back to the field

Certain places compel us to paint. They simply stop us in our tracks when we see the siren calling us to the rocks. You see the poetry of color her words soft and sweet. The fields on Whidbey Island do that for me. Her rhythms and shapes make my heart beat just a little bit stronger. This are all plein air.
Next stop, Prince Edward Island, Canada.

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

Ideas and upcoming workshop

9x18 pastel

Have an idea and hold onto it.
This painting was begun a few years ago. I never quite knew how to finish it till now. It took many walks and lots of waiting. Paintings are made, not seen.
This spring I am teaching a new workshop in a brand new place(for me.) Ann Arbor, Michigan.

Ignite Your Painting Process, April 20-22, 2016

This is a three day workshop that will focus on exploring possibilities within landscape painting. First, we will review the techniques and fundamentals necessary to structure a successful pastel landscape painting.  Then we will engage in the exploration of creative ways to ignite your personal process. Depending on the weather, we may do some field sketches outside.

contact Debra Zamperia

idzamperla@gmail.com

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.

fog on whidbey

When I arrived in Washington this year I went straight out to my favorite place to paint. It was raining too much to take my pastels outside so I sat in the rental car with the radio on and painted. (not bad) While I love living in  sunshine, the skies here are pure inspiration.  I spent the following days (Monday-Friday) working with Richard- my  yearly check-up with the doctor. I will blog all kinds of good stuff about that time later. Right now I only have 12 more painting hours so I must go. Toodles for now.

the tree and additional bear story

The field....of course.LOVE, LOVE LOVE that place! It inspires me beyond belief. I hope to take this idea in the studio and see where we can go.
As promised, here is the extension to the story.
After I realized my key was missing-about 10pm, I first called the restaurant where I had been dining with friends. The person who answered was kind and understanding. She said she would look for it and call me back. Next, I took my little flashlight and canvased the ground around the door and car. No luck. My heart dropped to my stomach when I realized it might be at the field. So, I drove there and with a tiny pen flashlight in hand I turned over strings of long grass. As I moved closer to my spot I heard a series of loud sounds and a big plop in the water. It was LOUD.... probably not a bird, but a larger mammal. Time to leave. (later when Casey arrived it was he who found the small bear tracks.) Back home I go. More searching with the flashlight. After a seemingly long period  of time I was frustrated. I went to my car to think..... and possibly sleep. Next up floats a boat with a large spotlight, flashing into the yard, bushes and house. Yipes! What if I have to spend the night in jail.....for breaking into the home...I much prefer my car. So I high tailed out of there. I  didn't want to take a chance.
 That brought me to downtown La Conner, where I pulled into a parking lot and rolled up in bubble wrap to keep warm. Keep in mind it goes down to 50 or so at night. Needless to say it was easy to wake up early to meet Casey. And what a treat at the end of the adventure!
That is the completion to the story posted the other day....sorry about the holes before! I leave you with a photo of my beautiful field. I still will post more about the workshop...I am just on my hamster wheel of glee, enjoying life and painting....till later, toodles! Loriann

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.

silver fog/studio painting

18x18 pastel and watercolor on mounted wallis
Another studio piece. This time the concept was a slivery fog with a hint of sunlight, that moment before the fog begins to lift. Hope.
To keep me away from my usual choices of color I pre-selected my palette. It consisted of analogous colors:blue-purple, purple,  and red-purple. The complement, neutralized was green.....bits of discord colors- orange and a blue green were added at the very end. Today is the last day of the workshop. Once again I have learned soooo much!

underpainting

dynamic,sweeping underpaintings help create harmony

10x10 pastel and watercolor on Uart
This morning I arrived at my favorite field by 6am. What struck me the the way the light radiated through the ends of the trees. There was a pinkish- gold, low lying, thin wisp of fog.
Thoughts:
* one focal point-the diva and two other "supporting cast points
*making the underpainting dynamic and not  separating things or sky
* allowing the underpainting to be more gestural. allowing my arm to make sweeps and not "contain"
*being careful to allow the light to be light. I work on Uart which is a mid-tone paper, so I use Chinese White in my underpaintings and I have added more very light warm and cool colors to my pastel palette

stop: just say what is necessary

9x12 pastel and watercolor on Uart
Our tendencies, and I am so guilty, is trying to say too much. Instead of adding to the feel of the painting it takes away. So now I am working hard to allow the underpainting to do more of the work. When I finish creating the underpainting my job is to respond to the underpainting. The scene is only the muse, the underpainting tells me what to do. Therefore this painting has a considerable portion of underpainting still showing.
I LOVE these three days of processing the workshop. All Richard has said is fresh in my head. Being out there in the field alone allows me to meet the information on my terms.
Richard, " The underpainting is the set-up. Accidents will happen, they can open doors to possibilities."

new view, edges and Lisa

 

This painting is from Friday's field visit. A new view. (sorry for the barrel distortion ...it's a long one!) The focus was about edges and the use of color (read simultaneous contrast) at those edges.

On Friday I had the pleasure of meeting fellow blogger, Lisa McShane.

Below see our photo. Lisa is left, I am on the right.

Isn't it great, how many wonderful, interesting people you can meet on blog?

Right now I am deep into Richard's workshop and as soon as time is available I will post tons of info.   maybe tonight or tomorrow!

NOW love returns: 6:30am, she is alive

11x17 pastel and watercolor on UArt
Last night I fell asleep with the feeling of disappointment. I returned to the field, but she was someone new and we didn't know each other. You know that feeling? Well I think my problem was I was painting IT, not feeling it. Today with fresh eyes I returned at 6:30 am. Now I am relieved. We know each other again. I could feel the soft edges and the rich beautiful light.
As to the weather...it's BEEEEEautiful, warm, not hot. As others have mentioned, folks here are complaining about the heat; but for me, who left 104 degrees, 85 feels cool and wonderful!

love returns

9x 12 pastel and watercolor on Uart
I'm here!!!  Yay! First thing I did was stop at Dakota Pastels (the shrine...more about that in another post). With Robyn's help I replaced all my tiniest mystery shards with new big exactly-matching pastels. Yay! Next I headed out to my field on Whidbey Island. This year I am early enough and they haven't mowed it. Strange I feel like I have to get to know it again. Paint it more to understand its nuances. Sort of like when you are away from a friend for a long time.
This time the underpainting is better than the pastel... as they say hinesight is 20-20. (I admitted it PB)
Oh well...have to to some sleep. Losing 3 hours, but yet still wanting to get up early is a challenge! Thank you everyone for all your kind comments I will make time to answer them tomorrow!

Dwight William Tryon, mystery and memory

10x10 pastel on gray BFK

I was down at the Freer Gallery of Art the other day, there to get my hit of Whistler, and I was led astray. It was  Dwight William Tryon who captured my heart and made me go NUTS! These small images can't possibly do justice to what was there. Tryon is often considered a Tonalist, although his palette is much lighter in value.. He painted with close values, thick paint and very soft edges. He believed in "less is more" and mystery.
Later I read that he marked these words to remind himself as he worked in his studio:
“The value of memory sketches lies in the fact that so much is forgotten! In time we must learn to leave out in our finished pictures these things which we now leave out through ignorance or forgetfulness. We must learn what to sacrifice.”
Ah ha! That says it all doesn't it?
Perfect!

I have posted a recent value study. To keep the values closer I chose gray paper. My goal was to play with edge and shape. It was inspired by sketches done last summer at one of my favorite fields on Whidbey Island.

Thistle field, in progress

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

question for artists and Tiptoe

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

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

The Field 1 and 2

6x6 pastel on marble dust board /zing
6x6 pastel on marble dust board / neutral

One of my "ideas to think about and play with" from Richard was to paint with more neutrals and little zing, rather than my usual more zing less neutrals. So I decided to paint the same scene with the two distinctly (for me) different palettes. It's strange how I love artwork that is subtle and with a neutral palette, but my natural tendency is the zing. The top one is zing the bottom is neutral.
Which is your favorite and why?

Subtle View of Happiness

9x9 pastel on uart

Don't you love fog? It's the veil of blending. The dominant color becomes soooo evident. I was delighted to see this at the corner where I like to paint. Don't you think fog has overwhelming poetry without even trying?

One of the wonderful things about this workshop with Richard is independence and processing time. Three days are spent absorbing Richard's wisdom; then 3 days are spent on your own processing and trying to own pieces of the wisdom. I am in those processing days now with a sigh of relief. After these three processing days there are two studio days. During this time you take your small pieces and built on a concept to make a new bigger studio piece. Richard is available for questions. There is a critique at the end. Food to live off of for the year.
Dakota Pastels in Mt. Vernon, Washington sponsors it. Dakota is nirvana for a pastel artist. Every pastel you could want, more pastels than anyone in the country. Check out their link. Robyn and Craig, co-owners are awesome.

Thistle field, no.2

9x9 pastel on uart
Dominant color was my thought. Thistle field again.

Thistle Love

9x9 pastel on Uart


9x9 sketch underneath painting
the thistle field/photo

9x9 pastel on uart
I realize at this point I have two loves or muses. Fields with some wild flowers and bodies of water. The field that I dreamed about, that I painted constantly last year has been mowed down. I almost cried. But, I had to realize nothing is that precious. The muse is in me and the field feeds it. So I drove up the street and saw this.