more underpainting wisdom from richard

8x10 pastel and watercolor on Uart
Richard wisdom:

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

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

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

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

mystery is the key

9x12 pastel and watercolor on Uart
Put in your paintings only what is essential...allow the viewer to become involved. Mystery. This is my painting. Below are Richard's beautiful painting and underpainting.

No wonder Richard is being inducted into the Masters. To watch him painting is AMAZING!

When I attend Richard's workshop each year I now realize there is a pattern. I take in so much information that the second and third day's paintings are awful . I am wrestling with the concepts he has (re) presented to me. By the fourth day, the day the participants get to go off on their own to consolidate their information and paint, it starts to come back together. Today is that day. The paintings above were yesterdays. I will post one of today's paintings tomorrow.  I am now starting to feel better. ....like I get something big. Wait till tomorrow...I will write then!!!!!

mark making and the artist

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

the hand of the artist

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