Friday, December 11, 2009
Thursday, December 10, 2009
Wednesday, December 9, 2009
I have gotten a couple of questions about priming with the flake white. Since there are several varieties of white paint which contain the lead carbonite pigment, I thought it might be helpful to just give this quick primer about paint pigments.
Tuesday, December 1, 2009
I just love painting horses. These two are tiny little art cards - 2.5 x3.5 inches.
Monday, November 30, 2009
Friday, November 27, 2009
Friday, November 20, 2009
Coming up the first weekend in December is the Monadnock Artist's Guild's 9th annual Holiday Exhibit and Sale, entitled "Winterlude" I was invited to join this fine group of artists this year, and have been painting away like a mad woman trying to get some work ready.
Wednesday, November 18, 2009
"Taking a Break" 2.5 x 3.5" Artist Trading Card
Beginning December 5, the White Birch Fine Art Gallery in Londonderry, NH will host a show and sale of these little gems. Elaine Farmer, artist and gallery owner, will have hundreds of the cards on exhibit, all for the very modest price of $30. An Open House on Dec. 4 and 5 will begin the exhibit, which runs through the month of December. She will also have mats available for sale, ready cut for the cards. I think it's going to be an amazing thing, to see a wall covered in these miniature little works of art! I will have cards there, as will many other artists from the region, in all mediums, in all styles.
Kick off the holiday season in style and come celebrate with the White Birch Fine Art Gallery during its first Holiday Open House, Friday, December 4th from 10am.-7pm., and Saturday, December 5th from 10am - 4pm. Friday's festivities include a wine and cheese social from 4-7pm. and Saturday's events will include special demonstrations by local artists and artisans, all new art work in the gallery as well as guest artists on exhibit, and will feature one of the largest ACEO (Art Card) events in New England. Hundreds of these mini masterpieces will continue to be proudly displayed during the entire month of December.
Are you a card carrying art lover? Meet the ACEO! Artist trading cards (ATCs) are mini works of art made exclusively in a 2.5 x 3.5 size, the size of a baseball trading card. Made in any arts or crafts medium including collage, mosaic, fiber art and metal works, these miniature, original masterpieces could only be obtained through trading with other artists, until recently. ACEO's, or, Art Cards, Edition and Originals are original or numbered edition art cards available for sale, bringing the joy of art card collecting to all art lovers.
Come be a part of this worldwide art phenomenon and meet the artists during the Open House and take this opportunity to purchase your first ACEO.
Silver and Orange, 2.5 x 3.5 Artist Trading Card
I've shown here a few of mine. These are great fun, and would make great little gifts! And if you're a "card carrying art lover" - it's a great way to collect some of your favorite artists' works!
Sunday, November 15, 2009
Tonight, I'd like to share one of the most valuable changes I made as a painter. This change has made a huge difference in the way I am able to apply paint to the canvas. It produces more luminous color, better brushwork, and I can honestly say, made the process of painting more fun.
Take the back edge and flat surface of the palette knife and spread that paint around on the surface. All you want to do is to seal the holes between the weave. You will not need a thick layer or alot of paint.
Wednesday, November 11, 2009
Monday, November 9, 2009
And one more.. which is called "Ground Beef". I am not showing my favorite little guys - you'll have to come to the Miniature Exhibit to see all of them!
Thursday, October 29, 2009
Wednesday, October 28, 2009
The following is the outline for our last day of color class. We talked about, and practiced painting, what happens to color as it recedes into the distance.
Flashback! Remember that song by Procal Harem? A "whiter shade of pale" is a good catch phrase for today's lesson.
Just remember the principle of “more and less.”
Close objects in a landscape have
MORE intense, pure color.
MORE contrast in values (between light and shadow sides)
MORE defined edges
Distant objects in a landscape have:
LESS intense, pure color.
LESS contrast in values. (between light and shadow sides)
LESS defined edges
Yellow is the first color to "drop off" as distance increases. That means that any object whose color is yellow, or contains yellow (greens, browns, oranges, warm reds, etc.) will lose more and more of that yellow hue as they get further away. You'll need to lighten and gray the yellow to portray this distance. Gray it by adding its compliment, purple. You might also want to consider using a cooler version of yellow in the mix. For example, a bright yellow clump of daffodils up close could be painted with almost pure cadmium yellow light. Far away, that daffodil color might be better represented by mixing some cad lemon ( a "cooler" yellow) with white and its compliment, purple. (or a mix of ultramarine and alizarin) Sometimes I've also used yellow ochre for a situation like this, as it is a cooler, duller, grayer version of yellow.
Red is the next color to drop out of the equation. So, reds tend to get cooler, and more pinkish purple as they get further away.
Blue is the last color to drop off. That is why we often see distant mountains as blue. all the red and yellow have diminished and we're left with those bluish notes.
As objects recede into distance, color will get lighter and grayer and COOLER in temperature. All the colors fade out and lighten to eventually reach a pale gray. (remember that song title?)
White is the only exception to this rule. White gets darker and grayer..
See illustration above to see how this works in practice. A red barn and tree are shown close up, mid-distance, and far away. The color swatches show the shadow and light colors of each group. The swatches are the shadow and light sides of barn color, tree color, grass color and barn door color.
Notice how the color, the temperature, and the values changes.
Close up: Colors are rich, warm, and intense. There’s a lot of difference in value between
the light and shadow sides. The inside of the barn door is a deep warm black. Details are evident.
Mid-distance: The colors have gotten slightly cooler, and grayer in tone.. There is not as much difference in value between light and shadow sides. Not as much detail is evident, and the black of the barn door opening is now a dark purplish brown.Far away: The colors have really gotten lighter, and grayer. There is barely any difference in value between light and shadow sides – really only color temperature notes the difference. The deep shadow of that barn door is now a purplish blue.
Thursday, October 15, 2009
I'm taking a break from other topics to just do a brief explanation of how I might find a painting
In our western culture, we read from left to right. This includes paintings. We tend to enter a painting on the left and read across. So, if the center of interest comes right away, the eye stops there and has no desire to continue into the painting. The boy and boat came "too soon" into the journey in the painting, and I knew that I needed to move them.
Monday, October 12, 2009
Sunday, October 11, 2009
I promised cows, so here she is. What a lovely lady. She is really a great example to illustrate the point of our second question. That question is:
Here's the Cutler Bldg. steeple here in town as an example.
Next post: Cows and values!
Saturday, October 10, 2009
Here are two small still lifes. I'm using them as an example of a principle about light and shadow and background color.
Friday, October 9, 2009
Thursday, October 8, 2009
Oh boy, this time of year gets really busy! Besides working on our mural project here in town, which turned out to be just about a full time job the last 4 or 5 months, I've got several shows to prepare for. More about those later, but mostly lately I'm painting like mad. This little painting is one I finished this week, entitled "Carnation and Old English Creamer". (you can purchase this painting here. And on a composition note, I originally just had the carnation and the creamer. Knowing that having just two items in an arrangement, I would have to work to be sure one was the focus of attention. I thought that by softening the edges of the carnation, and making the creamer very sharply defined, that would do the trick. It did not, and this painting suffered from the "one for each eye" kind of syndrome.. Where do I look? At the carnation? At the creamer? I realized that a spot of rich color would tip the scales in the favor of the creamer, and added the single grape. That did the trick, don't you think?
Tuesday, October 6, 2009
I will be leading an oil painting workshop entitled Color Camp! on Wed. mornings, beginning Oct. 14 at the Jaffrey Civic Center. The workshop will run for 3 successive weeks, 9am - noon. Each session is $35. You can call the Civic Center at 532-6527 to register for one or all three sessions.
Not rules, but tools!
As artists, we want to use all the tools at our disposal to help us create good, solid paintings. These 3 sessions are designed to review some basic principles of color that can help us make intelligent choices as we work. Consider these some added “weapons” in your arsenal or tools in your toolbox that you can pull out when you need them!
We won't be trying to complete polished paintings, but rather we'll tackle some exercises to re-enforce each day's lesson. In addition, each day we'll look at a "problem painting" that contains a common error. Heck, it might have several problems! Based on our color lessons, the class will "dissect" the poor painting and decide what's wrong and how to fix it, and then you'll get a chance to create your own "new and improved" version!
Session 1: When You’re Hot, You’re Hot!
Color Temperature: It matters!
Why can’t I use the same colors to paint an orange that is sitting on my kitchen table as an orange sitting outside on my deck railing? In other words, how does outside light differ from inside light? One word: COLOR TEMPERATURE! (okay, okay, that's two words). Tip: This might be very useful info if you want to paint still life or landscape... or interiors.. or figures inside or outside... or old cars rusting under a tree... or maybe a package of neon gummi worms....
Where is this orange? Outside or inside?
Session 2. Good Morning, Sunshine!
Portraying Time of Day in Your Landscape
What’s the difference between morning light and late afternoon light? Is there a difference? How do we make our paintings look like morning, noon, or evening?
Look at this poor painting. I can't tell what time of day it's supposed to be. And there are some other real errors. Should we shoot it and put it out of its misery? Wait, there's hope! Come find out how we can correct and improve this baby.
Session 3. Way Over Yonder…..
The effects of Atmosphere on Color.
When is a red barn not red? What happens to autumn foliage on that distant hillside?
This painting has a problem. Actually, it has several glaring problems, and these problems are common errors that can be avoided by understanding some simple principles of color and design.
Do you know how to fix this painting?
Well, come join us for some fun as we focus on color! There are about 3 spots left in the class.
Sunday, September 20, 2009
This weekend, I am taking a plein air painting workshop with Stapleton Kearns. Besides being an incredibly gifted painter, Stape is also a great instructor, and all around funny guy. We are spending three days on Peter and Ann Sawyer's beautiful 200 year old farm here in Jaffrey.
The Sawyers welcomed us with their typical hospitality, and have given us pretty much free reign to wander around their 300+ acres of hayfields, hedgerows, and cow pastures, with views of Monadnock, the farm structures, including three silos and a fabulous old barn, and the farm house itself. Weather has been absolutely perfect, so we're loving every minute of it.
.Here is a short excerpt of Stape doing the morning demo - he is discussing mixing greens, something that every landscape painter who has had to deal with summer painting in New England is well aware is a difficulty!
We meet and set up at 9am, and paint till the cows come home. Seriously. No kidding. The cows wander over near our easels in the morning, and then they go up the hill to the high pasture. In the evening, around suppertime, they come plodding back down to where we are. We paint until there's not enough light left to paint, and then we've been going out together as a group and eating dinner and debriefing the day's work.