of 25 and 50. Layering to make greys, and using the underpainting as a warmer greyer tone work well too.

Here is a photo of my box. A Heilman backpack box, it has two rows of greys, green and cool greys and warmer greys. There is a tiny section (at the bottom of the blues) for the lightest values possible..white with a tiny bit of color.

Today I was walking to Starbucks and noticed that this small "landfill" hump of land had remained unmowed all summer. Yipee! Queen Anne's Lace, blue chicory and wonderful wild grasses. . My focal point was that wonderful place where the flowers met the tree. The mall looming in the background became one splotch of neutral color.
Below is a tiny study I made while the underpainting was drying on the top painting.

I will definitely return here.
Oh, and just to let you know, good news, part one of Marla Baggetta's interview will be Monday. mmmmmm good.

pieces making up a whole

Returning to the same spot, in the same place is one of my favorite working methods. It's one way of branching beyond what is there and more into how it feels. I haven't been to the canal in a very long time and for some reason it was calling me.  Love this place.

My niece, Agne (sweetheart that she is), once told me, after seeing my work for years, that the way she considers it "art" is if the painting doesn't make sense close up, but from a distance it all magically comes together. Funny, huh? .....but it is true, for me. That is the way I work. I have to be really careful with keeping masses of value, then I can get away with a lot of color. When the values are the same it works; if they divide it's a mess of broken up pieces. Tricky stuff.

the color of light

Yipee! I found a new field! I have to drive a little farther...but then again, why else did I buy a gas efficient car? Today I did studies, a sort of getting to know you handshake with the field.
My focus was on the color of light. I used Uart paper, which is a more medium valued paper. That meant my first marks were to decide just how light- Uart can make one go too dark if not careful. (I can be a victim;-) Next while working and choosing colors I always looked and then asked myself, "how is the color of light affecting that?' not "what color is it?" Keep in mind that "a painting is a compromise of reality" (Richard's words)... so you are ALWAYS deciding... the scene is not in control.

 sketches of my new field
I never know if this is "the one." The field of my dreams that is. We are in the "getting to know you" stage.  It's like any relationship; sometimes "the one" looks really good, then you realize you just don't click.

help! which do you prefer?

I need to enter one of these plein air paintings in order to qualify for a local show. A painting that says Kensington. Which one would you choose... help!!!!!!   I can't decide.
Thanks!!!





And here is today's small painting. I experimented more with oil underpainting. It was raining and the light was a dull yellow. All I can say is YUCK! Good thing it is raining as I need to clean the studio and paint my dining room chairs.

Richard McKinley -part four

One last plein air story from Richard:
Richard, "You have to know a little back history about me to understand this story. My Mom was always seeking. When I was about 7 years old she joined the Jehova Witnesses. Of course, she took me with her, to all the meetings. Until one day when I was about 13, I refused to go. I had my own ideas. Albert Handell knew this.


Now to the story,  I was painting  in Carmel, California with 4 other painters. Albert Handell and his ex-wife Anita West were two of them. California is a busy place. People everywhere. Albert wanted to paint at the mouth of the Carmel River. Huge beach, busy, drop dead beautiful. I had my full french easel with me. (Everyone knows those are heavy.) Still, you know me, I like it quiet.  I decided I would go way down, far away, to the  sand bar in the distance.  I walk down, set up my easel. I have my back to the ocean and I was looking up at a body of water. Alone. Quiet.  In the distance I could see Albert and Anita. I think to myself, "This is great...I'm out here all by myself."      Relief.
So I begin painting. Things are going well. Two teenagers, a boy and a girl, who seem sweet, come with their blanket. They set it down right next to me. I think, "I can do this, I will just ignore them." 
Paint more.  
They are down on the ground sitting on their blanket.  The boy looks up and says, "Excuse me. I just wanted to let you know that we are going to be doing a baptism -right here- 200 people. I can see that you are really into your painting. It's OK if you want to stay and keep working on your painting."
hmmmmmmm. I keep working.
People start showing up. First 10, then 20 and the number keeps growing. 100 plus and it keep growing. Now it's about 200 and a man starts to play a guitar. A minister comes. The minister walks right in front of me and into the water. He proceeds to baptize the 200 followers at the baptist-right there.
I continue to be tenacious...refusing to give up. The painting is absolutely awful. I try to ignore it.  I refuse to give up.  Finally the music ends. People stop eating and celebrating. Everyone is saved. One and a half hours went by.  Finally I stand there before my horrible painting and I shift my gaze. I look over and there stands Albert and Anita roaring with laughter.
 Albert says,"Don't tell Richard he can't do it."

And anyone who knows Richard knows he can do anything he sets his mind to, with care and thoughtfulness. Rare, rare, rare. On September 26 Richard will be inducted into the Hall of Fame for the Pastel Society of America The ceremony will be held at the Salmagundi Club  in NYC. What an honor! And he deserves it !

More Richard goodness see:
Pastel Pointers Blog
his website

You can  also see the other parts of the interview:
part one
part two
part three


A giant thank you to Richard for granting me this interview. It is always a pleasure to speak with him.
If you have a chance take his workshop. You will never regret it. If you can't or if you just want more ,  go to Amazon and pre-order his book. I did!

second post...head talk

8x8 pastel and watercolor on uart
I began by feeling very defeated by the morning post.
"Oh dear, I can't paint...but it's process..show it all... but yuck" Can you hear my head?
Then I set out for  the lake via the usual route and  I passed this field. I never really noticed it before (duh!) It lingered in my mind. Quick turn around the car and stop.
I could  really feel that hazy morning light. oooooooooh. Excitement!  This painting went through at least 3 construct/ deconstruct phases finally ending on this one. Since the value in my muse was in a small range I used more color- pure and neutral to create the space.
There now I feel much better. Back to the studio.

orchestrating the focal point

The "rule of thirds" is a great tool to use for planning your focal point. Divide your paper/canvas into 3 equal spaces. The 4  points where the lines cross are the sweet spots. Choose one and plan the focal point there. (Square formats are slightly different, because of the nature of their even-ness.) I chose the upper right sweet spot.

Here is the underpainting. The focus was neutral- greyed.

After you have planned where the focal point is you have to remember to put the juicy stuff there. I always start by making my lightest and darkest mark. (for this one I tried to keep it 2 values lighter than it was.) I move around a lot while painting, but in the beginning I spend more time in the focal point. Everything needs to relate to the focal point and make movement to lead to it.

 I must admit I am not happy with this painting. I wanted that summer haze- lazy feeling, but I think I became wrapped up in "it." Funny while I was painting I knew it was happening, but I didn't stop myself!
No sense perseverating. I painted this yesterday... so thankfully today I have another chance, both outdoors and in the studio.

PS I just redid this one (top), wiped it down with OMS and just went for it. better? no...go on to something else ;-)

give yourself permission

9x12 oil (with pastel) on marble dust
So I have been working with oil in the studio, experimenting with surfaces. Recently I have been loving using oil paint on my marble dust boards (that I normally use for pastel.) After a few layers of underpainting in oil I kept trying to get the feeling I wanted. Paint, scrape, paint, scrape, paint wash off. Add pastel, take off pastel, add more oil paint, wipe, scrape..... and on and on....Now, what is it?
After yesterdays' s talk with Marla I kept hearing her words in my head.."nothing is precious..give yourself permission." So, as you notice, I gave myself full permission, And the painting has gone through many metamorphoses. Like a child growing, some phrases are more delightful, some are awkward. No regrets..... because it's not about keeping, it's about exploring.
I am not really looking for another pretty picture.

i can see you with my x-ray vision

9x12 pastel and watercolor on Uart
X-ray vision is what you need when thinking about an underpainting. The question is..."what lies beneath?"  When you see your muse, before you even set up your easel, ask yourself that one question. Think about the concept you want create. The underpainting is your set-up. It is your strength. The delicious pastel goes on top...or in the case of an oil painting the thicker paint is like your pastel. Still you are thinking of bones and skin.
In  this hazy, hot morning painting I chose to place hot, potent colors underneath and reserve my luscious neutrals for the pastels. And when they come out to play it's  always a surprise to me which game they choose. Sometimes I feel like I am just their playmate. They pastels decide the game, I discover the rules.

Still the main decisions were made in the underpainting. The design, value, and color harmony they are all there.

This was yesterday's painting. Seems like we are beginning our monsoon season. Rain makes studio work more fun.

By request here are the two underpaintings from Monday.  The top one is wallis, bottom is marble dust.

On another note, yesterday was my lucky day. I interviewed Marla Baggetta!  I have ALWAYS admired her work and wanted so badly to speak with her about it. I was super happy when she graciously took the time from her busy schedule to speak with me. She was just as I imagined. Warm, kind, thoughtful. I can't wait to share her thoughts with you. Hang on...the first post will probably be next week!

more experiments with surface: pastel

top:pastel and watercolor on wallis
bottom: pastel and watercolor on marble dust/gesso panel
Whether in pastel or oil I am searching for a way paint my concept. Both surfaces had pluses and minuses.

The wallis takes watercolor beautifully. The effects of dripping and smooshing the watercolor are the best. I also like the way the calligraphy rides the surface.
The marble dust can be dreamier since I can alternately smoosh the pastel into the lines or let it ride the top. Each way has a different feeling. Good to put both together.
So much of the dreamy quality depends on the object looking solid enough, yet whisper enough to look through them. Let go of edges and containing things.

Just looking at these you know it is hot and very humid.

experiments with surface

8x9 oil on gator board
The rain day, yesterday, kept me in the studio- productive all day. That is the way I spent my Sunday (*till burger nite that is...)
I have this idea of what I want my oils and pastels to look like and I can't seem to come close. I have decided that changes in my surface might help...switch things around a little. That is what led me to take a marble dust panel, that I made for pastel, sand it a little and than paint on it with oil. I think I liked using it.I also used the dreaded, oh so toxic Liquin, to impatiently glaze this piece. I just waited a half hour between each layer. I like the way the marble dust holds and absorbs the paint. Smearing the edges was easier. As a reference, I was working from one of my pastels done during my trip.

*definition-burger nite- Every Sunday night my family and my sister's family and any other relatives/friends  in town, get together for food, laughs and the family card game. It's a hoot.

Richard Mckinley interview, part three- plein air tales

Richard's two most used plein air pastel boxes (top, heilman, bottom, dakota)

Plein air painters just love to share their "war stories." part of the fun of painting outdoors is the unexpected...you NEVER know what will happen. You can be tickled with delighted, frightened, or just left wondering. Here is one of Richard's stories.

It happened in Bend, Oregon, one of my favorite places to paint. Birds fascinate me. And you do know about me and my pastel box. Some people call it anal. (Richard keeps an ultra neat and organized box. See above. I totally envy it.) Well it was a day with flat light, wonderful for a painter, as there is no rush. The light doesn't change much.   I was out in the wilderness painting. It was a little strange when I looked down at my box and noticed a couple of "holes" in the order. (a few sticks missing) Hmmm. Where did I put those? I kept working. I stepped back from the easel to view the painting and each time I did this I thought  another stick seemed to be missing. Strange. How? 
Pretty soon I am missing some of my favorite sticks (probably violets) and NOW I know I am not imagining it. I KNOW those pastels were there. I move back and stand in the trees quietly watching my easel. In moments I see a raven dive down to my box and grab another "treasure."


My first thought was, uh, oh, I hope it wasn't the cadmiums (toxic.) Then I think of the raven, his nest lined with his purloined treasure, bartering with his friends.
It's funny we go through so much effort to make out easels level and in good light.  And here is this bird, stealing pastels.
  I guess you never know.

If you want a treat check out Richard's website and his Pastel Pointers Blog. You will be amazed!
Also view part one and part two of his interview.

searching for dreamy

9x12 pastel and watercolor on Uart

Maybe I should have stopped with the watercolor, when the drifting and dreaminess worked. I am searching for something that I can't quite articulate.

If you examine the underpainting you can see that I did what I know I should do:
1. set the color and value relationship- very important to establish immediately.
2 add the drama of atmospheric perspective

In the pastel I was aware of creating the diva and the supporting cast (could be stronger.)
Then it comes down to the intangible- the feeling. Dreamy...hmmmmmm, how to make the dreaminess I wanted. That will be the holy grail forever. The feeling, the elusive feeling.

On another note, yesterday I unpacked all my shipped paintings. Now that I had distance from them I could see their strengths, weaknesses and patterns. It made me think ... the absolute best thing for any painter is to separate her/his self from life and just paint. I know it is VERY hard to get away from life (jobs, kids, life responsibilities.) But when you can  immerse yourself in your art, it is an amazing thing. I can feel it already now that I am back...all the competing things....like a pack of wolves howling.  Sometimes it can be hard to quiet those wolves down.  That's why I love to leave. It turns on a different brain.  Yes, I realize I am very fortunate to be able to do it. I do work hard to make it possible. I consider it a priority because it makes me whole.

more experiments with gesso

10x10 pastel and gesso on BFK
We had a series of terrific thunderstorms yesterday. Trees were down and with that, the electricity always goes. In the city it not only effects homes (air-conditioning/light), but traffic lights. After the morning storms finished I tried to go out to paint, but the traffic back-ups on the roads were so intense that it was gridlock. Long way of saying I worked at home on my porch (no air or lights indoor) and played with gesso again. All I could hear was the song of the giant cicadas.
I really don't know what I am doing with this method, but for some reason it has an attraction for me. I think it is the was the work is reduced to essentials. No details allowed. Each time I swipe it with gesso my work is almost obliterated, only to be rebuilt again on the pentimento left behind.
The one issue is that the BFK buckles with all that gesso.  Adjustments will be needed. Learning. Has anyone experimented with gesso and pastel? If so, what have you learned?

neutrals and harmony

 8x8 pastel and watercolor on UArt
Finally. I think I have the light on this one. I have done this view many, many times. This time I not only let the underpainting show through (at least 50%), the feeling of light is there. (Coincidence? what took me so long;-) )
The underpainting had beautiful neutrals (sorry I forgot to photograph it before covering it.) I placed the more pure colors on top in pastel. Neutrals are the natural harmonizers since they contain mixes of colors. In pastels you have to know what is in each stick just by looking...where as in paint you mix them so the harmony is controlled.

more underpainting wisdom from richard

8x10 pastel and watercolor on Uart
Richard wisdom:

"When you paint, drift vertically. Allow your watercolor to appear more ghost-like, edges disappear.
sfumato-as if through smoke, to evaporate through smoke. Leonardo da Vinci was the master of it.
Simply put-gradual transitions between colors and values, no hard edges. smoke.

Don't over fragment on underpainting
A stroke on half-dried edges makes for softer edges. "

This was yesterday's painting. I was thinking about Richard's words as I drove to my old friend the river. It was hot, about 97 and climbing higher as I worked The chill of Washington State can no longer be felt. I moved to the deep shade, as you can tell by the painting. The Potomac had its usual warm muddy thickness.  The cicadas sang their lively songs.
My goal was to merge the paint vertically and to allow the more hazy - heat be part of the painting. I think I let the painting get a little too dark and it's always better to go lighter rather than darker. If you want the feeling of light. I also think that the underpainting had sfumato, but I lost it in the pastel....I guess I will just keep working. ;-)

For more excellent information read Richard's Pastel Pointer's blog post about sfumato.

underpaintings, the wisdom of Richard McKinley

 9x18 pastel and watercolor on Uart paper
I am home. Back to the wonderful heat and humidity of the DC area. I am not being sarcastic. I do love the heat and humidity. I did miss the way it makes me feel loose all over, relaxed.
This is a painting I did at my fave field on Whidbey Island. I never did post it when I was away. I have so many from my  wonderful trip. Some I like, some I don't like. Some that can use a little space and maybe a little work. This is one that I decided I like. With it I post some of Richard's wisdom about underpainting.
Just for your information, Richard usually works on white Wallis paper. It takes the watercolor splendidly. Keep in mind that sometimes Wallis paper is a little irregular and repels watercolor in an orange-peely way. It's important to mount it and museum grade is best for watercolor.  (You can buy it mounted at Dakota Pastels) Instead I usually paint on Uart paper. There is no need to mount, I just tape it down. The effects are slightly different and I find I have to use Chinese White (a watercolorist's nightmare) if I want bright white on the dark Uart. It is a wonderful, predictable paper. I love it! Another aside note- this is a link to my post about my watercolor palette. Just in case you missed it.

Underpainting Wisdom from Richard:
"In an underpainting you need to be disciplined. With it you place you "meat and potatoes" (odd to say for a life-long veg). You do this so that you can put the dessert on top. Think about what marks you want to place on top.
Paint from the shoulders. Make gesture. 
Don't get edges in an underpainting. Instead choose later where they will be (focal point.) Have just a few colors dominate your underpainting. Save the other color for later."

 Below is Richard's underpainting done at Rosario. WOW! It was even better in person!

Richard says,"Nudge it."
"When you begin your pastels start incrementally. Let your underpainting shine through...you can always put more on later."

finished jewel

Now that I am back I will make time to visit every one's blogs and see what I have missed. I really did appreciate all your comments during my long trip. It was really nice to quickly check in and read what everyone was thinking. In addition, I loved meeting two of my blogger friends: Lisa and Casey. In fact the day before I left Washington I was in Edison viewing an exhibit that my blogger friend Lisa was part of.  Birds. She had two beautiful oils, done in a jewel like way. She glazes and makes beautiful translucency