loriann signori's painting-a-day

purple in the landscape and Wolf Kahn

2012-02-02T09:34:00.009-05:00

pastel on watercolor, 10x10

I went to the lake just to observe, not to paint. Just look. But I can never resist...at least I just observed the lake. This small field was at my back. heh.
One note...my pastel box has a row of purples and a row of violet like grays. Every landscape has them in one way or another. I can't keep away from them. Side bar note: I painted both my bedroom, living room and bathroom in different shades of purple and gray purple. Purple keeps appearing in my clothes.

I close with another quote from Wolf Kahn-
“For the artist, purple has special qualities. The small- est variation in density of tone is significant. Purple can be made to appear airy or heavy. It can describe a wide range of psychological meanings, from celebratory to tragic.”

concept: why ARE you painting that?

2012-01-30T07:46:00.051-05:00

As I am hanging all the big pieces (that will be part of my next show) on the walls of my studio I am constantly brought back to the idea of "concept." In other words....Why are you painting that?

When plein air painting it's the reason you stop and paint "that." It's that elusive quality that stops you in your tracks as you walk. Now when you take that idea to the studio it grows...like a seed. It meets the beautiful playmates- time and isolation. It grows all by itself, without outside competition. It is through this that the concept can grow bigger or find new meaning.

Last year, during my recovery I read the word -"quietude" and fell in love. It was the word I was searching for all this time. Since I was able to paint only for small periods that the idea kept getting emotional fertilizer, full of ideas that were alive in my head.

If you look in the dictionary it says- quietude-a state of piece and quiet. But to me it is more. It's the silent balance of peace and quiet joy. It's the looking inward similar to a kind of meditative state with blessings.

Here are a few of the paintings, all from looking out of my window...mostly from my head. They were done last year in January and February, from my bed.

Since then the concept has grown and I wanted to make BIG celebratory works. I was well and I could move. Yay!
The idea of quietude is always in my mind as I paint. I grapple with the best way to emote that feeling in paint. I had hoped to create big works that make a strong feeling of joy mixed with peace- quietude.

48x34


44x40

48x24

52x40

All of the paintings are still in process.....
They have very different qualities when compared to the pastels (top 4.)
This is a smaller oil waiting to grow. Quietude always has a space in my head. I wish I still had months more before this show.....I have so many ideas. Till later.

12x12

creative habits and Wolf Kahn show

2012-01-22T20:51:00.000-05:00

8x5 pastel on art suede

“To be creative,....may mean nothing more than the refusal to be habit-ridden.” WK

Isn't that the truth? There is a line between constant experimentation (and no solid work) and constantly producing the same thing in the same way(all paintings produced with the same method, of the same subject matter. ) We all have our side of that line and have to police ourselves to be certain not to get stuck-on either side. Exploration and discovery are the root of creativity.
On that note, I keep on working on how it is best to create that night glow. How can I do it best? That blue green twilight glow. Above is one of my latest versions.
Yesterday, for the second time, I visited the beautiful show of Wolf Kahn's work at the Addison Ripley Gallery in Georgetown, DC. It includes 32 pieces, most of which are oils with about 6 pastels. Here are a few photos of the works on display.

Wolf Kahn, large oil

Wolf Kahn, small pastel

Wolf Kahn, large oil

One thing I did notice is that he usually paints on a brightly colored ground and that it peeks through in most places. In a way it feels like a silkscreen. Each layer of color as a screen is making another layer in space.
It feels a little weird placing the work of the master on the same page as mine...but I wanted to share with my many blogger friends who could not make it to the show.

plein air and a great trick when preparing your ground

2012-01-16T06:17:00.098-05:00

You know I can't say enough good things about painting in plein air, even if the purpose is purely personal, rather than to sell. There is no studio replacement for studying the color and discovering possibilities.

Being there is like having x-ray vision glasses. You look more than paint. Study what is underneath. Spend time painting the color that glows from beneath rather than what is on top. Does that make sense?

Now finally I will answer one of the questions I was asked.
How do I prepare my wood supports?

Answer: After building the structure with wood bracings I coat the front of the panel with Gamblin Oil Painting Ground. It's an alkyd that makes a strong, bright, non-absorbent foundation for oil paintings. Colors are more brilliant and "glowy" on it.
Tools necessary: 2 large brushes (one for Gamblin alkyd, one for golden acrylic gesso), a container of each ground-Gablin and Golden, palette knife, throw away gloves, sandpaper, and time

I wear gloves and use a palette knife to scoop out this thick goopy ground. Once it is on the wood I spread with a brush while using vigorous strokes.

sorry for the odd angle ..it was wet

I apply one coat and let it dry for about 24 hours, but not more than 48 hours. Sand lightly or heavily, depending on the amount of smoothness of the direction of underneath patterns you want. Before putting on the second layer I coat the back side of the panel (the side with bracings) with Golden acrylic gesso (less expensive, easier.) This is done to prevent warping.
Now coat the front with a second layer of the Gamblin ground.You must wait 1 week for it to dry before beginning to paint.

Now here is the trick; because you have to wait between layers to paint again, I simply wrap the brush in a plastic bag. It will keep for at least two weeks if the bag is tight around the handle. So far I have not noticed any damage to brushes. My dad taught me this trick when he was here building my studio. We all know we have to take good care of our brushes (and I do) but who doesn't want a good short cut? Happy painting!

the trick

study for night

2012-01-13T05:56:00.013-05:00

twilight 10x9

twilight 2 10x9

Night time, the later part of twilight...those few moments ...the sun has set the sky is darkening. Ahhhhh. Maxfield Parrish did it in a way that can't be topped. I have spent many nights, months of nights just walking at that particular moment. If I am home making dinner I just pop onto the deck for those moments. It might last 5 minutes maximum. Memorizing. Finally I attempt the beauty of that light. It will take many times to find a way.
Oil underneath, on Uart, pastel layered on top.

BTW Today is my celebration. It's one year now and I am healthy! Yay!

love affair

2012-01-09T07:05:00.013-05:00

40x50 oil on wood

I have a new love affair. They call her Cobalt Violet. She follows me everywhere. She is in my dreams and waking hours whispering, "Here I am, you know you want to be with me." Like a siren. She convinced me to feature her in my latest painting. I thought I could leave her in the tube. I tried, but her singing made me do it.
This one is called Quietude. It's the name of my next show that opens in April. My publicity work is due and all I can do is dance with CV.

Interview with M Katherine Hurley, part two

2012-01-06T06:50:00.001-05:00

Sunset after Rain, 24x24 oil on canvas

Part two:
What is your palette?

Kay-
I mix on a glass palette.
The top of palette-burnt umber, burnt sienna, permanent green light, cad green, sap green, plus my own greens made of prussian blue and different temperatures of yellow
left side- cad yellow, cad yellow light, cad orange, caucasian flesh
bottom- cad red medium, quid red, alizarin crimson permanent
right side- radiant turquoise, prussian blue, french ultramarine blue, indanthrone blue, moonglow
I also add long strips of white. One strip for warm colors and one strip for cool colors.
Complements are across from one another. I grey by mixing with a complement.
My medium is Gamsol, English turpentine and linseed oil.

What is your plein air process? How important are your onsite sketches?
Kay- Plein air is important because it reconnects me with what is really happening. I find that my sense of observation has such longevity that I see things that I can remember and bring to my work. The paintings in the studio take the information in a whole new direction

What do you do for fun, besides painting?

Kay- I travel with my family or with girlfriends. I want to return to Italy. I like the lifestyle and the value system of Italy. I recently went to England and France. I also enjoy going to the theater.

What advice would you give to a fledgling artist?

Kay- The biggest piece of advice I could give is- believe in yourself. being an artist is your vocation. Don't let anyone tell you that you can't do it. Surround yourself with creative people. You feed them and they feed you. Every human has gift they are born with and if creating is your gift it's your responsibility. Explore and share it with humanity.

What is the hardest part of being an artist?
Kay- The greatest challenge for me as an artist is to believe in myself. It can be hard. Keeping the momentum going is difficult, with the economy as it is. In the end sometimes we just have to do it.

By the way, Kay has made two great DVDs. They are both available from North Light Books at a very reasonable price. Here is the link

Interview with M. Katherine Hurley, part one

2012-01-05T07:45:00.010-05:00

Gentle Dawn 24x30 oil on canvas

Kay Hurley has been doing absolutely delicious work that everyone should know about and today is your lucky day! Not only is her work gorgeous, but she is an excellent teacher and just plain fun to be around. Here is my interview with Kay. It's a two part interview, today and tomorrow. Enjoy!

Please tell everyone about your evolution as an artist.

Kay- I started as a ceramics major in college and still I feel that was very valuable. Through ceramics I learned to feel how light and form works. I explored graphite drawing, later moving to colored pencil and soft pastel and oil pastel.

Back then my style was more impressionistic. Over the last 35 years my style has undergone an evolution. More my work focuses on big shapes and mystery.

At this time I have turned it around and in addition to my landscapes I am working with small paper pieces, text and many layers to create small collages with mixed media.

Tell us a little bit about your study Your work is very personal, very you. Please talk about your study and your time spent working with Wolf Kahn.

Kay-. WK was a big influence on me, even before I met him. I worked with WK off and on for 5 years. In 1985 I began working with him at the Vermont Studio Center and later the Middletown Art Center. WK was a huge role model for me.

Other influences include Rothko. His minimalist use of shape on such scale and what happens in the spaces where the shapes come together….the edges. Rothko divides the space into 3 shapes. Monet work touches me as a colorist and for its impressionistic way.

I really like the drawings of Van Gogh and Kathe Kollowitz. They have such drama and emotional and spiritual impact. My colleagues at the Pendelton Center influence me as well: Greg Storer, Michael Scott, Paula Wiggins, Helena Kine and Barbara Ahibrand, just to name a few.

Please talk about the metamorphosis of your painting process throughout the years.

Kay- My paintings now show much more of the actual process. I want to reveal the push pull that happens as I paint. When I painted before the edges were so fused there was no edge. Destroying my mark marking helped me make a dream like fog. Now I am trying to hold back from destruction of mark. I want the view to see the layers of things.

Right now I am working with printmaking, mixed media and collage with oil paint on paper beckoning back to work I did in the 90s with Acrylic.

I am trying to “re-find” my own energy, bust loose a little. All human beings, whether they define themselves as creative beings or not, sometimes we need to force ourselves to grow a little.

Please talk about your painting process now.

How do you keep pushing yourself to be a better artist?

Kay- I don’t know if I do it as much as I should because I am making my living as an artist. I keep honing my skills. I’ve done a TV video, CD and books. Most importantly I just keep painting. That in itself is a learning process. Keeps adventure alive.

What inspires you to paint?

Kay- As a landscape painter, everywhere I look is an inspiration. I feel as if I am walking around with 3d glasses, especially in the winter when the bare tree lines are exposed. Beauty inspires me. Sunrise, sunset and gray days at the river. The colors in gray are wonderful. Everywhere I look is an inspiration. Driving on the highways is beautiful. When I drive home to Cleveland that flat farmland is beautiful.

How do you keep motivated when it gets tough in the

studio?

Kay- Very often I just have to force myself because its my job. Anyone who thinks an artist’s life is easy is fooling themselves. It’s not. I would say its 80% forcing myself. The computer takes so much time away. I force myself to just get started. I always have something started, ongoing. With something on the easel or table it makes it easier to wake up thinking about it. I put paint to canvas before I go to bed. Once the ball gets rolling it feeds itself. It gets its own energy.

What is your daily routine?

Kay- I get up, get coffee and walk the dog. I return to the easel, not the email. I have two studios, one at home and one downtown. When I stay home I start painting, even if it is just a 8x10 panel. I make certain to do a half hour of yoga. It calms me and helps me keep my muscles stretched.

If I go to the down town studio I don't go to the computer. I find that going to my creative space gets my endorphins going.

The photo of your downtown studio is quite beautiful. Please tell us more about that space.
Kay- It's 1000 square feet with 15 foot ceilings- all windows on the north and west sides. The building is 100 years old and has wooden floors and huge arched windows. I have an unbelievable view.
I have created a life for myself where art can't escape me. I can't ever get too stuck watching TV.

More tomorrow. Meanwhile please check out her link.

M. Katherine Hurley
And try to beat the rush.... Kay will be teaching at the Dakota Art Center in Washington State, June 28-July 3, 2012. It's a wonderful place Craig runs a good show. Here is the link to the workshops.

6 good reasons not to paint a landscape

2012-01-01T14:25:00.004-05:00

pastel done from the oil I am struggling with at the moment

Happy New Year everyone! I hope it is healthy and prosperous. Here's a little new year's treat.
Wolf Kahn!

The other day I ran across a lecture from Wolf Kahn. It had a provocative title: 6 good reasons not to paint a landscape.
It made me think even before I ever clicked on the link. Why do you or I choose to paint landscape (if indeed you are one of the many painters who do so exclusively)? Think now before reading on.

memory pastel

My answer, before I clicked was twofold I like the way it feels when I am outside painting when I feel totally absorbed in the landscape. It's amazing. Plus the landscape provides me with a jumping board to where ever I want to go with it. I don't feel that same independence with still life or figures. It's like having carte blanche all the time.
The whole process of painting is amazing. One moment it is nothing and then like magic there it is.

In the lecture WK made the point that in art NOW you are obliged to surprise people. Landscapes don't do that. To me they appeal to the heart...no surprises....just serenity.
So as a good way to begin the new year I have included it here. It's about 40 minutes long so wait till you have time to sit back.
Here's the link- http://forum-network.org/lecture/six-good-reasons-not-paint-landscape

Oh happy day! As a celebratory note, Katherine Tyrrell honored Daddio and I with the Most Gorgeous Mouthwatering Studio of the year award. I share the honor with Carol Marine, an amazing artist who just lost her beautiful, newly built studio to fire. Read her story and look at all the the awards from Making a Mark. Click here for my award.http://makingamark.blogspot.com/2011/12/home-front-making-mark-awards-2011. Or here for the entire blog and list of awards.
Thanks so much Katherine! Daddio, Paul and I are amazed and delighted!

5 top posts of 2011

2011-12-30T18:26:00.002-05:00

As the winds howl outside and New Years approaches we start to think about resolutions. While I know I need to make some business resolutions, right now I am just concentrating on how to build a better blog. That made me look at my Google stats, something I rarely do.
Here I have posted the top 5 posts for my blog this year. Just seeing this list makes me think about what fellow readers find interesting to read. It helps inform me about what possible 2012 posts will be. If you have an idea of something you would like me to write about, just send it to me.

1. how dominant value affects color choice
2. choosing colors, preparing a palette
3, mountain maryland plein air
4. the studio and the constable closet
5. color and albers

Happy New Year!

The birth of a studio: the whole story

2011-12-27T20:42:00.002-05:00

I have been asked by many friends and bloggers to document the birth of my new studio. So here it goes. Like everyone else I have spent years and years in tiny studios and pieces of rooms. Making it work that's what artists do. As my husband used to tease me, "the whole house is your studio." Yes admittedly you would find paintings in all different stages everywhere in the house. The living room always had at least 2. At one point the bathroom even had one. It's so good to view them often. It makes the solutions easier to see. My paintings have continued to grow in size to the point they don't fit around our small house, therefore it was the time to make the big step. A studio.
First we priced all kinds of ways to build...add on, pop the roof for an attic studio, portable shed, and then finally this idea. Make another building with re-used materials. I really loved the idea of having my work space separate from the house. I talked with my husband Paul and my Dad (who lives in the California) and Project Hope was born. It involved buying deconstruction materials from Second Chance. That helped make it financially possible. We would hire a contractor to build the exterior. And then Daddio would move in for 6 weeks to orchestrate the entire interior. He was amazing and worked tirelessly. My family and friends were the labor force (I can never repay everyone enough!)

I made the design based on my desires and what I could buy cheaply at Second Chance.
Full north light ans a loft for storage were the only mandatory things.

before

Paul and Alfredo (he poured the concrete and dug the footings)

cement slab

Getting a permit was the hardest part. After that was done we were on our way.

First we had to get a man to make the footings and pour the concrete slab. That done, enter Ricardo, Jesus and Jimmie to build the frame. It was amazing how fast it was built. One week for the concrete. One week for the basic frame. One big surprise happened. When we unwrapped the windows we learned that they were all Pella windows, and far superior to the ones in our home.. wow! They were beautiful.

Now the guys were done. Enter the unpaid work force.

The day the drywall arrived Dad and I learned that they drop it on the corner. Drop they did. Now I am not a big person, so after 4 drywall sheets(4ft x 8ft) I was pooped. My sister arrived and we did two more. Egad! We had 40 more to lift.

Then another deliveryman arrived. A strong delivery man. I convinced him that for $40 and 6 chocolate chip zucchini muffins(fresh from the oven) he would lift the drywall back to the studio. This man would actually take 2 at a time!
The team (sister, husband, brother-in-law, Dad and me) were there to begin installing the drywall. It was a comedy routine at first. We knew absolutely nothing. Measuring, holding and screwing them up....lots of practice and we got better. The 1st floor walls were easier then it became high. The ceilings are 22 feet. Enter Jesus and Jimmie and a huge scaffolding.

I must admit I had never done any kind of construction so I was in for a big surprise to learn that the major work is inside.The actual inside took about 6 weeks. Still there are things to be done..small things. Main thing is I am working in there. It's bliss. I wake up at 5 and walk across the yard, turn on the light and music and I am transported to an amazing space. I feel blessed. I work with out thinking of anything else.

And the constable closet...15 feet of pure painting storage. Read here.

The biggest thank you to the man behind project hope. Daddio.

And of course to my wonderful husband who is so supportive. Should I mention it was his idea that my studio be the master bedroom. We lived in the small guest bedroom for years. This studio was my idea..but once again he was there to help me make it happen.
The year of 2011 has been quite a trip, so much has happened. I can't wait for 2012!

wolf kahn and a merry Christmas

2011-12-25T08:10:00.002-05:00

Ava, age 6, pastel

Ned, age 6, pastel of night time

Nina, age 6," I looked at the photo and then made it up."

Sage, age 6, pastel, "The sky wasn't pink but I wanted it to be."

As a Christmas treat I couldn't resist showing you these. My youngest group of students (age 6 and 7)have begun to study Wolf Kahn. After seeing WK's work in books and on the smartboard the children (age 6) talked about what they noticed. Their observations included:
1. He made it real but he didn't use the details.
2. Looks like he is having fun.
3. It's just scribbles but it makes sense.
4. The colors are exciting.
5.The pinks and oranges look good together. I didn't know it would do that.

Alexander, age 6, pastel

Their two challenges were very WK. First begin the painting in a place that doesn't have a name. For instance not a tree, a sky...just a space of color. Make color decisions everywhere. Oh, to be 6 years old, bursting with creativity and less rule bound.

Have a wonderful Christmas! May the child in you live forever.

incrementally

2011-12-19T06:12:00.014-05:00

small oil study on wood

I am probably one of the least likely of people to encourage "incrementally." I am the one that jumps without looking...wonders later. Finally, I am appreciating the virtues of "incrementally." (You can laugh now Richard.) Glazing is sort of like sneaky painting. You want one color...but oh no you don't mix it and put it down....that would be too easy and most of all that would lack the jewel-like beauty. Instead you think backwards and build from there. I want a certain grayed down warm green I start with magenta and work my way up, always careful for the edges.
It actually meets my ADHD type of way of working. In one day I may work on small layers of 5 paintings or just one painting.

small oil study on wood

another exploration

I keep thinking about the de Kooning retrospective and his explorations. Truly painting is that... .. a constant exploration. Making my small woodie studies helps me branch out to new color harmonies and not just rely on my plein air piece. It's gets a full life of its own from the start. In addition, I love the feel of these small wooden paintings in my hands and I love lining up 20 of them in a row.

line of woodie studies and paintings in process

Row of possibilities.

One more thing:
I also count on my multitude of sketchbooks that rest in a basket beside my easel. Small sketches and lots of written reminders of color observed that's what you'll find in the basket.

A basket of ideas.

de Kooning and exploring

2011-12-12T06:12:00.006-05:00

Willem de Kooning

This weekend I went to NYC to see the de Kooning retrospective. You can read a little bit about de Kooning and the show in these articles: NY Times and the New Yorker. What I want to talk about is his explorer spirit. Here is a quote of de Kooning's, "I have to change to stay the same." You can see that happen through his 60 plus years of painting. The figure, lines and curves continue to words in his language, even though anything "representational" was looked upon with some disdain. My fascination lies with his "anything goes attitude." When D. painted he tried any way possible to get the effect he wanted. Some were accidental. For instance, the newspaper print on the canvas happened only because he left newspaper on the wet oil to soak up the oil and liked what happened and kept it. And others were intentional. He tried not only linseed oil and damar varnish as mediums, but also water, casein, mayonnaise and egg (to name a few.) His choices of mediums make transparencies and webbing. Thick goop and peek-a-boo thin stripes.
There is a mug at the museum with his famous quote, "In art one idea is as good as another." That's because de Kooning’s idea that art is not about concepts like progress or development, but is instead a sensory phenomenon.
Last quote from D. is "Flesh is the reason oil paint was invented."

That's it for now. I leave you with one of my "try anything to try to get the feel I want"small paintings. While the small ones are fun explorations, the big woodies I have been working on are possessing me for better or worse...more later.

sunset and rothko

2011-12-05T17:56:00.000-05:00

15x15 oil with pastel added

"The most important tool the artist fashions though constant practice is faith in his ability to produce miracles when they are needed" Mark Rothko 1948
Miracles, yep that is what painting is all about. We look at a blank canvas and make something appear. It's difficult to find information about Rothko's process. He was very secretive about it and let no one in his studio. I continue to look at Rothko's work I find I am fascinated by his edges. All the action is there. He creates a little game of hide and seek. Using simultaneous contrast in veils like whispers he creates those beautiful miracles. Edges matter most. Miracles...wow, it's a hard business.

PS One an amazing note today, one of the young artists I teach, unsolicited by me, said," Wow, it's amazing! This was just a white paper before I started. Now this beautiful city is here looking real. (6 years old Evan) Boy, does he get miracles. I will post his pastel painting after I photograph it.

PPS This is a memory painting, the first one produced solely in my new studio (here it is Sam.)

experimenting with gesso grounds

2011-11-28T08:09:00.003-05:00

9x12 oil on wood

I have been playing around with different types of gesso. Prior to my experimenting my favorite was made by Art Board. Great stuff! It's an acrylic gesso that is absorbent and can go on smooth as glass. It's easy to use since it dries quickly.
Recently I decided to try Gamblin's Traditional Gesso. I read that is was made with gypsum, rabbit skin glue, marble dust, titanium dioxide and water, it claimed to make a luminous surface. Let me tell you, IT DOES! I love it. The study above was done on a birch, coated in 4 thin layers. You can't tell by this photo but the sky glows. (I will try to retake the photo tomorrow.) This gesso dries much more slowly but is worth the wait. One thing to remember you must use it on a rigid surface, not stretched canvas or linen.
Maybe someday I will cook up my own on the stove like I learned to do long ago at school. Right now I don't see that in my future and with this stuff I don't feel I have to!
Does anyone else have a favorite gesso they would care to share?

the studio and the constable closet

2011-11-21T06:59:00.003-05:00

my beautiful new constable closet

Finally we have made it. On Saturday evening we (Agne, Arminas, Coba (they are above), Paul and I) moved my stuff into the studio. Above you see my "constable closet," the ultimate organizer. My Dad built it for me. It has a place for everything and thankfully it's not even 1/2 full.

Speaking of thankful...I will have alot to be thankful for this Thanksgiving. First, my Dad, who long ago labeled the building of my studio-project hope, has been behind me the whole time. I couldn't have done it without his expertise and the fact that he took 6 weeks out of his life to travel here (from California) and build (and monitor the rest of us.) Next my husband, who has believed in me always and added his sweat and tears to this structure. He has endured the process since it's infancy. My sister Toni and her family are awesome too. Toni provided food for everyone for weeks! Lasagnas, sandwiches, soups and all important cookies and biscotties- all home made! Joel (my brother-in-law) constantly made time to help us every step of the way. Nothing stops him! Of course- the strong arms- Agne, Arminas and Coba, who did lots of the heavy work. And last but not least, Rhegina who constantly stopped by and would pick up and job- finish it then whiz off to work. She also kept my spirits high. Amazing, eh? I feel blessed to be surrounded by such a great group of people.

I will post more pics later. Right now I have to go clean and organize so that I can begin painting here by Wednesday. I can't wait to get back to normal.

color and albers

2011-11-14T05:46:00.044-05:00

"In order to use color effectively, it is necessary to realize that color deceives continually." Josef Albers. To me, that's another way of saying- color doesn't define its "colorness" until it is next to something else. A ripe tangerine orange looks stunning next to a darker, grayer blue. The same tangerine sits much more quietly when placed next to a light value of blue. These four paintings are all painted from the exact same place and all use the exact same palette of 6 colors and white. Each one has a different feeling and vibration.This effect can also be seen in lightly layered paint (or pastel.)

the passion of plein air

2011-11-07T05:34:00.010-05:00

Sunrise, November 3, pastel on Uart, 5x10

Plein air painting is still the most important part of my work. What's funny is that at least 95% of these paintings will never be shown and are simply for "process." The other day, when I explained this to a friend, she asked, why is it I continue to rise each morning before the sun (especially now that the weather is so cold) and paint? It made me wonder why any plein air painter does this. For me, it's not about producing a finished "product." Each painting now sits in my head and informs everything I do. I love the challenge, the struggle and "being there." Looking at one scene and its changing light and shapes with the purpose of creating one painting is daunting and thrilling. It makes me try to nail that vision despite all the confusing factors. It's an adrenaline rush. Especially sunrise. Sunrise lasts only minutes. It's my favorite time to paint...so off I go.
Before I leave...why do YOU paint outdoors?

November 2 sky, 7x14 pastel

sunrise, November 4, 5x10 pastel

the importance of sky color

2011-10-31T08:19:00.002-04:00

10x10 pastel on watercolor

"The sky is the soul of all scenery. It makes the earth lovely at sunrise and splendid at sunset. In the one it breathes over the earth a crystal-like ether, in the other a liquid gold." Thomas Cole
Doesn't that just say it all? Here is an autumn sunrise. The glory of sunrise is thrilling!

Studio update:

most recent photo

Here are my 3 awesome guys at work: Daddio, Paul (my hubby) and Joel (brother-in-law)

Daddio

Paul and Joel

studies of an autumn dawn

2011-10-24T08:44:00.005-04:00

study pastel 6:55am

study pastel 7:25am

sky study 7:35 am

cloud study 7:25am

Here are a few of my latest plein air pieces. I have managed to paint outside a little each day. Most of my studio time has been dedicated to my latest huge piece- the creation of my studio. When time allows I will be sure to sit down and tell you the stories.Here's a photo I took early last week. Now it is actually painted (one color so far..more to come.) The job now is the inside. So much more to do!

more fog

2011-10-17T06:38:00.004-04:00

10x11 pastel on watercolor

Fog continues to inspire all I do. It changes everything. On this particular morning it was raining and the clouds were so low.
Monet's fog series from Giverny and London are always amazing to refer to when thinking fog. When Monet was in London he wrote, "I love London. It is a mass, an ensemble, and it is so simple. Then, in London, what I love, above all, is the fog." Monet said that he loved the way the fog"dematerialized" the river.Here are two beauties of his.

Monet's London

Monet's Siene

new method

2011-10-10T06:25:00.024-04:00

10x10 pastel on UArt

Exciting times and a new method! As always I am painting in layers, but this time the layers are different. All my time spent painting in the studio(with oil) is changing my ways. Originally it was Richard McKinley who peaked my interest in this new method. I still use my favorite paper, Uart, but I now start with NuPastels (a very hard pastel normally not my favorite because of it fugitive nature.) A light pastel layer in place, I next use Spectra-Fix as if it was water. It makes the pastel move, but also gives it a shiny, thicker surface. Next comes another liquid layer- a transparent layer of watercolor. The watercolor moves in and out with the spectra-fix layer, creating a similar vibration as the marble dust did....sort of like glazing with oils. After that dries I finish with soft pastel. It takes less pastel since so much of the underpainting does the work. The method allows me to focus on the edges in a different way.

Great quote of the week:
"In order to use color effectively, it is necessary to realize that color deceives continually." Josef Albers

Think simultaneous contrast.

aerial perspective

2011-10-03T08:03:00.000-04:00

5.5x10 pastel and watercolor

Aerial perspective is the space between objects. In other words, it is because of the air things appear differently. The glorious humidity of this area (Mid -Atlantic) amplifies aerial perspective, while the dry air of the desert downplays it.
It is what it is, but still you don’t have to accept what you see. Instead you can make the space. Do you want it to show far distance or a more intimate space? Orchestrate! In the distance the air is cooler, lighter, softer, and greyer. How much is up to you. Warmth occurs in foreground, more light compounding onto it. There is an exception to this set-up and that is dusk. After the sun has sets the distance can be warmed by the last rays and the foreground cool because of lack of light and air
When you really think about it, it's amazing! Happy painting.

the art of making poetry

2011-09-26T07:11:00.028-04:00

9x18 pastel and watercolor on Uart

What is essential to making poetry in a painting? Does the description of the place really matter? What is it that makes a painting draw you in and stay in? To me, I may not know what it is but I know what it isn't... Details. Details are my nemesis. Put it along side persnickity work habits. They carry me in unintended directions. Details are like the letters that make up the words.....but it is the words that make the poetry. You can arrange the words of a poem just like we arrange the shapes, color, edges and value. Arrange and orchestrate, but details just seem to derail.

Last Wednesday I woke up early knowing we would once again be blanketed with fog. On location the fog was thick. As I worked on the painting I realized it wasn't coming together. I was getting derailed. So I turned my back on the scene and only thought of the poetry of what I saw and the color harmony necessary to make the illusion. Another huge painting will grow from this.

BTW The studio progress continues. The cement foundation is hard and 2x6 beams are going up as I write. And Sam, as per your suggestion I scratched my initials and the date into the new surface.

fog and orchestration

2011-09-19T06:03:00.019-04:00

9x18 pastel and watercolor on Uart

Early mornings in September are wonderful times for plein air painting. The air is calm and cool and the earth is still warm from months of sunshine. Then the magic happens. As the temperature of the ground decreases, it cools the air above it to the dew point (the point at which water vapor condenses into droplets of liquid water), forming a cloud of water droplets known as radiation. The ground is covered in thick dew. It's actually difficult to stay in bed knowing the weather conditions are right and the beautiful fog is there to greet me at the river.

This particular time the fog was light and ready to break. Not long into the start of the painting I could see the sun at the edge of the trees. Correct values are once again the most important thing when painting and that includes painting fog when the values are all so close. In this scene the fog was in the distance and the grass where I stood was simply soaked with dew.

As with any painting it is important to select your dominant color and orchestrate your color. The sky is where I look to find my dominant color. The beautiful melon sky can be made more lovely by the colors placed in the adjacent land and the moving from warm to cool in the actual sky.

I have begun a new BIG painting that will be based on the plein air piece (at the top of the page.) Here is the underpainting...which I did in pastel and Liquin!


24x48 underpainting

On an entirely different and very exciting note....the groundbreaking for my new studio began on Thursday. Here is a picture of the way it looks now. By Tuesday it will have footings and a concrete slab. Yay! This is my life-long dream and I still can't believe it is really happening! I will tell you more as it develops.

freedom

2011-09-12T18:53:00.001-04:00

10x10 oil on wood

48x42 oil on wood

10x10 oil on wood

6x6 oil on wood

Recently I read the biography of R.A. Blakelock called, The Unknown Night. I thought it was written better than most biographies and it held my interest. You probably wonder why I mention this book. I will get to that. Blakelock painting career lasted through the Hudson River School period, the Luminist period, onto the Tonalist and even till the time of the Ashcan School, quite a progression of art. He is best know for his moonlit landscapes and his struggle with schizophrenia.
What struck me most was his freedom. He, like George Inness, did whatever it took to create the feeling/image in his head. He scratched, scored, and wiped. He varnished between layers (like Maxwell Parrish) and even used a silver underpainting. He is a restorer's nightmare and that is why you often can't see his paintings listed in a museum's inventory.

Blakelock, Landscape at Moonlight (oil)

Still you wonder why I mention this. Freedom. For some crazy reason Blakelock has set my mind free. Therefore as long as it is archivally sound I will try it. You can see some of my recent explorations. Textured gesso, pastel underneath with liquin on top, pastel on top of oil, scratching, and rubbed in color are a few methods I am trying now. I am trying to find a way to create the vibration I desire...that Rothko like vibration, but from my heart.

Stop any persnickity behavior. Embrace the process.

Art is not what you see, but what you make others see.

2011-09-05T22:27:00.003-04:00


6x6 oil inspired from small pastel

7x3 pastel from memory

I continue my small works on twilight. (These are the baby "models" for my large works.) The idea of creating the glow color of a luscious sky can mean creating a darker balance in the land. Knowing this, I still try to do it in other ways, with little success. The contrast of sharp and unfocused edges make a little more mystery and strengthen the diva. Practice, practice. I find that I need to do the "same"painting over and over varying the underpaintings and the layers as I search for my idea to clarify before going bigger.

It's funny, last week a visitor to my studio was remarking about one of my paintings. She said,"Wow, what a beautiful place that is! It must be nice to paint there." I decided not to tell her that the view was next to a dumpster in the mall parking lot. We are the creators of illusions, ideas, and beauty. I instead replied, "Yes it is beautiful with the morning light. I love being in that place" While my statement may sound false..... it's not at all. I do love being in that place, even if most of it takes place in my head.

This brings about another great quote.
"Art is not what you see, but what you make others see." Degas

And last but not least, thank you to all my new (and old) subscribers and followers. When checking my stats this evening I was astonished and delighted! Thanks for taking the time to stop by, look and read!!!

the value of value

2011-08-29T07:44:00.002-04:00

value study pastel on somerset 5x11

value study pastel on somerset, 6x9

Color is the absolutely delicious part of any painting. We all love it don't we? Slightly addictive, eh ? It is my drug of choice and I always have to remember to stick to my reading of value and not just relying on scrumptious color.
The classical masters made a full grisaille (value painting, in essence) and all the value decisions were made on it. Later, layers of thin glazes where laid on top of the grisaille and the value structure stayed solid.
So if you want to make stronger paintings try focusing just on value. I constantly need to remind myself of this. When teaching this summer I had my students complete 3 days of just value work and on site note taking. On the fourth day, when color was finally allowed (after a value study) the results were stunning.
Taking time to make just full value drawings, not a five minute study, but a full blown sketch (let's say two hours of work) is incredibly valuable. When you do this you will see how easily the value study can be a great support in the field, and later in the studio. Try it and let me know.

PS The hurricane is gone and all is well.

twilight explorations

2011-08-22T07:37:00.063-04:00

oil on wood 5x3

Each twilight I walk and memorize the summer glow. From the orangey pink glow immediately after sunset to the glowing green and blue as the light has disappeared, the glow in the sky is amazing. Finding the way to make that glow perplexes me. I try with pastel and I try with oil. I try different underpaintings and different over paintings. Simultaneous contrast works here too. If you want light, place it next to dark. But what kind of light? And what about when the humidity is so thick it's soupy? And what about season and the feel of summer heat?

pastel 6x3

oil on wood 5x3

oil on wood 6x3

Funny thing about the sky is, it's everywhere and it's the same sky. I could be painting anywhere, it's which land is under the sky that identifies its location. I think that is pretty cool. To strengthen that concept I simplified my trees even more, making it less of a place and more of an idea.

During my recent readings I came upon these two quotes:

"The sky is the source of light in Nature and it governs everything." (John Constable)

"Heavens, how charming it is! There is now in the sky only the soft vaporous color of pale citron - the last reflection of the sun which plunges into the dark blue of the night, going from green tones to a pale turquoise of an unheard-of fineness and a fluid delicacy quite indescribable... (Jean-Baptiste-Camille Corot)

river work: grays and complements

2011-08-15T08:37:00.000-04:00

9x9 pastel and watercolor on Uart

Plein air work feeds my soul. There is nothing better than being out there. The idea in my mind when painting this was the use of grays. I think that near complements make the best grays. That means that instead of using red and green, use a red/violet and green or a cool lemon yellow and a blue/violet. Now keep in mind that when complements are mixed together they neutralize or gray each other. Also when mixing the colors it's best if they are in the same temperature family or else they will appear muddy. For example use a cool red/violet mixed with a cool green.
While mixing neutralizes, the opposite effect happens when they are placed side by side Now those same colors become more brilliant. Cool and warms can be used next to each other with amazing results. Skies love this kind of work.
Last, when glazing in very thin veils of complements, the effect is kind of a mix of the two (mixing and side by side) and appear delicate and delicious. Outdoors this glaze-like layering is easily done with use of a watercolor underpainting and then thin layers of pastel on top. In this case it is the pink underneath the blue green on top. I feel that pastels are really amazing for working en plein air.
That's it for today....paint on folks!

thinking about the science of landscape and its possibilities

2011-08-12T10:51:00.000-04:00

plein air pastel 10x14

I continue to do numerous small plein air studies each morning and evening. I also read to understand why I see what I see, better allowing me to work with it and make the changes I want while still creating the illusion of a landscape. I consider each painting and study the possibilities. In my reading I found I wanted a quote from Jacob Collins that I thought I should share.

The interviewer's question:
Studying the science of nature plays a big role in The Hudson River School for Landscape’s curriculum. Why do you feel this knowledge is important to a plein air painter?

"When an artist makes the decision not to rely on photography, they are forced to undertake extensive investigations into the nature of the landscape. Over the last few years I have wrestled with such complicated problems as painting the water or grasping
the nature and appearance of atmosphere. These problems have required delving into subjects such as physics, which, although beyond my usual educational reach, have nonetheless been fascinating and rewarding forays, and I'm sure my work has benefited from the amount of scientific study that I undertook."
Jacob Collins

Read here for a conversation with Jacob Collins.

PS I know it's not Monday...there will be another post then. As I try to find my new blogging rhythm I wonder, will this will blossom to twice weekly post?

kensington station and trust

2011-08-08T06:19:00.136-04:00

Downtown Kensington with its old train station has a view that continues to keep me fascinated. Each day I cross the tracks and think about the shapes and wonder about the different possibilities I have yet to explore. The scope of the view includes both the train station and Mitzels' lumber yard. The best part about the view is looking towards the lumber yard. It faces directly west, the sunset. I have painted this place so many times. It is one of my "painting homes" of which I will return for as long as I live here. This homing pigeon behavior inspires me to play and not paint "it." The concerns with making that real disappeared years ago. Now I seek a more abstracted, emotional response.

My next goal is to have at least 5 LARGE (at least 4x4') pieces for my next show. I have learned that for me, painting big requires a different type of color understanding. I feel better when I "practice" the possible color glazes and later move on to a larger format satiated with this exploration knowledge. It frees me.
This painting is 6"x6" oil on board. Numerous plein air pastels have preceded it. This idea will grow to be another 4 foot square painting. In order for this to happen with some degree of success I know I need to paint through my intuition. My plans simply inform me of the direction. I know that as I move on I must give up some measure of control and be willing to pursue unanticipated directions. Plan, but wait for the painting to speak to me. Each day I enter the studio I see on the door,
"An artist must come to trust if he or she wishes to transform, rather than merely record, what he or she witnesses."
(Mary Sipp Green)
Doesn't that just say it all?

keeping a sketchbook

2011-08-01T06:12:00.025-04:00

As you have heard me say before..... photos serve little to no purpose for painting. What does you wonder?
Your sketchbook.
In my studio I have a basket filled with sketchbooks. They contain sketches, notans, small pastels, memory notes, ideas, poems, quotes and general thoughts about the scenes. Here I give you a sneak peak into one of them.

page with two (taped in) paintings, one covered with glassine, the other one with the glassine lifted.

the back, "suede"papers out of their pocket

My favorite sketchbook is the Cachet Fusion by Daler Rowney. Thick white paper, study spiral binding (a must), a pocket in back and an elastic built in that keeps all my papers together. I carry small pieces of pastel paper (art spectrum suede) and glassine in the back pocket.

Have I convinced you?
If you would like to buy one like this, here is the link.
Do you have a favorite sketchbook? Which one and why?

In the studio each painting begins with preliminary sketches and the colors notes written on site. When I am removed from the scene the work itself takes on a life of its own. So I sign off with a photo of my most recent large studio oil. It about half way finished. More later.

4'x4' oil on wood

working big

2011-07-26T09:23:00.006-04:00

10x14 pastel

Plein air painting is a passion of mine, and many other painters. There is nothing better than going out there, even when it is 95 degrees plus. Taking these smaller works and bringing them to the studio is a whole other animal, both have validity. Once when in NYC I was speaking with a gallery owner and he said that he did not prefer plein air work as he felt they are usually containing too much information. Back then I felt shocked, but now, years later I know what he meant. That brings me to my goal in the studio right now. Distill and reduce down to just the essence of the concept. That is why I felt my memory work was so much stronger than my plein air, distillation. So that is where I am now, early morning in the field and then the rest of the day in the studio- reducing. I am working very large (for me), two paintings:4 ftx 4ft and 2ftx 3ft. All the work comes from my favorite place (above).

On another note, I have decided how to reformat my blog. Weeklies. Instead of my daily posting, every Monday you will see my new, juicier, post. This will allow more painting time for me, yet keep connections to all my blogger friends. ( I missed you.) So be sure to stop by. I will respond to comments, but my speed may not be as fast as I once was, due to my limited (self-imposed) computer time.
Tata, Loriann

visions from Washington

2011-07-18T16:40:00.000-04:00

Hi everyone!

It has been a few weeks since my last post. Thank you to all for the very understanding comments and emails. I have kept my computer closed and have only allowed myself 5 minutes to answer emails. Due to my time changes I have had at least 5 hours a day in the studio and the time to teach a week long (1/2 day) workshop. At night I continue planning my new studio. Priorities.
As far as articulating my direction; my trip to Washington made me realize that my goal is to erase the superfluous from my work and distill it down to just what is essential. Sounds easy, eh? Not so for me. In a few days or so I will share a little studio work, but for now I share a few from my time in La Conner, Orcas Island and San Juan Island. They are my more successful pieces...although not quite what I am aiming for, yet.
Thanks so much for your supportive words. Toodles for now!

processing a workshop

2011-06-30T23:35:00.000-04:00

12x6 pastel on Uart

4x4 pastel field sketch(on art spectrum suede, taped into sketchbook)

It's been a while since my last blog entry. So much has been going on in my head that I wasn't ready to post. 9 days with Richard McKinley and then 5 more on my own in the San Juan islands to digest my thoughts brings me to a point where I can finally share.

When I was in the workshop I produced absolute crud. Enough said.
I will go on to the whys. In a workshop one takes in so much information. It turns and swirls with the ideas already in your head. The object is to own the ideas, your ideas, no one else's.
Short way of saying that the two pastels above represent the door to my path. My idea.

Another thing that has been nibbling at me is time. Maybe it's really taking huge bites. Time is limited and painting needs time. In short, I will be blogging a lot less. I need to get invested in my bigger ideas and not open the computer. I will miss all my blogger friends, but I realize it is time.

So that's it for now. I will be back when I have something worth while to show and say.

new methods of underpainting

2011-06-19T20:45:00.001-04:00

step one

step two

Underpainting is a way to make the perfect "set-up" for your painting it doesn't matter which medium you use. Yesterday Richard made me, once again, rethink what I am doing, and at the perfect time. Before I left home I was already playing with what I could do with colors and edges using underpainting. And NOW!!!!
The ticket is Spectra-Fix, which is a fixative for pastels. Instead of using water as the spreading medium I use Spectra-Fix. Let me explain. First, you think of the scene you want to paint and lay down hard pastels ( my choice Creatacolors.) Second, you load your brush with Spectra-Fix and move those pastels around. Wait for it to dry. Then for a second layer, place watercolors on top. The last layer was pastel. Afterwards I altered it with more Spectra-Fix. The fun has just begun!

step three

Richard McKinley Workshop -day 1

2011-06-19T00:50:00.000-04:00

I haven't had a moment to blog! This is a painting from my first day (yesterday.) The painting itself did not thrill me, but the fact that fellow blogger, Astrid and I both found the same site was fun. It's always great to meet another blogger! Even better, this time, Astrid Volquardsen and I will get to know each other since the workshop is 9 days long.
As you probably know, each year, I return to Richard's workshop. And while my painting is not like his (nor will it ever be), I have always felt he is the best teacher there is. Each time I hear his words I am in a new place in my own development as an artist. Therefore "ah ha!" moments continue to happen. I will share today's "ah ha" excitement tomorrow. For now, I need to drive back to my place and sleep so that I can get up early tomorrow.

neutrals and their placement

2011-06-15T22:21:00.000-04:00

neutral with other neutrals

neutral placed with full color

the neutral alone

Neutrals (grays) are beautiful colors, but sometimes it is difficult to see them. Examine the top photo and that neutral, pictured alone here, looks colorful, even delicious. Now examine the middle photo, that same neutral appears unappealing, washed out next to all of that gorgeous, pure color. Simulataneous contrast works inside the box as well as on the paper/canvas. Nothing is truly what it is until it is next to something else. Simultaneous contrast is the effect of how color and value are relative. We need to keep that in mind in every facet of our work. This is the answer to the question Kvan posed, "Why did I separate neutrals? The answer, "I see more clearly."

Now I need to finish packing my bags. I leave early tomorrow morning for Washington State. I will once again join Richard for his workshop, then take off to my favorite painting spots in the state. I, of course, will try to share the experience right here.

For those inquiring, where have I been???
First, my health is fine. Thank you all for your concern.
I have been swamped at school. (Today was the last day.) Not only has it been the end of the year and the plein air event, but I will also be moving jobs next year. This meant I had to totally pack up a studio (empty!) and then make plans for another studio (order shelving, materials etc.) Sounds small, but no, it's a huge job, especially when I still continue 4 physical therapies and 2 doctors appointments a week!

Life is good and I can't wait for tomorrow!! Stay tuned.

what happens if I do....?

2011-06-13T20:19:00.001-04:00

My paintings, all memory right now, begin as total abstracts. They are all about sunrise. I will continue to play with color and edge. Testing the possibilities.

I am just seeing what happens.

sunrise and essence

2011-06-12T14:45:00.000-04:00

I have been absent from my blog for one full week. Oh dear.
Rather than talk about that, I instead will post one of my recent sunrise paintings. I have been obsessed with edges and sunrise. For my edge obsession I look to Rothko. And for my sunrise obsession I walk and memorize. When I was at the Mountain Maryland Plein Air I kept feeling that memory is essence and distillation and that my plein air painting is dull. I will continue to sort through these feelings and ideas....more later.

Mountain Maryland Plein Air

2011-06-06T06:21:00.001-04:00

10x10 pastel on acrylic wallis

OMG! What a roller coaster it has been!!! At moments I felt like a total failure. There's nothing like showing and working with some of the best painters on this side of the country. It was crazy. My thoughts went from"Just give it up, you know nothing" to "yay!"
Let me explain....the biggest frustration happened during the Quick Draw when I boldly decided to complete a 20x10 in 2 hours of time. Not only that, but it was a city scene...building, people and the like (not my faves.) So after I made that foolhardy decision I absentmindedly used a different paper (not wallis or Uart) and it warped when I put the watercolor on it. I will end the disaster at that. Let me move on to the upside...later that same day at the reception I learned that I had won an honorable mention for my painting (posted on Saturday)! My pants nearly fell off me! And then I learned that I had sold my work. Crazy would be an understatement! Up and down. In addition, as you probably already know, my emotions road that painting roller coaster all week. Phew!

One of the best parts of the experience was that I met so many wonderful people: townspeople, painters, and friends of my fabulous hosts. This is the second year I stayed with Bill and John. I just love the way they make me feel as if I am one of the family. Bill kept me rolling in laughter with his stories and John is just an amazing sweetheart. Kelly, who spearheaded that whole event and was the total go- to person, was so generous with her time and energy, always making each one of us feel special. Anne, my housemate, was kind and funny. When my frame was set up to be a vertical and I chose a horizontal, Anne whips out her framing tools and fixes it.

The people of Cumberland are awesome. I will give you an example. When I was painting the field painting I posted on Saturday the farmer began cutting his field. When he noticed I was there painting he came to me and asked if it was OK if he cut or was it a problem. WOW! Can you imagine that?!

All considered, it was a fun, anxiety producing, exhausting, learning experience.

Now for the painting posted above. This is a painting that took the entire week to complete, even though it is 10x10. I painted at the field by the Martins grocery store..yes Cumberland has fields by grocery stores ...so much land! The first morning we had an amazing fog and the sky looked like this. I remembered it and held on the week long as I returned to paint when the sky had no fog. I simplified the trees (probably too much) and had fun with the glow. It sure gives me ideas for more paintings.

day 4 knowledge vs. intuition

2011-06-04T05:57:00.007-04:00

10x20 pastel on wallis

So here it is. I just stopped thinking. This once again reminds me that it's important to know, but yet it's just as important to place that knowledge into the back of your brain and operate by feeling and intuition.
Now to the quick draw craziness.

simplify and take your time

2011-06-03T15:03:00.001-04:00

Simplifying is much easier in the studio when I am working solely from memory. I now find myself drinking the koolaid of information and the side effects are painful. I find myself rushing to "get it" and just plain looking too much. So for this painting I took my time and simplified.
One visit was to just look. The second visit was to just put down an underpainting. The third visit I adjusted the underpainting to accurate values and big shapes. All that work made it much easier to just take my time and add pastel. The pastel began as "bookends"- lightest light and darkest dark, then straight to the diva. As it unfolded I relaxed more (finally) as I am starting to feel more like myself.
Casey noted yesterday that I am working bigger. Yes, that's true. Part of my goal was to increase size. That's also why I needed to slow down. Covering a 20x10 with pastel is slow going.
I think I may survive this. When I realized that just being here and painting upright for long periods of time was a feat. Hard to believe that one month ago I was still painting on the floor for very short periods. It reminds me of how grateful I am to everyone who has helped get me through this.

PS I just finished a long horizontal. It's my fave so far. I will post it tomorrow.

day 2 critters galore

2011-06-02T10:38:00.000-04:00

10x10 pastel on wallis

I must be wearing a sign on me, something like, "welcome critters." Let me explain. Yesterday morning I went to one of my favorite painting sites, set up and began painting. All of a sudden I started itching...itching like crazy. I come to find out there are ants crawling up my leg and entering my shorts. My Mom was right when she would say I have ants in my pants. Egad.
Last night I was painting at sunset and these gigantic orange bugs swarmed me. And then when I came to my host's beautiful home there was a bat swooping around..inside. It entered my bedroom and I dove under the bedspread. Finally it left and I was able to sleep.
Long way of saying I am a little under slept and over itched.
Still this morning was better than my last times at the easel.

day 1 and guilty

2011-06-01T14:22:00.000-04:00

10x10 pastel on wallis

Oh dear! I am not off to a good start. I have fallen victim to the white disease. I know color makes light. Yesterday and today the light has been influenced by the hazy, hot and humid conditions (temps in the 90s). Everywhere it seems white, touched by lemon meringue. I have been guilty of painting what I see.

I know that a good picture is a mix of beautiful color and neutrals- grays (mixes of the beautiful colors.) I know whites are non colors. Still my track record is awful. Last night, after painting, I returned to my host family's home and I borrowed their vacuum cleaner and sucked all the offending pastel OFF that painting! That one may get a second chance tonight.

Today and I painted two so far. Still I don't think I can exhale yet.

PS These plein air competitions are like running a long distance race. Just like horses charging at the gate. Like that horse, I was so hyper yesterday. I guess I still am.

more dusk

2011-05-31T16:28:00.000-04:00

This was another from yesterday's explorations into dusk. I liked what the acrylics were doing. They keep me away from "chalk." I think that when pastels have a lot of white, they look yucky. Whites need to be saved for highlights. That white is such an "uncolor." I have been working hard to move away from it and make more luminous grays.
Once again I have also come back to the "diva." Where is my real interest? That is where the fun happens, play down the other parts. Equal interest is uninteresting.
Now off to the Mountain Maryland Plein Air!

memory paintings at dusk

2011-05-30T16:22:00.002-04:00

How much color can go in a nightfall painting and still say dusk? Honestly, I am not sure. So I keep experimenting and using my memory, instead of plein air painting. Some consistencies include that after the sun sets the tree edges have a warm color, the ground is cool and the rest of the landscape is much darker.
These are both from my soccer field. We had a thunderstorm during the week and afterwards was glorious. Brilliant color and small puddles of colored water. I let it sit with me for days and finally painted today. The underpaintings were different. The top on has an acrylic underpainting, somthing I decided to do in order to push the intensity. The bottom one is a rubbed in pastel underpainting. Softer.

Always searching...
Now back to cutting boards, preparing frames, and packing all my stuff for a week of plein air painting at the Mountain Maryland Plein Air 2011. Think successful thoughts for me, k?

fog and use of underpainting

2011-05-28T09:50:00.000-04:00

7x8 pastel and watercolor on wallis

When painting fog I can tend to use whimpy colors. I know the fog calms all the colors chroma, but white and colors that tend towards white tend to uninteresting and chalky.
That explains why I began this small roadside study like this.
Knowing also that the color of fog leans cool, I made a warm underpainting to contrast and add a little zing.

scoping the scene

2011-05-27T20:19:00.000-04:00

Next week I will be part of the Mountain Maryland Plein Air Event. I was fortunate to be included two years in a row. Whenever I take part in a "painting competition" like this one, I always either arrive early or go a week or two before to scope out the territory. This time, since I was here last year I decided that I would just make a small "thinking " visit, stay overnight and leave that next day. I was counting on a twilight watch.
Ahhhh, the best laid plans are always in for a surprise. I managed to get one drawing (bottom) then the torrential rains came. Thunder and lightening, sideways rain. I was fortunate that my hotel room faces the town, so I sketched through my rain drenched window (top.) With the torrential rain continuing, I decided to go out to dinner. There's always tomorrow!

skies

2011-05-26T09:50:00.000-04:00

16x 5.5 pastel and watercolor on Uart

Still working with the long vertical, but this time I tried a different ratio. It's almost a one to three, almost. I am playing with the colors that make a deep ceiling of space, which is more challenging when the color is hazy and not as pronounced. I constantly keep in mind the concept of harmonious colors at expense to the "real" colors.

Hail to the Heilman (box, that is)

2011-05-25T22:20:00.000-04:00

new box with larger pastels

old box with mostly nubs

my box, in action (See the easel attachment)

I have always loved my Heilman backpack pastel box. That box has seen a lot of action from bears in Virginia to peccaries in Costa Rica. It has been around. An indispensable friend would be the best way to describe it.

Recently I have a dilemma and have been wondering what to do. As my plein air pastel paintings become larger and larger I am finding the need to have bigger pastels. Let me explain. Richard has always called my box, a box filled with "nubs." He teases me in a nice kind of way. The size of the pastel did not matter to me before. Smaller pastels meant more choice on location. That was when my average plein air piece was 8x8. So now when I am working in a 18x9 and 20x10 I am seeing why the nubs are a disadvantage. I need more strokes to cover bigger areas and the paintings becomes "choppy."

So I thought about taking the whole box apart and replacing the nubs with larger pieces. But no, I like working with tiny pieces too. That's when I decide that I have so, so many pastels I could easily make up a new box! Did I have time before the plein air event? I would have to have it by Friday.

Marge Heilman to the rescue. I called her in California on Monday afternoon and she said, No problem." She would have it out immediately. Much to my surprise there it was, at more door, at noon today...a mere 48 hours later. WOW!

I just love this box. I love that it just attaches to my tripod and then has an easel arm attachment for the box (see above.) Less to carry. Sturdy and easy to pack. Now I will carry both boxes in my car and chose which one to use depending on the size of the painting!

If you don't have a box, I highly recommend buying this one. This is my third: 2 backpack boxes and 1 large (studio box.) Buy it here.

You can see that this new box is filled with mostly Giraults (my favorites), some Diane Townsend Terrages and a couple Mount Visions, Unisons and Creatacolor. Two rows of neutrals still control the box. There is a small section of "whites" intentionally placed below the darkest blues. This reminds me of the full range of value. These colors are saved for accents or else a painting looks chalky.

That's it for now. Toodles!

studies for later paintings

2011-05-24T16:53:00.002-04:00

18x9 pastel and watercolor

One thing I always do before a plein air competition is scout out the territory. I really don't like to come in cold. So much of painting is about the feel, not just the light and things.
Recently I have really enjoyed the very long vertical, so I plan to do at least one long vertical. Last year I did a couple squares and rectangles from this view. I used those and created a new idea. It's the essence of downtown Cumberland right after sunset. Knowing that I would do this vertical format, I had to a special frame made to accommodate my possible work. This painting (above) won't count, of course, but it gave me ideas. It's simpler if you just use standard sizing...but oh dear....no I wouldn't want anything simple??? Would I? I also made a small square frame of my favorite gold scoop chops.
Rules for a plein air competition demand that all work must be done on site, during the prescribed times. You get your board/canvases stamped on the beginning day and must use only those for your new work. Plein air competitions are sort of nerve wracking...that is till you produce the first painting that you like. It's only then you breathe a sigh of relief. "Ah, I am not a total failure and won't embarrass myself!" I say. Normally I am a very positive person, but in these competitions the pressure often makes me feel VERY insignificant...more than usual.

PS Last night while doing my "observation walk" I saw the first firefly of the year!! Yipee, summer is here!

total craziness and mindful

2011-05-23T15:31:00.000-04:00

18x9 pastel and watercolor on Uart

An early morning at lake and I was practicing watch, wait and paint. Practicing is the key word. I am still not satisfied..this may be sacrificed before the day's end.
This weekend was nutz and I think it will be crazy for a while and I will survive. (Although you may see more erratic posting...sorry.)
I did manage to paint, but was unsatisfied with those as well.

So I leave you with a piece of a poem by Mary Oliver.

Every day
I see or hear
     something
        that more or less

kills me
with delight,
    that leaves me
       like a needle

in the haystack
   of light.
It is what I was born for-
      to, look, to listen

This excerpt was taken from the poem called Mindful, from Mary Oliver's book Why I Wake Early. Check it out and enjoy! For months it has been by my bedside, savoring it day by day.

wonder is the key to discovery

2011-05-20T09:44:00.000-04:00

about 10x18 pastel on wallis

Wonder is the key to discovery. You can easily see this is true when you watch young children. It is no different for adults.
That brings me to explain why I am vacuuming old paintings and making nocturnes from memories long past. It's actually quite exhilerating and freeing to just work on the paper and just see what happens. I choose colors because I like them and I watch to see what happens if I...?

skies and memory

2011-05-19T09:46:00.000-04:00

10x23 pastel and watercolor on Uart

watercolor underpainting

I have learned that sky paintings from memory are much more "real" than the paintings I often do in plein air. Yesterday I walked to the Safeway parking lot in Kensington, bought a Starbucks chai and watched. And what a show it was! During the day I would take time to think about that sky and make a mental picture. Later, when I was finally at the easel this just rolled out of me. The image was firm my mind.
I also know how skies are built, so I began with a simple underpainting of the graduating sky colors. I can easily see this one as a 75"x30" painting. Can you?

This morning I painted outside with dismal result. It was more satisfying to simply finish the memory painting.
I have a plein air event in 2 weeks. Maybe I should jut watch then turn the easel around and paint. Hmmmmm. Maybe.

defintion of twilight

2011-05-17T15:50:00.002-04:00

12x24 pastel on uart

Twilight, the moments after the sun has sunk and before the darkness, is my favorite time.
Here are some of its definitions I found in the dictionary.
Twilight is:
1.The diffused light from the sky during the early evening or early morning when the sun is below the horizon and its light is refracted by the earth's atmosphere.
2. A period or condition of decline following growth, glory, or success: in the twilight of his life.

3. A state of ambiguity or obscurity.

Those three definitions are so completely different, but they make me think about what links them and wonder why I have this fascination with this particular time. hmmmmmm. More on this later.

This is the pastel that grew upon the watercolor underpainting. Still it has a limited palette, yet I also used discord colors to add interest. My pastels were from the red/purple and orange/red family with the complement of blue. The discords were blue purple and green. You may see them as a clear hue or they were used to create a neutral.

benefits of a limited palette

2011-05-16T16:04:00.000-04:00

12x24 watercolor

The benefits of a limited palette can not be over stated. I at least start out with one in the underpainting. Paint is an easy way to limit your colors yet still make so many more. Pastels are a little trickier. Yes, you can choose a few sticks, but you have still eliminated many many combinations that still fall with the limited palette.
This underpainting has 5 tube colors, cad yellow, cad orange, cerulean, cobalt blue and ultramarine blue (plus white);it is essentially two color families-complementary colors. It's the set-up: value plus the colors that lie underneath.
So pastellist, have I convinced you to try a paint underpainting?
Tomorrow you will see the pastel portion.

PS I received a wonderful email from a subscriber today. It made my day! Here is a quote from her email:
"I have over a thousand books about art and painting in particular. Your work is more helpful and interesting than most of these books. You "reveal" many artists' secrets and remind those of us with quite a bit of experience of the things we have forgot. Please do whatever is necessary to get this book one of the books on my shelves. What you say and illustrate is particularly of great aid for pastellists."
Thank you so much Linda...I don't know about a book. We will just continue this journey together!
PPS This is another memory painting of my field.

twilight, memory painting

2011-05-14T23:21:00.001-04:00

AH, I love painting from memory. The field at twilight made a strong impression. I could wait to paint it. Finally 36 hours later I created this.
With this I leave you a quote from Whistler, “a painting should not be an exact imitation of reality. It should make an effect through color or through the arrangement of areas of color." Memory was his greatest tool.

BFFs- my muse

2011-05-13T21:54:00.000-04:00


9x9 pastel and watercolor on Uart

Do you frequent a few spots repeatedly? I sure do. I can count the spots on one hand. It's almost like these locations become part of me, like a best friend. I no longer question what she is, instead I can listen for nuances. How is her day going? What is she feeling?
This is early morning out at Needwood; this pond is a favorite. She speaks to me and yet I can be totally myself with her.
BBFs.

PS Sorry about the blogger thing that has happened in the last couple of days. It was completely down, no posting, no comments. Thank you to all who sent me emails!!!! I think Blogger is now up!

the baseball field early evening

2011-05-11T06:02:00.010-04:00

9x9 pastel and watercolor on Uart

The tree on the right has been obsessing me, the way it turns a goldish silver in the light is extraordinary. I watch it every night at sunset, just to see that color! I worked on many studies before getting a composition. I wanted it to be different than my usual field compositions so I included the hill going down to the houses. It caught the light just right. In addition the buttercups have been left there unmowed. Yay!
That decided I packed up my stuff. Since carrying my stuff is still an issue, I simply did the watercolor underpainting the first time, returning the next night for the pastel. Violet and yellow predominated in the underpainting- simple.
This evening I brought the pastels. I was out there painting during "pick up" adult softball so fly balls kept coming precariously close to the easel. It added to the drama of the scene.
Planning and patience are becoming a bigger part of my repertoire. I can see this one growing huge.
PS This is my first painting done (since surgery on January 13th) while standing at the easel. Yay! It felt so GOOD!

write the ending of the story..but oops

2011-05-10T18:18:00.000-04:00

12x12 oil on board, unfinished

Before you begin you must always write the ending of the story. What do I mean by that, you ask. When visualizing your painting you have to have a goal. Wandering endlessly through the painting may sometimes lead you where you want to go, but most often you will just fritter away your time. The goal is the concept...the idea that began the painting.
Now this said one must always be open to what the painting says. The concept will continue to guide all the choices. Still you must always stand back and look objectively at the painting. Moving forward to that preconceived ending without consideration as to what is already happening in the painting is a fruitless endeavor.
I share this with you because of what has happened as I painted this painting.
It's still unfinished...but I am standing back.

color temperature and fractured color

2011-05-09T12:54:00.000-04:00

9x10 pastel and watercolor on Uart

I am trying to get back into my early morning routine. So today (at 6:20am) as I was driving to school I stopped and painted. It was a small soccer field, nothing really amazing , but the light was cool and light.
I once again began my underpainting with just a focus on temperature. Temperature sets the tone. Next, since I wanted a glow in the sky I fractured the color to make it vibrate. Fracturing color is something so easy to do with pastel. Keep within the same value range and choose different analogous colors, in small part, side by side. Voila! Vibration!
Now back to the studio.

the canal, early morning and color temperature

2011-05-08T20:28:00.000-04:00

There is nothing better than the canal on a warm May morning.
Today I decided to do a full color (somewhat tempered) underpainting and then let loose on the pastel.
As always I began with my focal point, which this time was the place where the sky, the tree branch and the canal meets. I liked the way the leaves of the tree appeared so cool and the sky warm. Have you ever noticed that determining the temperature and the value, is more important than the color itself? It was hard (but necessary) to pull back color from other areas so that that portion could shine.
I know this one is not finished, even though I worked it to death. Maybe in a day or two I will vacuum off some pastel, fix other parts and begin again...Who knows what might happen?
Happy Mother's Day!

green and the use of grays

2011-05-06T07:10:00.019-04:00

12x12 oil on wood

Needless to say I kept at it with this one. While I liked it in its GREEN state, it was not one I could live with...too electric. It needed soft grays. I am not sure you can tell, but now the sun actually vibrates and I like it more. It has some depth, without it being about space.
The neutrals work as the joiners, the colors that make the other colors come alive. This painting, one of many about underpainting and making a glow through simultaneous contrast. You will see more.

sunrise in the mall parking lot, again

2011-05-05T10:51:00.000-04:00

5x7 pastel on twinrocker

In the mall parking lot I once again created a small plein air study of sunrise. Even though the colors include orange it is a more lemon orange countered to violet gray clouds.
Sunset is the opposite the colors are hotter.

it's about the GREENS

2011-05-04T15:45:00.001-04:00

12x12 oil on wood panel

I continue to experiment with underpaintings, texture and color combinations. As I stray from the "real" and move towards the feeling of the glow I am coming upon fascinating (for me) effects of simultaneaous contrast.

This oil (top) was created from an uninspiring plein air pastel (above). I decided in the studio that the concept was about GREEN, that baby soft green only found in the first moments of Spring. The remaining pink petals would need to be ignored. It would also be about the sun through the GREENS.
Next I decided best how to show off those baby GREENS and that decided the underpainting. I must admit this one was fun so far.
The journey continues....till tomorrow.

method of underpaintings

2011-05-03T16:28:00.000-04:00

1. one color grisaille


2.one color underpainting

3.two color oil underpainting

4.watercolor full color underpainting


5. watercolor full color underpainting

You wonder, how does an underpainting effect the outcome of a painting? First of all the underpainting is the diving board that every other decision jumps off of. Whether its the calm one color grisaille or the electric magenta and yellow block-in, the underpainting informs you for each following decision.
The one color grisaille(numbers 1 and 2) is a method where you place all your information down first. Gradually you move away deciding which pieces of information needs to be there and which to throw out. In this method, you are not reading off the color, instead it is the value that informs you.
The two color underpainting (number 3) is a kind of blocking in method. Here you choose the dominant color, first in sun and then shadow. Gradually you refine the shapes and colors. Details come last. I feel I resonate to this method more.
In my pastels I do a full color underpaintings (numbers 4 and 5) and play fully off the colors on the paper. The colors chosen are what I see as the "skeleton of the landscape." The skeleton underpaintings work well in plein air.
What's your underpainting method?

sunrise

2011-05-02T15:34:00.001-04:00

24x12 oil on board

This is the painting that I have lovingly labored over for the last 2 months. Finally it is in its resting stage. The grandeur of the sky, and the new beginnings the sunrise offers were my small (heh) goals.
I am learning to paint big on the floor.
More tomorrow from the list.

PS If anyone knows how to fight barrel distortion in a long photo please let me know.

study of sunrise

2011-04-30T06:54:00.000-04:00

8x5 pastel on twinrocker

I have been working on a large oil painting of sunrise and feeling like I have it all wrong. So I will be spending more time sitting in my favorite mall parking lot studying the light. Here is today's 6:00am study. The clouds were coming in so quickly (from the left) that it required more memory than direct observation.
I will return to my list next week.

angles of the sun and how they relate to painting

2011-04-27T22:33:00.000-04:00

Did you ever wonder why the winter light is so much more exciting? Well just look at this chart and you will know...it's the amount of time we enjoy long shadows and interesting angles.
I found this chart in a gardening book and it demonstrates fully what I mean. It's the same reason why we painters love sunrise and sunset. When the sun is low on its arc, as in the time from 3pm to 8am in winter or much less so from 7pm-7am in summer, the foreground is a darker and the upright trees have this incredible glow of light. The pleasures of side lighting and back lighting abound! Long shadows, beautiful color and details! Long live winter and the transitional times!
The least favorite time of most painters his high noon. This is when all the colors wash out and the landscape becomes FLAT! This "top lighting" makes tiny shadows and uninteresting landscape. The ground plane is flooded with light and even the upright trees and structures are not the darks we typically count on to help make interesting pictures.

That's it ...now for a health update. I have received numerous emails inquiring about my health. Thank you everyone for your support and concern through this challenging time. I am working up to full health, but that takes a lot of work. Between constant physical therapy appointments (2hour including travel), doctors appointments and all the walking I am supposed to do to increase my lung capacity I am exhausted. Still I am teaching part time and trying to paint full time (harder to do). Good news, I am finally able to paint at the easel for short periods of time (YAY!) and when tired I place the painting on the floor. The best part is I am forgetting about any limitations and pushing forward. I feel fortunate to have my health back and will make it through the long recovery.
The health related appointments have often taken away my morning plein air time (whaa), yet I continue to work on bigger works in the studio. Posting on my blog has been a little less I realize...soon I will be back completely!
A big thank you to you, my blogger friends!!!!

what kind of light are you painting?

2011-04-26T09:01:00.002-04:00

6:30 am

12 noon

afternoon

late aftenoon

about 6pm


right after sunset

sunset

early evening

The color of light changes gradually during the day, with the most dramatic changes at sunset and twilight. In the early morning you will see a lemon yellow (cooler) light. As the time increases the warmth of the light also increases; a warmer yellow to a sort of yellow ochre in the mid day sun. Sunset time has more reds and oranges and gradually when evening falls the color moves from magenta to violet. Early evening becomes very cool again flaunting deep blues with greenish horizons and later those blues edge to black. Keep in mind these colors show like this on sunny days. The light is very different on an overcast day.
I have posted a few from the same site different times.
What are your ideas about the color of light throughout the day?

Where light originates and how the angle of the sun changes throughout the day and even more importantly, the seasons, will have to be saved for another post. Back to the studio!

what mood do you want to create?

2011-04-25T06:18:00.002-04:00

22x36 pastel on marble dust

detail

I once read somewhere to allow motion to equal emotion. It seems to be true. A calm surface produces a more tranquil feeling and a surface full of "happy dance marks" makes one feel warm, good. The mood of the painting is in direct correlation to the mood of the painter. For example the painting (above) is named Hope and Longing. It was to be called just Longing for it was begun on what should have been my Mom's birthday. She had died 8 years prior so I was thinking about her a lot, as I do each July 29th. After returning from my annual trip to Washington State I was filled with ideas about my favorite field, a place filled with daisies and love. I returned home to the studio and played my Mom's favorite arias and painted. It was one of those times when the painting spoke to me and the course of it was altered. A bright spot of diffuse sunlight appeared in the distance- alas, hope was here. My Mom left too early and I still miss her now, but that painting was a turning point for me. The surface is made up of a combination of scratched and smooth marks.

This one, a painting from another favorite field on Orcas Island was all about happiness. The mark is like a dance.
Another component to creating mood is carefully choosing your color scheme. Does it reflect the mood you want to create? To me, Rothko was a the create creator of mood with his exquisite choice of color. Oftentimes I feel warm deep down to my stomach when I view a Rothko.
When painting a mood you have to really feel that emotion and use every tool necessary including: music, writings, smells,whatever you have in your toolbag, The viewer wont's see it if you don't feel it.
There is more to creating mood in paintings. Please share your ideas in the comment section. Ciao for now!

concept: studio and plein air

2011-04-23T08:18:00.000-04:00

18x18 pastel on Uart

There are two ways I look at my concepts for painting. First, is what happens in the studio and how the ideas grow from the small seeds planted earlier. Second, would be the concepts that I plant into the daily plein air paintings, the challenges I give myself.

I will start with studio concepts. In my studio you will see my many piles of sketchbooks. I keep all my ideas in these books. Inside one you might a description of a nocturne or sunrise, a beautiful line from a poem or story, an idea about color or combinations and, of course, many observed or remembered sketches. All of these ideas may sit on the page until finally the right moment comes when they take root. Sometimes it takes years or just a day or two.
Let me give you an example. Long ago I was reading a children's book. I can't even remember the name of the book right now although I wish I could. I wrote down one line that really struck me. "Dusk slowly pours the syrup of darkness." Oh how I loved that line and still do! It haunted me. Then, when I was in La Conner painting at dusk, in my favorite slough I couldn't help but think..."Wow, that's just how it feels! Deep thick sugary syrup of orange covers the Earth." During that trip I did many plein air works at dusk and upon returning home created the one that made that feeling so clear. (see above.)

9x11 pastel and watercolor on Uart, plein air

My plein air work does not have that same type of concept. Instead, sometimes it is simply a study of the way clouds move or the desire to explore reflection and its relation to color harmony. While driving to my location I normally have some idea or challenge in my mind. In the painting above I was in southern California during the uncharacteristic "Pineapple Express." I was loving the fog and the way it enveloped everything. I remembered seeing this marvelous hill the day before and feeling obsessed about painting its "disappearance." Disappearance and its relationship to fog was the concept of this small plein air painting. It may one day be fodder for a bigger painting or it may not. Sometimes it's just an exercise.

Whether studio or plein air the common thread is a dedicated focus to an idea.

That's today's thoughts on concept. So far I have covered 3 items on my list...three more to go! Any thoughts?

following the path and knowing the destination

2011-04-22T10:46:00.002-04:00

oil on wood, 12x24

I have been working on this one for a while now. It's funny I know that glaring sunsets are not what the judges want in a competition and that they are frowned on in galleries for many reasons, but I can't resist sometimes. More than anything I wanted to work on the "glow" and experiment with what I can do.

Above are glazing tries I do to experiment before laying down any paint.

On another note, I am simply wandering down my path, smelling the flowers and sometimes tripping over stones. I have a destination, yet I am not sure how to get there. You are on the trip with me (in a way.)
I hope you have been enjoying my recent "planning a painting" list and posts detailing each step. Please feel free to note your thoughts. I am certainly not the expert.
Tomorrow is my favorite step- concept.

why use a dominant color?

2011-04-21T11:18:00.000-04:00

8x8 pastel on Uart, plein air last summer


4x8 pastel on Uart, today's plein air Since saying that I would write about dominant color I have been doing quite a lot of thinking and organizing of my thoughts. Above you see two paintings each with a clear dominant color. When you choose the colors for your painting you do so with thought as to which color scheme you want: complementary, split complementary, triad, analogous, and monochromatic. After deciding on your scheme you next choose which color or color family will dominate. It's important to remember that all colors need to be present (some in a very limited form, or completely grayed) in order to have balance in a landscape. The one (dominant) color can appear pure (above ) or neutralized (below.) If another color begins to creep take over, you have to restrict it, even if it is in the scene....it's the two divas rule. The bottom line: having a dominant color makes for more harmonious paintings. Oil and watercolor painters will often choose a "mother color" and add that in large or very limited amounts to each color. This too creates harmony. Both pastelist and other painters can use the underpainting to unify the whole. I often "lean" my colors to the dominant side. For instance if I see blue, but my dominant color is violet (and dominant temperature is warm) I will lean towards violet. Please add your thoughts for dominant color n the comments section. I am certainly not the authority...just sharing what I know. That's it for now...I have to go off to teach my wonderful 5s. We are once again outdoors painting. I leave you with Luchianna in climbing mode.

what do you think about when you plan your paintings?

2011-04-20T09:55:00.002-04:00

21x21 pastel on Uart

This is one of my favorite paintings. I created it about 2 years ago and it was an awakening of sorts. I show it again now to lead into my next post.

What do you think about when planning your paintings?

I was considering that the other day when I spoke about dominant value. I thought about it and made a list.
Here goes:
1. concept- why are you painting this?
2. What is the mood you want to create?
3. Where is the focal point?
4. Where are the two supporting characters that lead to the focal point? Remember you may have only one real diva.
5.What kind of light are you painting and where does it originate?
6.What is the dominant value?
7. What is the dominant color?
6. What is the dominant temperature?

Each day I will take one of these ideas and talk a little more in depth. I did number 6 (dominant value) yesterday.

After writing the list I realized that the funniest thing about painting is it requires a lot of thinking...yet the goal we aim for is to let the painting speak and take over, let go of the thinking. I guess it is once again like cooking-you need the ingredients (or reasonable facsimiles) and then you can wing it.

dominant value affects color choice

2011-04-19T07:29:00.000-04:00

about 10x 16 pastel on Uart

When making the decisions about your painting, before you begin to paint you need to choose a dominant value. On the value scale, what will the majority of the painting be? (This one is a 1.5/2)

notan

After making your notan you have the map. It helps to think of you values as abstract shapes and not let those little accents you see divide them. In this painting I planned three main values, but because I decided to paint fog the values needed to be closer together with the foreground enjoying a dark no darker than a 5, with just small accents of a temperature change for drama.
This is a long way of saying that yesterday when I was cleaning out my drawers I found this piece. I was ready to trash it when I said no, it has hope.
It is the view from the wonderful home where I stay when I am in Washington. The Tivel family graciously allows me to share their paradise each year. One morning when the sun was out (rare) I painted this. It was all wrong. Mixed up values and not enough dramatic separation. Plus the bushes in the front too closely resembled the large trees in the distance. Egad! What a mess-up!
Then I thought about the way I KNOW this view- covered in the morning fog. Nine months removed from the actual scene and no photos to use, I was FREE! I rubbed, sprayed and layered. All I had was my memory and a wiped painting. The offending verion is below. Thankfully it is gone now. I live by the motto, "if it isn't delicious, it isn't precious."

old version

"Eighty percent of the painting is color."

2011-04-18T15:27:00.000-04:00

6x6 pastel on twinrocker

Sunrise, ah, isn't it wonderful? It made me think of Wolf Kahn and all the reading I have been doing regarding his thinking and ideas.
“Eighty percent of painting is color,” says Wolf Kahn, quoting his mentor Hans Hofmann. “The problem,” he cautions, “is that when you mention color, people automatically assume you’re talking about bright color–colorful, loud, or boisterous hues. Color used in an uncontrolled way, without proper concern for the tone and structure of a painting, comes across as garish.” (American Artist 1997 magazine)
I think this quote by WK summarizes everything. I know I talk lot about neutrals being very important. One must remember that it is the neutrals that makes the pure color glow. No need for garish color to make a statement.

PS Here is another WK quote I thought appropriate after my last postings. "Keep the childlike vision and remain true to your ideas".
PSS This painting is from the canal at sunrise.

the secret and a tip

2011-04-16T09:40:00.002-04:00

Do you want to know a little secret? A pastel painter's secret tool is a feather duster. No, I have never used one at home (dusting is not a regular activity here), but when my good friend Christine showed me this little gem it was love at first sight. Lightweight, can be carried anywhere, the feather duster cleans a pastel box in a moment or two and then you are good to go. Store your little duster inside an old paper towel roll and voilah! All for only $2.99!
Another small story ...... yesterday when I was once again plein air painting with the five year olds we had another brilliant moment. A different little boy had his painting with him and he was sitting down by the pond. He sat just looking for a long time. Then he calls me over and says, Loriann people think water is blue, but it's not! Look, it's brown with green!" A little tip to learn from our 5 year old painter- take the time to look, look carefully before picking up a brush or a pastel.

the joy of plein air

2011-04-15T09:43:00.001-04:00

6x8 pastel on somerset

I couldn't sleep so my visit to the river was super early and I was delighted! Late April and early May are the times for the fog. The water is cold and the air is warm...beauty results when this happens. The allure of the Spring colors was strong. I had to make clear decisions and to what was the dominant hue and the supporting cast. Moving other colors towards those hues is important. The hardest thing about plein air is so much information.
On a separate note, I have story that I just have to share with you. As you know I teach part time. Yesterday I was with a group of five year olds. I must admit I LOVE this age! We are studying landscape painting and went out to do some plein air sketching. The children know to find their focus, talk about it then begin their sketching. One little boy chose a place on the hill, far from the others. When I visited him he began sharing, "Oh , I love plein air! I can feel the air on my cheeks and hear the birds and then here I am drawing. I am so lucky!" Now think how wise that little boy is already. Embrace the moment..feel each morsel. He went on to create a very detailed drawing of the stream and bridge! Two other 5 year old girls later went and sat next to the boy. They were giggling and talking. He turned around and let them know they could stay there if they could be quiet. He needed his concentration.
WOW! Doesn't that have a familiar ring plein air painters? So now plein air painters, go out and celebrate. It's Spring!!!!

spring colors

2011-04-14T10:18:00.000-04:00

4x8 pastel on somerset paper

Spring colors in the early morning are soft, sort of whispery. It's so tempting to add more chroma, but that' s not really the feel of the land now. As the earth wakes up from its long slumber the apple trees are slivery in the shallow light. I was careful to avoid the temptations of all those beautiful colors and instead bring them down to two basic hues. Enjoy the arrival of Spring!

playing with colors in the studio

2011-04-13T15:33:00.000-04:00

Here is a studio version of my plein air piece from 2 weeks ago. My goal was to simply play with different combinations. See how far I can push the range and still read sky and depth. I always keep in mind the shape of the Earth when creating a sky.
Oh, and I haven't showed you the girls in a while. Here they are with the striped king...caught in the act of being cute.

planning a studio painting

2011-04-12T16:45:00.000-04:00

12x24 value study, pastel on somerset paper

To me a studio painting takes a lot of planning, then later, sometime in the painting, the paint takes over. and does all the deciding. You probably wonder why go through all that bother of planning when I will allow the painting to take over? I think it is because when I do all the planning, I sharpen the concept. I work so long deciding what is really important. I hopefully find the pitfalls before I land flat on my face mid-way through the painting. The composition needs to be well planned, values secure and the "color map" decided. To help me get that luminosity I crave I am now making glaze strips before I put brush to wood.
On a wonderful side note, I just learned that I once again was juried into the Mountain Maryland Plein Air Event in June. Four days of painting in beautiful western Maryland is a dream. There are many very talented artists in the group so it is always a little nerve racking. More about that later.

composition studies

challenge by the river

2011-04-11T07:25:00.009-04:00

10x10 pastel on wet watercolor Uart

This was yesterday's challenge that I never had time to post. I was to look to identify the overall color - rosey red and green.Next I had to find all the variations in temperature and hue, without trailing off to other colors. Cloudy days are good for this kind of challenge. Stable light source makes my focus so calm.
I find it amazing that nature constantly works in complements. In particular these Spring colors are delicious.

tips for painting clouds

2011-04-09T05:49:00.041-04:00

8x10 pastel and watercolor on Uart

Clouds have been a real draw for me ever since my sky memory studies this winter. I think all the time I spent just watching has helped me understand so much better. Now I love painting them outdoors and finishing in the studio. I began this one in the mall parking lot at sunrise. I have found that the mall lot is a wonderful place to go to observe the sky since it is one of the only place we get a "big sky."

As the weather gets fine and attracts more plein air painters outside I offer a few tips:
*clouds are about warm and cool transitions, often within the same value
*clouds have mostly soft edges, remember they are simply moisture
*you have to know your light source and not get confused
*clouds that are closer to you are larger and have sharper edges

Studying clouds in value (gradations of black and white) will help you become a better painter of clouds (in color.) As we all know, "value does the work and color gets the glory" (quote from Richard McKinley.) I find that simply knowing the color design of a basic sky will help you understand so much so that when you next paint clouds it will all make sense. Most important just watch skies, you don't always have to paint.
Memorize. It will stick.

seeking luminosity

2011-04-08T06:57:00.002-04:00

6x6 oil on wood

As I still continue to puzzle through the idea of building luminosity through the use of various grays. Here I show you my recent try.
I am starting to notice that when I am trying to build luminosity without darks I must use more grays and only have a small portion of pure color. The opposite color of the wheel must be the predominate maker of the grays. Softer helps. This may need a harder edge or two...but for now it will be soft.

the slough and the secret of life

2011-04-07T04:22:00.001-04:00

18x18 pastel on art spectrum

Neutrals are the secret of life. It's as easy as that.

Each summer I spend as much time as I can in the Northwest, in particular La Conner and Orcas Island. Those two places just fill me with awe and inspiration. This painting had its start in the studio last summer. Memories of my favorite slough ignited the work. It's the same slough where I lost my key, met the baby bear (while looking for the key) and painted with Casey.
Since summer the painting has sat in the corner (staring at me) for 8 months. Yesterday I looked at it and I knew what to do. It was simple. The secret was in neutrals.

How much information do you need?

2011-04-06T14:52:00.000-04:00

9x9 pastel and watercolor on Uart

How much information do you need to read landscape? I was able to complete this much on site last night before I had to leave to go to a meeting. When I left I thought it was incomplete. Now I think, how much do you need to "put in" and what is superfluous? Rather than just add more I will let it sit and think then add if necessary.

cloud study in value

2011-04-05T06:34:00.000-04:00

9x9 pastel on somerset paper

Evening cloud study, this time I worked just with value. I played with wiping and erasing to make subtle marks.
Even though it is just a value study, I still needed to follow "the rules." Group the values into interesting shapes. Remember the land will always be darkest (exception- snow). And if you want skies to feel light you need to always keep in mind that skies are light built in a sphere. To show this the value and the strokes are very important.
This sketch was actually a lot of fun to do. Clouds are simply fascinating!

Last night I was enjoying the beautiful photos on the website of the Cloud Appreciation Society. Check it out! Here is the link.

goals, vibration, and Hans Hoffman

2011-04-04T08:44:00.057-04:00

6x6 oil on board

One of my goals for painting is for it to be impossible to tell if the painting is oil or pastel. That means the most important vibration must be present in both. A couple of years ago I determined that in order to do this, it was important to learn glazing techniques, rather than painting in the way I was taught long ago- alla prima. I thank Deborah Paris and Sadie Valeri, both master painters and teachers, for all of their guidance and patience helping me as is I struggled through that learning curve. I am not saying that I have finished learning...but now I understand the basics and can see through the layers.
Yesterday NJ sent me this great quote from Hans Hoffman. He had once said, "My aim in painting is to create pulsating, luminous and open surfaces that emanate a mystic light, in accordance with deepest insight into the experience of life and nature." Now doesn't that just say it all?
Did I mention my next goal--- that of mark? Within the vibration there can still be mark. Next I will focus on mark. toodles for now!

back to the river, yay!

2011-04-03T11:35:00.000-04:00

10x10 pastel and watercolor on Uart

Finally, I am really out there, ready to paint outdoors! Still I can not use my easel so i have found a way to sit and work (for now.)
I, of course, returned to the river in the early morning, my forever muse. My husband came with me and lifted my stuff down there; but, now I have a plan for next time. Solo. I must say it felt so good to be out there and be part of nature while I painted. The sounds, the light, the cold, it's all part of the feel. This is the best time of year. The neutrals are the most splendid of all. Violet grays, red grays, orange grays, golden grays, blue grays, all amazing. Today's grays were mostly violet and gold...beautiful complements.

a painting is a beautiful mix of fact and feeling

2011-04-01T11:02:00.000-04:00

12x24 oil on board

As I continue to work on this painting I keep coming back to quotes I have written in my sketch books, quotes by the master, George Inness.
George Inness insisted that the beginning artist fully understand the underlying structures and systems of nature, he called these the "strict and sober facts." It's so true. Since only after achieving this mechanical skill is the artist ready to edit and interpret what she/he sees and experiences. It is the marriage of realism and individual interpretation As Inness wrote, "a painting must possess both the subjective sentiment-the poetry of nature- and the objective fact."

A painting is a beautiful mix of feeling and fact. - the new words on my studio door.

While this painting is still unfinished it perfectly demonstrates those words. This is a painting that has taken over. It started from a plein air piece, but now is completely its own animal. Memory, knowledge of how the landscape works and feeling are the food for its creation ...the plein air piece has no use for me now..

reworking a plein air piece

2011-03-31T09:45:00.001-04:00

11x14 pastel on marble dust board

Uncle Harold's field is where I worked last Spring. The light changed so fast therefore I adapted by doing many pastels, most of which remained unfinished. I found this one when I was cleaning my studio and decided to give it a second chance. For two days I have tried to strengthen the focal point and make it easier to travel through the painting. I focused on using my pastel I the ways that I love. A mixture of dancing marks, smooging and lots of fixative made a new painting. Better or worse?

step 1 plein air

step 2

simultaneous contrast, unlocking the key to color

2011-03-30T16:25:00.003-04:00

12x24 oil on wood

As I have talked about before, simultaneous contrast is the key. It is the key to unlocking color, its beauty and its relationships.
So as I see it, that to me brings about 2 choices about glow. In the Tonalist tradition the darks make the lights glow and it works beautifully. Without the darks the lights are dull since they have no contrast.

Now, is there another way? The use of neutrals also makes colors take on new attributes. In this painting that is my strategy. Will it work? After about a month of layers I am at this point. Still I will increase the "grayness" of the clouds.
Sunsets are very hard to paint...they so easily become hokey, postcard like images. I am hoping to by-pass that.

And now for the studio update recently labeled "project hope"by Mae(my second Mom):
Another contractor will come this evening to talk about possible costs for the building of a new studio.
My Dad has added all kinds of important facts to consider.
Many artist friends continue to email me and comment with suggestions.
I really do appreciate everyone's help.

the color of light and the importance of painting plein air

2011-03-29T09:50:00.001-04:00

5x10 pastel on watercolor on Uart

After completing my re-creation of the Needwood Pond image from memory (yesterday's post), I knew that I had to go to the site and paint plein air. Painting outdoors is a whole different can of worms compared to studio painting. Outdoors it is so easy to get wrapped up in what is there, instead of what is the essence of what you are painting. You can easily become distracted by details. (I suppose that is why memory painting is so essential.) I can not stress enough that outdoor painting is very important. It helps build an understanding of landscape and light that you will NEVER get from a photograph. So here are some tips.
When working outdoors remember:
1. Study the landscape you have chosen to paint. Do not even pick up a pencil. Study.
2. Talk to yourself. Articulate why you are painting this particular landscape. Concept is key.
3. Next think if you were just going to memorize what would you need to know? Know deep inside what it is
4. Identify the color of the light. Notice how it changes the color of everything. This light was very yellow...a bright yellow, veering towards white. Did I want white? No? So I leaned more yellow.
5. After you have studied and made sketches or 3 value notans, only then begin. Stick to your value map.
6. Look more at the painting than the scene. Trust that you know the scene. Look to confirm.
7. Always remember it is about the concept/feeling and good planning pays off in the end.

Thank you friends for all the studio building information I have received- keep it coming!
We are looking at the financial aspects. The main two choices are:
Do we combine both north facing- master bedroom (my present studio is the old master bedroom) and guest bedroom to make a larger studio...which I will outgrow in about 5 years? Yes, don't worry, we do have a bedroom on the south side of the house. (cheaper)
Or do we build a studio (hamster house) in the back? More expensive.
If you have built your own let me know. Thanks Sam for all your in depth info.

abstract design and concept

2011-03-28T15:48:00.000-04:00

about 12x6 pastel on Uart

I said that I would write more about reducing shape and simplifying.
Reducing and simplifying is not just about eliminating detail (although I will talk more about that later) it's much bigger than that. To work out my ideas I revisited the Friday's painting in which I lost my focus.
Why did it not work? The main reason was because the concept (a tumultuous Spring sky and the way the light played on the landscape) was not supported by a good abstract design. Good abstract design which appears in strong compositions is the key upon which all good paintings are built. Creating a notan helps and I hate to admit it's a step I skipped that Friday afternoon. So now I have redone it.
Just using my memory I created new sketches and grisaille. With a limited palette I made a new pastel with a better design and feel. Now I think I will go back on site and try it again in plein air.

reducing shapes, less is more

2011-03-27T17:11:00.000-04:00

9x9 pastel and watercolor

The details in anything often times complete the presence, but it is the idea or feeling that makes it. As Paul and I have been "hunting" for a possible new home we notice it over and over. It is the same with paintings. More idea and details just where you want the viewer to look...that's it. With the idea of simplifying the land masses into readable yet not "tell all tabloid type, information-filled, forms" I tried to convey more with less. I feel this is my direction. There is much power in the mystery of that direction, still with the color I love.

PS I hope to be building a new studio soon. Have you built your own studio? If so please contact me and tell me more!

sandpaper and me

2011-03-26T19:44:00.001-04:00

6x6 oil on panel

This one has been through a lot already. As I try to find my way with it Paul comes in the studio and says, "That's nice, what is it?" Well that's when the sandpaper came out and met the wet freshly glazed panel.

Egad! So please don't ask me what it is. It may be done (for now) or it may be abandoned. One thing I can say is- I do like sandpaper.

The Tryon seascapes continue to inspire me. It's just now they have mixed with the peregrine moon.
For a treat visit the Tryon slide show from the Freer.