Making a series

One of the most satisfying ways to work is to develop a series. Working in a series is about enlightenment. If you are struggling with how to go deeper in your work try a series. If you want to push yourself to a new understanding of your intention try a series.

A series can begin without planning. Sometimes it's an infatuation with a place or a study of light.That is exactly what has happened to me. For about 7 years I painted the river. Everyday, no matter what the weather, I did a "vitamin" of the river. Still I love the river, but for the past 5 years my infatuation has been the vibration of the colors in the grasses of an untended field.  I simply can't stop myself when I see one!

When you engage in a series you open up.  Like a brand new relationship, you want to be there all of the time. Seeing your new love in different lights thrills you. Soon after completing many paintings you start to look at your new love a little differently. You get more comfortable and begin to change small things. You start manipulating the colors, size of format and point of view. You try a diptych or an elongated vertical.

I know I have mentioned before but my series that changed my life was when I was in graduate school. I painted a pot of yellow mums for two years!
Staying with a series (or a relationship for that matter) teaches you about painting, and yourself.

Below and above see a sampling of paintings from my years on Whidbey Island.

If you want great ideas about the making of a series do look at Richard McKinley's book Pastel Pointers.  It doesn't matter if you paint in pastel or oil, Richard's book will help you get to a new level.
In brief Richard recommends 6 ways for discovering a series.
1.Try a new surface size.
2. Alter the value or key of your painting
3.Explore different dominance and harmony.
4.Paint in a different format.
5. Change you angle of vision and relationship to the subject.
6.If

retro fave: Richard McKinley -part four

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


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

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

More Richard goodness see:
Pastel Pointers Blog
his website

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


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

retro fave: Richard Mckinley interview, part three- plein air tales

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

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

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


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

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

retro fave: Richard McKinley's Interview, part two

part two

This is a continuation of Richard's interview. You may see part one in Monday's post. I left off with Richard talking about "the hunt"- the search for the indefinable thing that an artist has to communicate.

R- A painter is always reaching. It keeps you vital. Once you have the sense, "oh god, I've got it," then you are done for. There is nothing left to say.

Think about Winslow Homer, he was a very driven man. Every single day he painted. His palette was in daily use. Well, on the day he died they found his palette hung on the nail above the door. He had never hung it there before. The inference was- he had finished.  He had said what he needed to say.

When you don't get it, you are always hungry, always hunting for it and that is a good thing.

I am a very analytical person, explaining is easier when I use stories. I love comparisons because it is all about relationships. My biggest demon when producing work for myself (vs. a demo  in class)is to get out of being analytical.  When I am teaching I am analytical. In teaching my torment humanizes me. People know that my interest is to be helpful.
Be careful that you learn too much that it will get in the way. My battle when painting is to erase that state.  When painting in the studio, at home, I have the TV on so that it will occupy my analytical brain.  Although when I am away from teaching for a long time I no longer need the TV. My analytical brain is off.  Then when I return to teaching there are these pregnant pauses as I organize that analytical brain.
I have to force relaxation.

L- I have been told by other painters that the real painting is studio painting and plein air painting simply isn't as elevated, as valid. Would you speak to that?

R-I am surprised to hear that. The emails I receive from the Pastel Pointers Blog indicate just the opposite. It seems that some painters are intimidated by plein air painting, they find it very difficult.
But think, what is the difference between the two, plein air and studio?
You use the same materials and the same eyes. the big difference is en plain air you are not in a controlled, sterile environment. There is reality. There is no reality in the studio. Method and process painters are studio painters.  En plein air you you have to create the concept with all the constant changes and make the reality...even though it is in front of you.
Keep in mind that some comments you may hear are more about ego and defending one's position.
Another thing about plein air painting you need to keep in mind-at first you are a hunter-gatherer. You are figuring out which place. Then you need to get to know it better. It is important to form a history.

Richard McKinley-Pacific Silver, Mendocino Gold -one of Richard's favorite places to paint...a place where he has history.

More interview on another post. I hope you are enjoying the interview. I sure loved doing it!
Meanwhile check out his fabulous website.

retro fave post- underpaintings, the wisdom of Richard McKinley

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

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

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

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

finished jewel

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

passion for skies

oil, 12x12

Skies, hmmm. What are they, but layers of air that appears to have real heft.  But, it's just air with moisture. The clouds have personalities. Each one is different and full of surprises. They are 3 dimensional shapes.  It's important that there are no harsh lines or cut-outs in your clouds. Knowing where your light source originates is important to make the clouds/sky convincing. After that it's really warm next to cool, layered to make grays. Better still here is a great article about skies on Richard's Pastel Pointers Blog. He says it better than I can, so enjoy!

the underpainting

On another note, here is the underpainting for the painting above. I liked the beginning horizon line vibration, I unfortunately lost it in the painting....maybe next time.

juicy stuff on the way

My week in Washington was amazing, as always. I always love be in that gorgeous place and gather new insights from Richard. The pinnacle was learning a new method for creating notans and discovering its use to strengthen my work. As soon as I can, I will post step by step instructions.
This painting was one I did one very early Tuesday morning- I was alone at my new favorite site in Mt Vernon. The chattering birds were the only sounds. There was a silvery glow to the sky and water. I used the notan method to make my design and below is the notan that guided me. I must say that since I was trained as a painter, not a graphic designer- my design was never my strongest aspect. Now, with the new Richard method I think I can change and develop a stronger design.

Stay tuned for the new method!

retro- throwback: new notans

step one (top), two (middle) and three (bottom)

Notans. Most people know how important a solid design in a painting can be. You may have beautiful color and strong value decisions but if your design is weak the painting will not have a leg on which to stand. The notan shows the importance of "negative" space and it's relationship with good design. When I was in Washington this year, Richard showed his new 3 step to a notan method. If you have ever struggled making your notan actually work to help strengthen your painting this post is for you. In addition for an excellent read, please check out this post written by Richard for his Pastel Pointers blog: Value of Notan.

For this method of notan making you will need your sketch book, pencil or pen and value markers. Tombow makes good ones: N65 ( a middle value cool gray 5), N75 (a light value cool gray 3), and  N15 (a pure black.) Here is a link to Jerry's Artarama. My recent fave markers are made by Faber Castell and come in a small pack of 4 "artist pen big brushes in warm grey. I bought them at my local art store but here is a link to Daniel Smith.

The Method:
First, when making a notan, work small (1" or 2" no bigger.) Rather than getting wrapped up in the luscious drawing you are instead focused on design. Mark out your format. You may experiment with many, but once you decide, you have one small drawing inside a format.
Once you have a basic drawing you like, make that drawing 2 more times. Just look at the drawing not the scene for this step. Here you see the first drawing and the beginning of my repeated drawings.
Now you should have 3 small drawings.

step one

Proceed to the second sketch (The 3 drawings are there, waiting). Now is the time to use your markers with 3 or 4 different values to mark in the important values of the landscape.  No fussing.

step two

On the last sketch you make your true  notan. Look at your 2nd value sketch and make a third sketch that shows  a strong design using only positive and negative shape- black an white. Note the changes that I had to make in order for the design to work.

step three

Good books that include good information about notan:
Notan: The Dark-Light Principle of Design  by Dorr Bothwell and Marlys Mayfield
Composition: Understanding Line, Notan and Color by Arthur Wesley Dow
And of course, Richard McKinley's Pastel Pointers:Top 100 Secrets for Beautiful Paintings. If you don't have a chance to work with Richard (even if you do) get his book.
You can get all these books at Dakota Pastel.

I hope this post helps!

Richard McKinley Workshop -day 1

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.

tips for painting clouds

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.

Design, color and the painting/Pierre Bonnard

6x18 pastel on somerset

This is just a study in shapes/masses.  It is done completely from memory, not photos, no plein air pieces.
Reducing the landscape to just value makes you think only in terms of shape and design. What does it take to make a pleasing design of positive and negative shapes? One of my favorite ways to find out is to play with one pastel and two erasers.  With these I work back and forth:I make shapes, then I gradually carve out my shapes. I repeat the process till satisfied.
Long ago,  Pierre Bonnard was my absolute favorite painter. He is the ultimate colorist. I was fortunate in that the Phillips Gallery in DC has an abundance of his beautiful giant, color filled paintings. I would go see them each week. These important words from the master have stayed in my mind, "Color does not add a pleasant quality to design – it reinforces it." Below are two paintings by Bonnard in the Phillips Gallery.  
Bonnard's words are the same as Richard McKinley's words, "Value does the work color gets the glory." So why do we so often by pass making notans and sketches? My lesson today, slow down and enjoy the process.

memory and Richard McKinley

5x6 pastel on somerset

This is a small memory inspired painting from my visit to Torrey Pines this December. No references were used, except those in my head.

In the recent comments I have noticed that one of the ideas people seem to have differed on most is - when should a painter try memory painting?
You of course can attempt it at any time.  It seems to me that it is helpful to understand certain truths about how the landscape translates into color and space.  It was not until I had painted the 2000 or so outdoor paintings that I truly felt I could trust myself with this treasure of knowledge and know that it would guide me. Yes, it would be slippery, but I had that treasure chest waiting to be opened.

To extend these thoughts more, I received an insightful email last week. My painting friend said,

"Of course, painting outside leaves us awash in way too much information, and whether the process is memory or selection, there has to be a way to know and to communicate what is really important. A teacher once said, gesturing at the landscape, "You're never going paint all that." It was an invitation to decide what was actually critical to paint.  Your Key Bridge pastel certainly did that--  extraordinary that it was from memory.  "
My friend here said everything I have felt before in my painting life (and you probably have too at one time.)  In reply I will bring back  what the very wise and generous Richard McKinley has taught me.

"If you merely copy what's in front of you, you are rendering reality. An artist needs to make choices, to take responsibility for what he/she wants the viewer to see, do and feel through the painting. You, the artist, are the magician. A painting is a compromise of reality."

So we do magic. A big piece of doing magic is deciding which reality you want your audience to believe. The "tricks" you do to accomplish their feat are up to you. That is really what painting is about- orchestrating a new reality that makes one think...oh, I wish I were there.

Richard McKinley's Pastel Pointers

Do you want to read the new "have to" book? It just hit the web and I received my copy on Wednesday (pre-ordered from Amazon.) Let me preface by saying, for 6 years now I have joined Richard for one of his yearly workshops. Usually I pilgrimage to Dakota Art in Washington State, although if that doesn't work in  my schedule I will go anywhere. I just love getting  a new dose of Richard medicine.
I read his Pastel Pointers blog weekly.  (Don't you?) So you would think I wouldn't want the book, right? He even said, "It's everything you have heard for years." But no, I LOVE the book. The book is aimed at pastel artists, yet it has great information for oil painters as well. Most of it is reminders of what I know...but who doesn't need reminders of what they know.... and forget to do?  A MUST read for a pastelist. Read his simple concrete explanation of simultaneous contrast, determining value and value benchmarks. Try the 6 exercises for discovering a series. ( I will.) But whatever you do...buy the book. Buy in from Dakota, North Light Shop or Amazon.

Richard McKinely interview, part one

I will post my interview with Richard in small manageable pieces, as time allows. This method will also allow you, the reader, to savor each morsel. Enjoy!

Loriann- Richard what are the qualities you have that make you an amazing painter and teacher?

Richard-First, you have to believe that you are that amazing painter/teacher- internally.  Who said that I am? When you receive feedback there is always a duality and you don't believe it. it's good not to know it. Humility. Humility is important.  I don't believe any of my own press releases. It keeps me hungry, forever reaching to do things better.

L- An amazing teacher you are. There is no one as generous and understanding of a painter in his or her personal struggle/process. You know how to push each one in exactly the right way.

Richard- I believe that you have to appreciate what others do. Be respectful. Other painters are doing the best they can. Other teachers are teaching to the best of their ability. To think otherwise is arrogant.  We all deserve respect.  Internalize humility.  If you believe the stuff people say about you it makes arrogance.

 For me it's still hard everyday. There's something we want to communicate and we are constantly trying to find ways to communicate that.  It's like the Holy Grail.  Yes, certain aspects of painting become easier with constant work, but there is that undefinable thing we want to communicate and we are never quite there.  The minute you get it, your work is done. 
I once saw a PBS series about Vincent Van Gogh, in particular his last painting. It was the painting of  the crows. After its completion he waited, then two days later he shot himself in the stomach.  He KNEW that he had done "the painting" and there was nothing else left to say.

more good stuff continued later...

Oh, and I must add there is another  (this time professional) interview of Richard in the July/August issue of Artist's Magazine.
Check it out!
In addition this September Richard will be inducted into the Pastel Society of America’s Hall of Fame at the National Arts Club in Gramercy Park.  WOW! Now that's big! And well deserved!
Check out Richard's website and blog:




Now I am off on my way to the ferry..off to Orcas Island this time! There is one of my beloved fields on Orcas.

the light game and an interview

Once again I experimented with differences in texture: reflections in water and air in skies. But the main thought on my mind was threading. What do I mean by threading, you say? Well, since I decided that the light fog/low lying clouds made a violet light I knew that violet was the color that needed to thread through the entire piece to harmonize. The places where the light came through were golden. Important pieces of information to keep in my mind each time I would chose a color.

Speaking about the color of light...I have been playing the "light game" where ever I go and you can play it too.... even when you aren't painting.  Observe the light. Then close your eyes and describe it in full. What is the color of the air? What color threads through the entire landscape? What are your lights doing? What color would you describe the sky and its light? Be specific. Tonight when I was hiking in the dim light, it seemed as if the sky was a white gold glow. Naming that I tried to choose (in my mind) which stick of pastel I would use and what would be the underpainting. All this and I didn't even have my paint stuff with me.

Whistler used to challenge himself. He would absorb a scene, its every color. Then he would turn his back and describe it in full. His friends were free to correct him. I doubt that he was wrong.

On another note, during my workshop study time with Richard I was slowly, question by question, completing an interview with him. We never did finish all of my questions. I will save them for another time, but we did cover many questions. So, hold on to your seats, another treat is in order for you.... a special interview with the pastel god himself, Richard McKinley. Since I am still traveling you must be patient. ;-)

secret spots, Sanford Gifford, the muse

Artists always have special painting spots, ones we go back to time and time again  like homing pigeons. We set up our stuff in the exact same place time and time again. We intimately know this place, like a best friend or lover. It's a VERY personal connection.
During the break between workshops my muse, the field, was mowed. I had talked the mowers out of doing their job once and  the tractor broke once: the paintings gods had been with me. Then they mowed it. Sadness. I talked with Richard about it and he, in his very generous nature, shared his new favorite spot. A new love that I will add to my ever growing list of faves around the world. It's quiet and beautiful,  recipe for joy.
Still I struggled with this painting for a long time. Then I thought of Sanford Gifford. I remembered his gorgeous painting in the NGA.  To get the glassy feeling of water you need contrast. His sky was stimpled and his water was glazed and glassy. Taking that in mind I used my pastels differently.

oil plein air with Richard

6x6 oil on canvas
So now I have begun the 3 day oil plein air workshop. Normally I only use oil in the studio...so this is very new. ...and exciting!
Richard's methods are different that I know already, but they really make sense. Imagine. If I haven't said it before I  will say it now...I think Richard is the best teacher anywhere. He can explain anything. He is meticulously organized which means his ideas and methods are very structured and thus easy to understand. I can go on and on (and at another time I will), but if you have one workshop to go to ...make it his. You will not regret it.
A brief synopsis of his method- color harmony created by a small selection of colors, mixed greens, purples, oranges and grays/neutrals. Like pastel painting, it is imperative to plan your value design with notans. There is also a monchromatic, rubbed out painting in burnt sienna underpainting underneath this. That's the basic. I promise that I will explain in depth later. For now I have to go to bed.

This is Richard when he was painting at the slough last night...the same place I painted with Casey.

my final critique

9x12 pastel and watercolor on Uart
I must admit this workshop has been wonderful, but at the same time a total drain on the brain. Workshops are challenging. First you have to realize that if you are really to learn you have to produce some real crud. Second, you have to realize that in order to learn you will constantly be in analyze mode...a very hard place for me. I am not really an analytical painter, although I realize that in order to reach another plane I have to analyze more...not constantly, but just to check up on the painting. I am not trying to change my painting style, only improve and learn. And boy I have a lot of that to do!!!!

My critique was hard to swallow as I could already see all I had done wrong and had self diagnosed some of it. To expose myself even more, this is what I heard from Richard:
1. I need to make certain I do not fragment  my stroke as much. This is what I had already seen. In order to work bigger I need to work with bigger pastels- not the small pieces(shards) I tend to work with. I had already bought a selection of 98 Girault pastels and I am using bigger pieces.
2. I need to be more attentive to chroma. I am guilty of too much. Yes, I am a person who can easily go that route...when I really like something I am a bit obsessive- read ..... constant trips to one place, or eating 7 chocolates instead of just one.
3. While we are on the topic of obsessive, Richard said I need to give my muse a break once and a while. Paint something that doesn't excite me as an exercise in strengthening my knowledge of theory and technique.
4.The focal point needs to be stronger- less equality in the painting.

So the painting above was done early this morning. I tried to process all this information and then let it sit in the back of my head and just enjoy painting. This is the same view I did last week, Wednesday.  I am struggling to find my way. I think I need to breathe.... and then think.

studio work, underpainting city

6x12 pastel/watercolor on mounted wallis
Yesterday was the beginning of studio time. What that means is for three days we will talk  about resolve and beginning new studio works from our plein air pieces. Allowing a concept to grow.
Richard suggested that I do three separate underpaintings, one after another, just to stay in the moment of underpainting. I noticed how it made me take more chances, each one becoming progressively more abstract. Next he said to simply respond to the underpainting. The feeling of the scene is deep inside me, now see what the underpainting has in store. I must say I have never just responded to the undepainting. Normally I rely far more on my field paintings. Yesterday was a fun trip. I finished one painting (above) I have two other underpaintings(below)  with which to work.

realization 3 and dusk

8x8 Pastel and watercolor on Uart
Write the end of the story before you finish the book.

Does that make sense?
Richard McKinley once told me that I need to keep that in mind when I am working. In other words, you must have a vision, know where you are going or you will never get there. I think I am finally starting to see and feel that.
Last night I headed to my next door soccer field at sunset. I have been studying the light at dusk. Night after night, I go there and look. I would say the colors out loud. I dreamed it Tuesday night. The vision was there. The last chapter was written. So when I was standing there and dusk arrived like a veil over the sky. I was ready.

Thanks Richard!