A Painter's Evolution

New Board Experiment Part III

2012-02-01T17:12:00.000-05:00

After my last episode trying to paint on a board showing its grain and colour I decided to size the board with PVA or GAC400. Then I covered the mixture with two thick coats of clear gesso. Still gritty, and a bit of the colour is lost.

I got to try the board in a snow fall. Blowing and snowing. We hid in the forest to reduce the snow accumulation on the palette. Now, Zan showed up in his "paint in the car" invention. He couldn't go where we did, but he was toasty, warm, and dry.

Fence Post Easel

Without your tripod, improvise.

I put my gritty board up. Good thing. That gritty surface held the paint when the others were sliding around with oil slush.

Back Tilted

Even with all the preparation undercoats the panel absorbed paint more than I like. I prefer a fast surface. At least I could get the paint to hang on. The tilt back helped keep the snow off the palette and the board.

Camera View of My Subject

There was a lot of snow between me and the subject. The camera tends to add more of this filter than the eye. Colours pretty much washed away.

Pizza Anyone?

The good ol' pizza box wet panel carrier nicely stacked in the brambles. A lean mean paintin' machine. Another productive day at the office.

More on Winter and Snow

2012-01-23T13:57:00.000-05:00

It hit me all over again. On the way to the office on Saturday morning the low January sun was glazing the fresh inch of snow. I had to stop.

Bottom of Harold's Hill

And then again.

Top of the Hill

And many more times while most hid under their covers. I snapped pics and sketched for a half hour on the way to our painting rendezvous.

No Traffic Yet

Still, quiet, beautiful. Compositions everywhere. Sitting like cutouts against the light background. Colours abound. It is the best time of year to paint and learn. And my favourite time. If you don't paint out here at this time of year, you are working part time.

The Colours of Snow Today

The full spectrum. The full value scale. Beware the lies of the camera. Look at the values in the light. I can distinctly see four, even in the photo. Perhaps I'll use cobalt today. Yes, lemon yellow, alizarin, no, maybe permanent rose, and yes, viridian. Perfect!

The Boots

Only -9C today and little wind. But with these boots you never get cold feet. Along with a decent brimmed block heater and a few layers, your only fear is overheating. Tt is bright on a day like this. I didn't bring my umbrella, and I know better but.....

The Office

No sun glasses allowed, so suffer the blinding light. Try to cover the canvas and palette using your body. In a situation like this the glare will soon render the colours and values incorrect. Usually the painting will come out dark as seen through those little pin hole eyes.

Can't See? Hold Brush Right etc.

It is unusual to see this in a photo, but it shows how the fresh snow flakes act as mirrors making the colour of the snow a function of its surroundings holding the full spectrum. How to paint that is the question.

If You Were There

You could practice seeing the colours. And you could see how the snow in the light is in shadow - look at this......

A Mystery

Coffee Break

Response to Rx2

2012-01-20T14:46:00.000-05:00

I had an interesting conversation with a young lady regarding this Rx2 post. Her take was that she did not like the gridding process - it made her feel trapped by precision. At the same time she commented that she needed to practice getting her shapes right and measuring.

Gotcha! These are merely exercises aimed at developing tools for the artist. You put them in your tool bag and use them when you deem it necessary. Don't force yourself to use anything just because you have it.

In this case the exercise was not about using a grid. Merely putting down a mark of the right size (measuring) in the right place. Most of the time I eyeball this. However, I did learn how to measure and put the marks in the right place on the canvas. If I get in trouble I can dust off the tools and get it right. "Right" of course means right for my concept. I do compose rather liberally at times, moving things, leaving things out, adding, distorting etc. Here is an example.

Photo of the Site in The Hockley

Notice how tonal this photo looks. It was a back lit scene, but there was lots of colour. Like a thumbnail.

Lay - In

Too much and leading the eye out of the composition. Try this.

Trial

Now adjusting the values and colours.

Take It Out

Rx2; Shapes, Measure, Value Remedy

2012-01-11T10:15:00.002-05:00

No workshop or book will instantly turn you into a better painter. No secrets. Only through hours on the brush will you come to see, internalize, and be able to apply these principles as you deem them necessary. After such practice these concepts will become second nature and you will not have to think about them when you paint. Just like breathing. These exercises are derived from experience, teaching, and mentors. They are aimed at mastering the fundamentals of painting. They form a set of problem solving tools to be used when a painting isn't working.

Shapes - Measure - Value

After Value, I find people struggle with getting the Shapes to be in proportion and in the right location. This really a drawing problem. Here, measuring is a good assist in training the eye. This skill is at the root of drawing. Putting marks in the right place with the right size. Shapes and Value are linked.

The Exercise

Building on the Rx1 remedy, find a simple set of 3 or 4 shapes of different values and unique proportion. In doors use a simple still life set up, not a photo. Out doors, use a simple set of shapes, say field, rock, and sky. Note; photos have incorrect values, colours etc. You have to learn how to use them for reference.

The Site - Choose a Part of It

Look at the shapes through a viewfinder. My viewfinder has marks both up and across dividing the space into quarters.

Viewfinder Set at 9x12 Proportion

This will assist you in finding an interesting simple composition. The proportion will tell you what canvas size to use. Here a 9x12 inch, or an 18x24, or a 12x16 work.

Hold a brush handle or ruler at arms length aiming at the shapes you have identified. Notice the length of the handle that the shape represents. Compare that to the next shape. It might be twice as long as the first shape. We are looking at relative shape sizes.

Brush End Covering Vertical Dimension of Shape

Referring to the viewfinder, the first shape might be one quarter of the height in the viewfinder. The second shape then might be one half the height of the area in the viewfinder. The first shape might start at the base of the are being viewed, and the second shape might begin at the end of the first shape. By this means you can stitch together the shapes being viewed. The same goes for horizontal shape measures and angles.

The Image, Quartered, Shapes Measured

If you mark the canvas or sketch you are going to draw on into quarters, then you can transpose what you have measured onto the drawing of the shapes. Check the measurements to make sure they are relatively correct. Errors generally occur when the arm with the measuring stick (brush or ruler) is not held out straight, locked - in at a constant distance from the eye.

To get to the next step, use a mixed grey to fill in each of the drawn shapes with the right value (as in Rx1). Review Rx1. Remember to squint to see relative value and eliminate detail.

Make as many starts as possible to internalize this skill. After a while you will be able to eliminate many of the steps. Your "seeing eye" will allow this as it develops.

This works well with a small thumbnail of the shapes as in Rx1. Here is a sample.

Thumbnail of Image, Quartered, Shapes as Measured

Practice this exercise without proceeding to a finished painting. The more starts the better.

This exercise will also help with;

Squinting,

Mixing,

Judging relative shape sizes with correct values,

Drawing (thumbnails) - shapes and values

This is the type of thing that should be taught in a continuing painting class. No quick fix, practice, practice, practice. Patience.......

Shooting Snow

2012-01-08T11:23:00.000-05:00

I love painting the snow. Its my favourite subject. And yes, you have to do it outside. The colours are amazing. The "white" blanket makes for all sorts of fabulous compositions a la notan. Your knowledge of values and value preservation will be increased dramatically. Your ability to see will jump as well, especially as it pertains to colour. This effort in conjunction with block studies is paramount. Studies in bold sunlight are easiest, so start there.

Simple Snow Scene

It is easy to see the components of the snow in this scene in brilliant sun light.

1. In Direct Light.

2. Glancing Light/Shadow Warm.

3. Glancing Light/Shadow Cool.

4. Cast Shadow.

5. A Dark, Such as the Ground showing Through the Snow.

Remember, this is a photo. You would see the various primary and secondary colours vibrating if you were on sight. In any event you can see that there are 5 values here. 4 values in the snow alone. So using a cool and warm variation in the same value is a way to preserve values.

2 and 3 are somewhat confusing. These appear very bright. Then you see the sun hitting a surface tilted towards it - true light. So this area is darker than the true light area and must be painted this way. This area has both shadow and true light (at the snow flake level), and reflected light from the sky and surroundings. It is a marbled, vibrating, bright area. Typically (there is no formula...) it consists of all of the primaries - yellow, blue, red. Often there are warm and cool variations of this value.

The direct light is more straight forward. It might be a bit of cadmium yellow with a lot of white to make the lightest value. Or you might use yellow ochre. Or.....

The cast shadow is a cool dark in this example in sun light. It might be a ultramarine and red oxide plus a bit of yellow mixed to the blue side with some white to the right value. Your ability to see will tell you what to use for the specific situation.

The dark showing through might be a warm dark value using ultramarine and red oxide. Again, observation will tell you what to use.

Painting these areas has endless possibilities. For example, mix a dark shadow using the three primaries and a bit of white. Use this in the shadows. Lighten the mixture for the light shadow areas and make a warm and a cold version in the same version. Then shoot reflective cools and warms into the areas on top of the first paint layer. Or, you might first lay down a pink in the right value, and on top add the other primaries in the correct value. All such methods will make the snow vibrate with adjacent colours.

La Cabane a Sucre

Your Job Continued......

2012-01-03T12:10:00.000-05:00

"Up For Second Appeal" was painted with pretty much the full value spectrum (1-10, black to white). The common thought is that the contrast and saturated colours gives the best light effect.

Up For Second Appeal

While saving this painting I moved to lessen the contrast, but I stopped here (above). Had I continued to a high-key painting (alter the concept) with closer values compressed towards the top of the value scale, I might arrive at this....

Second Appeal

Less drama, less colour (light and colour are somewhat mutually exclusive), but more indicative of the effect of light on the subject. This "feels" more like what I saw and experienced (the photo showed a full value spectrum - wrong). But, what does a viewer prefer?

Insight into painting the effect of light (not light itself) comes from studies such as the Henry Hensche Block studies and their derivatives. A number of people teach this colour seeing approach. It is not as easy as it appears, so a longer workshop is appropriate. As you paint en plein air and learn to see, you also become sensitive to the effects of light. The simple block studies however are more effective since they simplify the subject dramatically. In this sense the landscape is the most complex motif and therefore overwhelms painters easily. Try the block studies in sun light to see what I mean.

Your Job...

2011-12-30T15:53:00.000-05:00

"Is to make it a painting" said Gary Spearin. When studying with him you knew you would be taken out of your comfort zone. I was painting a motif that didn't speak to me. Left to my own devices, I would have chosen something else. Almost anything.

Found myself in that blah position Thursday. Fresh snow and all. Gary's words haunted me.

OK, we started in -12C with quite a wind at our backs. We huddled at the base of a little valley where the wind chose to go over top of us. At least in the beginning. The spot offered more shelter than inspiration for me. Sun predicted, heavy overcast delivered.

Peeking Through

Some got settled in and painted.

Almost Balmy

Next day, I began to recover the "effort" with a fresh eye. The usual suspects. I started by scraping the excess paint off. Then I revisited the thumbnail - 3 values. It became obvious that the planes in the scene needed to be re-established. So I started there. First as a thumbnail, then over top of the scraped "painting". All from memory. Dark darks. Mixed.

Kick Start with Darks

The design shapes began to speak to me. What had been a sole vertical without counterbalance started to appeal to me. Gary, you devil! So I emphasized the darks in the design. Then I began to paint. What was my concept?

Show the Planes or Not?

Moving towards the colours from my concept I continued to draw the planes, then cover them up. Their purpose is to indicate depth, so I have to at least hint at them. Find and lose some of their edges. These photos were taken in a studio down town. Poor lighting. I moved towards the colours I wanted and the values in my concept. Strokes either in the sun or the shade. Some more directly catching the light than others.

Up for Second Appeal

I know I have some corrections to make, and I'll make those next time I get on to this one. There are a few things I am not sure about. Snow painting? Maybe after a New Years Eve break.

Have a good and safe one everyone!

Imagineering

2011-12-22T19:39:00.000-05:00

Of the "three horsemen", I do the least work from my imagination. Well, those of you who have painted with me have witnessed all sorts of cut and paste activities in the early design stages. I guess that gives me licence to avoid the pure imagination exercises at least in my mind.

I was looking for my friend's sugar shack references. Couldn't find them in the endless organization that is my cluttered computer. I'll take that over an empty "desk" (empty mind).

So here is the action.

Taken from the Thumbnail

Three values. A few shapes. Snow covered.

Construction Lines, Snow Prism Effects

There are a myriad of colours in the snow. Here I have direct light snow, dominated by two values of shadow with warm and cool variations. Gotta get the values right.

More Corrections to Come

You don't get much of a shadow in a shadow. Written about that before. Part of seeing in the winter.

La Cabane a Sucre, Robert et Claire

More on the New Board

2011-12-17T12:45:00.000-05:00

Rick Taylor wrote suggesting that I use GAC400 as a sealer and then use clear gesso for a painting surface for my wood board experiment. He commented that the clear gesso deposits quite a "tooth". So, into the old inventory I dove. I came up with an old GAC400 and a container of PVA Size. Both unused. A sign of a sinister habit.

Left Board, Right Board

I tried one coat for a seal. The GAC400 made the wood fibres stand up, the PVA not nearly so much. So the PVA Size dried smoother. I labelled the back of each board. By the way I sealed on the reverse to reduce future warpage on the 1/8 baltic birch plywood boards.

The I applied two coats of the clear gesso. It is a milky looking material and it says on the container that it dries "translucent". I sanded a portion of one side of the panels to smooth them out a bit for comparison.

As Dried, Same Light, "Translucent"?

So we headed to the Hockley to test the boards. Of course you have to do that outside!

Easel and Palette in the Shade

I started to lay in the plane constructions in a thin Ultramarine and Transparent red Oxide mixture using a hogs bristle brush. First impressions - Rick is right, the tooth is significant, and the surface sucks the paint in. I normally paint on a fast surface on an oil primed ground. Here the tooth comes from either the canvas or the brush marks from the ground application and the tooth is not scratchy sharp. The experimental arrangement however, played hell on my brushes. But I had to carry out the test to completion.

Some Paint Applied

It sure holds paint. Somewhat like putting pastels on sandpaper. You can no doubt use pastels on this surface. I tended not to go from thin to thick in gradual steps. The thin paint sucks in and doesn't flow as it does on my oil ground. Here I just started to load on the paint. I made a quick second test start.

PVA Size Version

This version also seemed to suck up the paint. Then I wiped it off, and most of it disappeared. So, I am not sure if the size or the GAC400 sealed the wood and the gesso is absorbing the paint or just what is happening. So, I have more experimental design to do.

I started to use gel with the paint to smoothen out the feel of the paint application. It is a saw off. The sanded sections seem pretty much the same.

More Paint

I had a look at the painting this morning. To my surprise, it did not sink in and dull like I anticipated. The thick paint is still thick, and the thin passages are not bad. Please note that I did have 3 coats of paint on the thin areas. Stay tuned on this one.

Rx 1, Value Remedy in Grey

2011-12-13T17:18:00.000-05:00

No workshop or book will instantly turn you into a better painter. No secrets. Only through hours on the brush will you come to see, internalize, and be able to apply these principles. After such practice these concepts will become second nature and you will not have to think about them when you paint. Just like breathing. These exercises come from experience, teaching, and mentors. They are aimed at mastering the fundamentals of painting. They form a set of problem solving tools to be used when a painting isn't working.

Value

I find in my teaching that the ability to get the values of shapes right is often a problem, a lingering one. When a painting of mine is not working I look at value first off. People are fooled by the value of a mass of colour, never mind the basic darkness or lightness of a shape. Get the value right and everything else that follows has a chance of working.

The Exercise

Find a simple set of 3 or 4 shapes of different values. In doors use a still life set up, not a photo. Out doors, use a simple set of shapes, say field, rock, and sky.

Squint at the shapes to determine the relative value of each.

Draw a small thumbnail of the shapes, and shade each at the right value (3 values say - little choice makes it easier). I use the paper for the lightest value. Then I "paint" the darkest shape with my pencil first (darks provide the form). Then paint the mid value shape. No Detail. Squinting helps eliminate that.

Thumbnail - More Complex Than Required

Note: the values are numbered - You can see where this goes...

Go to your painting surface - canvas, board, etc. and using a grey that you mix, do the same as your thumbnail. Concentrate on getting the right values. Paint thin. Check the values. you can use a value scale for this.

3 Values Mixed - Here, Ultramarine and Red Oxide

You will have to make the values correct for the shapes you observe. Any grey you like will do, but mix it. Then you can always get a grey when it is needed.

Looks Like the Thumbnail - Ready to Paint

And here is a reference tool to help calibrate your eye. I don't use this while painting since I have practiced values for a long time. But on occasion.....

Value Scale

The value scale becomes very important as you move into colour. So, learn how to use it. Line the value scale up with the shape you are trying to check. When the match is close, squint. The right match occurs when the scale and the mass fuzz together. That is they appear the same with no difference in value. When you add colour this is critical. Colours are quite often a different value than you think. Trust what you see using the scale.

Practice this exercise without proceeding to a finished painting. The more starts the better. This exercise will also help with;

Squinting,

Mixing,

Judging relative values,

Drawing (thumbnails) - shapes

This is the type of thing that should be taught in a continuing painting class. No quick fix, practice, practice, practice. Patience.......

Wonderland, Or How the Green Went Away

2011-12-09T14:54:00.001-05:00

"Looks good up here, don't know how long it'll last." OK, another hour drive to meet at the bakery. Was it worth while?

Wonderland in Overcast

Everyone was excited. First real snow fall. When I no longer get excited by that, it'll be time to put them in the fire. In unison, "hmmmm, how will I deal with this?"

Back to Back

Well, no more green. So one option might be........

Some Structure

Or, maybe a portrait...........

And Snow On Da Palette

Keep it simple. I chose a scene with three values and masses. Thumbnailed up. "Paint" the thumbnail with a 4b pencil. Put the masses in a pleasing place. Force everything into 3 values. Get the values right. Then relax, and paint. Oh, and snow is never white. Key to getting this painting. Sky warmer than the snow and darker in value - so 4 values. Beautiful.

The Farm with a New Board

2011-12-05T12:00:00.000-05:00

We decided to go out painting at Scotsdale farm for a December 1 outing. The forecast was for sun and 5C. They got the temperature right. I suggested we do a simple painting to focus on shapes and values since it was a grey day. We went to the remains of an old movie set and proceeded to set up for a three value subject with 4 shapes. Boring, but a good exercise. I had prepared another raw birch panel that had been sealed with two coats of clear colourless sealer. I thought the natural wood colour would be interesting to explore.

The Movie Set Shed

From the photo you could argue that there were 4 values. The sky, the dark opening and "shadows", the trees, bushes and ground. I saw a green, red, green, red pattern against the greys of the forest. Squinting, I saw the building and the forest as similar in value, but different in hue and temperature.

The Next Morning.....

A little disappointing in the morning. After being told "its done", I approached the easel to find the paint had disappeared into the thirsty board. In addition, I didn't like the composition. Apparently I need a better preparation for the raw birch. Then there is the decision regarding the painting of the exercise. Work on it or prepare it for the fire?

I oiled it in to get the feeling of the original wet paint on the board. It looked like this.

Oiled In

What to do?

It is not unusual to return from a plein air session and find the work needs more work to get it into shape to meet the requirements of the original concept. Given my original concept of an exercise, I decided to work on other paintings that have a destination. Maybe on a rainy day........

Rx Remedies

2011-11-30T12:26:00.000-05:00

From comments it seems that many readers would appreciate learning about exercises aimed at improving their art. It is one thing to read about it or look at it, but that is very different from doing it. I think I will make some posts on Rx Remedies spaced out between the regular posts. Please feel free to comment comment on this proposal. This is part of the purpose of this blog.

Gray and Simplified

The subject areas come from my experiences and observations in my classes and painting sessions of my own and with others. These Rx Remedies will include exercises aimed at enhancing the core building blocks such as shapes, values, colour, paint quality, and edges. In turn the exercises will also help with subject matter choice and design, and the elevation of the design to an art form. The exercises can be thought of as workshops. Everyone knows that a workshop (say a day) will really only give you one idea, and that the idea will only become yours after you leave the workshop and give it practice. Your paintings will improve as you practice a set of the ideas in such a way as to be able to connect them together. There are no short cuts to this, practice, practice, practice. That is the secret. The Rx Remedies will be spaced out enough to allow for practice. Those looking for instant gratification will probably not participate, preferring facebook instead.

Summer Study

Bright Day Winter Study

I think Harold was right. For a representational painter, landscapes outside, still life, figurative, imagination, inside. Portraiture from life, inside or outside.

Forecasts

2011-11-29T13:55:00.000-05:00

I'm not referring to the financial robber baron forecasts, just the local weather. Both are quite often wrong. OK, most often. The temperature has been unusually warm, so despite the foreboding forecast we headed up to the Hockley Valley. Sunny and warm they promised. "Trust me." Driving north I watched the dawn and saw nothing resembling the sun. Zero degrees said my car. I know I won't get cancelled, we are down to the hardies now.

Wandering the Hockley, hoping that the sun was just a little late, we stumbled on the site of "St. Paddy's Surprise. It was created on March 17, 6 or 7 years ago. There had been a snow storm. Well, this time it was the first ice rink of the season. Careful.

Faceoff, Oil Painter Style

Some interesting possibilites. Tonalism, perspective in several varieties, flattening, high eye level. So why not try a panel sealed but not gessoed and oil primed?

That panel just sucked up the paint like a blotter. Had to use a load of mineral spirits and paint just to get the shapes and values down. Then I looked up.......

Ice Under the Sun

Out he came just as the setup was finished and the notan and first layer was complete. Now, the sun was low, so the sunless and sunny versions had a number of similarities. I chose the in between version. That required some memory and experience. Make it a bit moody I thought. Capture the ice. Plaster the paint on the blotter.

Shapes, Values, Colours Indicated

The blotter slowed the progress. Had to dump a pile of paint on there. Ice in full retreat.

Blotter Finally Covered

Now the temperature went up in the direct sun, but the wind came up and the air temperature was stuck at zero C. All I could think about was "this is going to disappear in the blotter over night. We departed for a coffee and a bite to eat.

The next morning I found the painting still thirsty for paint. So, I sealed it again. This time I used alkyd gel, lots of it. Today I pulled it out dry and began to paint. It was like painting on a thin underpainting with traces of colour. It was dark. I tried to keep some of the passages since they seemed interesting. Built up the paint everywhere else. It will get the finishing touches in the next couple of days.

Oil, Thick, Thin and In Between

2011-11-25T09:08:00.000-05:00

Lately I have been observing people in a class painting en plein air with oil paint. Some people have been painting for a considerable time, some not so much. Aside from the fundamentals, many are experiencing difficulty on their palette. The problem is controlling the amount of paint on their brush. This results in too much paint too soon in the process, or a gooey mess. Some people can work with these conditions, some can't.

Thick and Skipping

Well, this person was not trying to get broken colour. The paint was too thick to manipulate or move around. Dry brush when something else was intended.

The cause - on the palette the painter could not manage to take a sensitive bite of paint from the squeezed out piles to match the medium in the brush. Too much paint, inability to mix the the required tone. Then the squeezed out paint ran out. Interruption and more squeezing out. The other extreme for this person was a load of mineral spirits and a bit of paint for preliminary underpainting, followed by more of each. Both practices progressed to end with too much thin paint that was too wet to work with.

A Start With Thin Paint

Here is a start with lots of mineral spirits in the grey paint. Now, if you can just continue with ever more paint in a slow progression.....

Of course, there are no rules for this. Lots of practice will usually straighten out the problem and result in coping mechanisms that allow for occasional overdoses to be dealt with. You can work with mineral spirits, or paint from the tube, or paint treated with a medium, etc.

Keys for success;

Put out more than enough paint. Use it to get the required viscosity.
Practice taking appropriate amounts of paint to get colour and maintain desired viscosity.
Hold the brush properly to let the paint come off.
Listen and feel the paint coming off the brush.
Practice increasing the viscosity in small amounts for each layer - ie stop using mineral spirits - fat over lean
Experiment with mediums, raw paint, mineral spirits, or combinations.

Keys for Recovery from an overdose;

Scrape off excess with a palette knife.
Remove excess with a rag, paper towel, or finger.
Take a break to let the paint set up.

In less detail this means practice, practice, practice. Or, "go to your room" and paint as Robert Genn says.

Using a Second White

2011-11-20T11:49:00.000-05:00

Recently I have found a second white appearing on my palette. Most of the time I use Titanium White. In the last couple of years I have explored a number of Titanium Whites. I like Gamblin, Rembrandt, and of course Old Holland. For value I have used a lot of LeFranc. During this exploration I also delved into Lead White. I really like it, but I find I don't prefer it in all applications. It is fantastic in places I want a warm white, in impasto, and in places where I want an unpredictable outcome. It tends to come off the brush stringy and wobley. If I whip it, it gets more viscous and ropey. Great under the palette knife.

Titanium Above, Lead Below

OK, it is only a picture, so difficult for you to see the hue difference.

Titanium Under The Brush

Then, carefully trying to do the same with the lead white;

Juicy, Gooey, Lead White

I used LeFranc Titanium White and RGH Lead White. If you want to buy RGH, call them first and order over the phone. Old Holland's Lead is fantastic but expensive. I have been using Flake White Replacement by Gamblin. It has maybe 80% of the properties and none of the lead. Good news for those who like to suck their brush. I have found RGH Extra Fine Lead White and Blue Ridge Flemish White to be interesting as well. Both come out of the tube loose and very smooth. Both whip into a viscous pile for less control or more impasto. Thixotropic me thinks. Store these tubes upside down to eliminate oil separation.

Yesterday I used Lead white and Ultramarine Blue for some sky work (Below). Just mixing on the palette gave me a look that is out of the ordinary. It looked translucent and warmer than the usual and the ropeyness gives almost a two tone effect if applied with that in mind. I usually mix in another pigment but not with this. Its not for everyone.

The Creperie, Pont Audemer

Honfleur With Boudin

2011-11-12T12:20:00.000-05:00

Boudin was born in Honfleur and convinced the young Monet to paint outside. This is one pretty town. She has been painted many times by any number of painters and a few artists. She escaped damage in the second world war.

Honfleur Inner Harbour - Reflections

A few plein air artists set up daily around the harbour. There are so many paintings there, never mind the rest of the town. People watching at its finest.

A Pretty Scene on the Harbour

So, I had to set up. Remember I get an hour, so set up time is critical. And the wind was gusty. I chose a bollard to put the little box on. Just got into the painting and a gust........

Blown Down in Honfleur

By this time I was thinking about modifications to the little box. It wasn't to blame, but a more substantial easel would be welcome except for the weight. One tube of paint was punctured, bummer. I did get a sketch with indications of all the architectural detail at least suggested. I personally don't care for all that clutter, but I find it difficult to get past it quickly, on site, and wanting a memory. To help with that, I use big brushes, a short palette, and a value shape plan from a small thumbnail sketch. This quickens the pace by getting big coverage with each stroke of the big brush, placing the stroke and leaving it alone until treating the edges, and by decreasing the decision time given the few colours to choose from. For the short palette to be an assist, one has to be able to quickly mix the tones required. I practice this in all my plein air work unless I am on a different mission.

How Many Cobbs on a Stalk of Corn

2011-11-04T10:59:00.000-04:00

Lets see the farmer in you. My friend Irish Joe Cleary introduced me to the corn fields years ago while training for a marathon. So, how many cobbs on a stalk of corn? On the corn syrup can there is three. My mother in law, a farmer, says there is way more than three.

An Artist Observes

If you paint you must be a good observer, right? You learn to "see", right. Well, there is ONE cobb of corn on a stalk. Yup, one! Seems like a huge plant for a one tiny cobb. Well, for 15 years it had always been one cobb on my trips into the cornfield. But alas, we found a variety with two on at least a significant proportion of the stalks. We had to come all the way to Giverny to discover this trinket, and no, they have not been pruned back. What's next?

Giverny with Monet

2011-10-28T16:46:00.000-04:00

You can sense the energy. Our day in September was awash with colour in the gardens, a visit in flower high season (May June) must be incredible. We arrived early, but bus loads of mostly Americans were already on site. The grounds are quite large so the crowd at this stage was well dispersed.

A Few Flowers

All ages, sizes, and shapes were viewing the gardens in fall colours.

Start Young

And of course the lilly ponds and Japanese bridge.

Caption Required

We left Monet's grounds for a stroll through the village. It is beautiful and quaint. Could paint here for some time. It began to rain and I was getting itchy to paint, so.....

Hotel Musardiere Window with the Little Box

And voila, we gets..........

And the Sun Shone on Cue

Rain Day Strategies

2011-10-17T10:08:00.000-04:00

Mid October and the class actually showed up. Sun was the forecast. I never believe forecasts. However, it started that way.

Sunny for Now

By the time I set up in the sun to keep everyone warm (9C), gave my handouts, got the experienced ones going, and began to demo, a fine mist started to come down. That turned to a drizzle as I showed a 4 shape mass-in. Getting the values correct turned out to be a demonstration in painting oil in the rain. An interesting skill by itself. And ditto for the coming snow.

Rain Bound Subject

I had talked about the difference between a sunny day producing shadows, and a heavy overcast day showing local colour and tone. This strategy was chosen while listening to the forecast. Contrarian. Handouts covered to two situations.

A quick discussion about painting in the rain, and everyone scattered.

Dry, Not Warm and Cozy

A watercolourist insisted on bathing paintings in the downpour. Heavy recovery required. To my amazement everyone painted on. Most were disappointed in the lack of colour. The days of rain and wind had cleaned off a significant portion of the leaves. I told them this was a good opportunity to paint the colour. They didn't believe me. Then as they settled in and started to see.......

Little Gem

A breakthrough work using a palette knife worked on this.

And the Rain Continued

Meanwhile, my setup showing local tone dripped and my paint box filled with water. These close up positions help seeing the local tone by cutting down on the veil of rain. But it is difficult seeing the masses for the uninitiated. They did quite well in tough conditions in Belfountain. Not to be forgotten.

Etretat and the Elephant

2011-10-13T16:39:00.000-04:00

This beach town in Normandie was chosen by Monet for several painting campaigns. It was fortified by the Germans in World War II. The town has the spots where Monet painted marked with small memorials. It was interesting to experience the energy, painting at the same spot. The "elephant" almost took Monet's life on a painting outing.

Looking West

This was our only overcast day during the entire trip.

Looking East

It is interesting to look at Monet's paintings as he developed his eye and his style. he began with the subject being important and tight brushwork with local colour. In his later work the light was the subject and his brushwork was enlivened and energetic. He wasn't too interested in the subject. The light effect on the colours interested him and his eye developed so he could see.

Monet's Painting Spot

I couldn't help but wonder how much has changed since Monet's time. My wife commented that she could understand why the Impressionists went high key given the luminous quality of the light. Boudin got Monet out painting in it.

Montmarte and the Artists

2011-10-09T11:30:00.000-04:00

You just have to visit Montmarte when in Paris. The community is built on the highest hill in Paris. About 400 feet of elevation. The famous Sacre Coeur church dominates the skyline in its beauty. The streets leading from the church are narrow and winding. They all lead to the square where all the artists paint or seek portrait commissions. There must have been 50+ wandering looking for someone to sketch on their pads. Ensconced around the perimeter of the square are the painters, more than 100 of them. They are in the same spot where we saw them last visit. Tourists mingle everywhere. (Just put up with it and enjoy)

The Square

The French easel dominates. Many are half easels. They multi task as easel, store front, storage, restaurant outer wall, and protection from the crowds.

Back to the Crowd

"Watch me paint". Look at this palette! Whatever works. And the colours are clean. A preponderance of palette knives.

Back to the Restaurant

Monsieur Walles faces the crowd as if to say "look at my work, I'm back here painting." This is classic knife painting. He was shown around the world but now prefers to do his thing at home in Montmarte. We bought one of his paintings. He uses a half easel, morphed as you can see. Another beautiful palette. Arm motion. His brush work is also exquisite.

Restaurant Wall

It would be like eating in an artist's atelier. I saw nothing resembling a new easel. It was a study in repairs, patina, and modifications. Lots of paint indicating the miles of canvas covered.

Store Front

It is buyer beware. A few pretty good, many not so much. Seems to be room for all. After lunch at the square watching the show, we wandered down hill on a self conducted walking tour. You can see where the likes of Renior, Monet, Van Gough, "Too Loose" Lautrec and the the rest once did their trip. Its changed but somehow that energy remains.

Half Way Down

Review and Catch Up

2011-10-04T09:09:00.000-04:00

Ok, so the internet system I am using was not to be transmitted from France. Naturally I didn't bring along pass words etc to send from the server. Oh well, it was a fantastic trip. Hot and sunny every day but one. Cool nights - a must for me.

We visited Paris, then Giverny, then Normandie, and then a few more days in Paris.

For what it is, the little box worked well. However, a return to a supported easel where arms length brushing can be used, was a welcome home.

After a nap, I got down to the Seine for a short sketch. The idea was to spend an hour a sketch. Keep the peace. Get something that can be finished later.

Pont des Invalides

Here I have the box set up on a wall. Not too bad. The round surface gives a bit of instability, so I used one hand to secure both the box and the painting. Usually that other hand hold brushes and a paper towel used to wipe the brush. This keeps me in close to the painting. Something I try to avoid. You can't see it here but I carried 3 brushes (4, 6 and 10 flats) and 7 tubes of paint (White, Ultramarine Blue, Lemon Yellow, Alizarin, Viridian, Yellow Ochre, Red Oxide). Most of the time I did not squeeze all of them out. Helps with the time constraint. Sold this painting wet on the spot. A lot of people traffic. How did they manage a wet one? This painting was an 8x10 on linen on board. I did others on loose oil primed lined in 11x14 format. These worked well. The boards are too heavy if you are travelling light.

We stayed in a French area on the Left Bank. So we made a picnic and walked in the city of light.

Glitter and Glow

Leaving on a Jet Plane

2011-09-12T16:11:00.000-04:00

Final practice yesterday for the tiny pochade. Painted again from a post top. The new elastic held canvas elevator works well. Less of a paint covered thumb, and I can get to the bottom of the canvas much easier.

Tilt - almost a studio

This was almost too easy. It is what it is. Here I did a 10x12, the largest I plan on going in France. I have 9 8x10 linen panels, and 10 9x12 linen pieces in a pad. Still lots of room. Maybe I should take a clean pair of socks. Good painting rags.

Just before packing a few minutes ago, I printed off boarding passes. A warning caught my eye. Under "restricted material", paint caught my eye. I called Air Canada. As you would expect, I got caught in the "press 1 for" merry go round. Never did talk to a person. They are hiding. I did get it from a "reliable source" however, that oil and acrylic artist paint tubes are allowed in the check in baggage. They must be in an absorbant material and inside a leak proof container. Large zip lock bags work well. So we are ready to go. The chauffeur (my daughter) just blew in the door. So here we go. I'll let you know what we forgot. We travel light with a back pack.

Later in the Test

I am deploying the concepts I have been developing in my townscape series here in the landscape. Not too evident yet in this one.

Distilled - in process

I plan on using the approach in Paris and Normandy. Stay tuned.

Those Fall Colours

2011-09-07T18:13:00.000-04:00

They can make a riot in Red or Yellow. How can you treat them in an image?

Here is an example of what one might see. Even this is only a snippit of the whole view seen by your eye and registered by your brain. So this scene is a bit out of context standing alone in a frame.

Hockley Valley

You might choose to paint this image.

Colour WOW

This IS eye catching. It is further out of context. Even Abstract. How to paint it? Should you paint it? This is truly only a snippit. Alone this image doesn't read easily. There is little to compare it to. There is little structure. It yells at you - non stop. Almost only one shape in the form of an uninteresting rectangle. If you were painting abstract..... maybe.

Over time, many artists have found the fall colours are better expressed at a time past the peak, when the structure is more evident and there are interesting shapes, greys and complementery colours setting it off. These elements give rise to unique and different shapes in other than a loud monocolour.

From later in the season,

Bushwork, 12x12, Oil on Canvas

Or maybe this, from the Hockley Valley scene above. More structure is shown along with some complementary colours - violets and greens. Most of the colours have been reduced in chroma.

Beautiful Today, 20x24, Oil on Canvas

Colour Harmony

2011-09-06T15:24:00.000-04:00

Out there yesterday it was obvious how much the colours have changed. The mustard yellow of the rag weed is overpowering in some patches. The soy beans are into the second stage yellows, soon to be oranges and russets. So you know the fall colours are arriving over the next 6 weeks or so.

Stewart's Hangout, 11x14, Oil on Canvas

Out of the green dominance will come a multicolour plate. How to obtain colour harmony? Here I'll talk painting from life representationally where colour harmony arises from the qualities in light. Harmony in what we might invent follow from this observation. It seems Nature is the teacher. You can make colour temperature reversals if and when they look convincing. Observing life will show you where they actually occur.

It is easy to mess up colour harmony by using formulas. For example, some premix a single (prevailing) colour into every colour on the palette. Worse yet is mixing that colour into white. However, true harmony requires different amounts of the prevailing colour for each and every mixture to be used, and there is no way to predict this. Take an early morning warm light versus the light later in the morning. Or a north light versus a south light on an overcast day.

To help you see these in life it is a good idea to mix colour charts. These little gems are done for each colour on your palette showing them in combination with each other colour in 5 values. Maybe a bit repetitive, but challenging and central to knowing your palette colours.

Cad Yellow Light

Ultramarine Blue

The colour in these photos is off. Apologies. Each chart is for one colour. It is mixed in a column with each of the colours on your palette. The colour for the chart dominates - so each mixture leans towards that colour. For example, the first chart is for Cadmium Yellow light. The first column is that colour by itself then mixed with white in equal steps to almost white at the bottom. On the first chart, the last column consists of Cadmium Yellow Light plus Ultramarine - leaning towards the yellow, then mixed in lighter values to near white. In between these two columns lie columns for each colour on your palette mixed with Cadmium Yellow Light.

If I was wandering what colours are in the general family as I stood there doing the painting above, I would see that these two families fit pretty well. I could use a few outliers and get away with them, but as it happens, I stayed pretty much within these charts.

With experience painting from life, and having done the colour scales (just like a musician) I tend to see most of the colour possibilities without using the charts. But, when I have to, or when I need a tune up.......

Getting Ready for France

2011-09-02T21:24:00.000-04:00

All that plein air stuff just has to get simplified for a long trip full of walking. To that end I built a small box. But, you have to get used to the minimalist approach. My first practice session was yesterday at Scotsdale farm.

On a Fence Post

No tripod. Too heavy and bulky.

All in One

Holds a lot. 3 brushes, #4, #6, #8. Medium cup. 11 small tubes shown here. A palette, removable. 2 wet or dry 8x10 boards. I am using oil primed linen boards. I also will paint on 11x14 loose oil primed linen that I clip to a board.

Nearly Packed Up

Since this is small I can walk about with it in a small day pack.

Handy

In the past I have painted with the box on my lap, on a garbage can, on a stone wall, on a pick nick table etc. It is best to practice. The fence post painting was not a real problem once I got going. I got used to painting without a free hand. Lots of paint on me, but that will get better as I gain experience. Hopefully twice more before I head to France.

The light was flat from the overcast condition at Scotsdale. A good way to practice a local tone painting - no shadows or hi lites, just the local tones/colour and value, at least three tones, interesting unique shapes.

Breaking Out, 8x10, Oil on Board

Looks a bit bright and chromatic here. Less in reality. The colours are changing. Fall is well in the way. Green still dominates.

Plein Air Truths from Observation

2011-08-29T11:17:00.000-04:00

My first paintings were done outside. At the time I had no idea why. The painter who got me into painting was trained that way so that is what I did too. Now I understand some of the reasoning and I feel that I have to paint en plein air for regular tune ups at least weekly, rain, snow, wind, and sun. It is like getting regular exercise so your body is fresh, strong, and supple for other activities.

Here are some of the truths gained by observations while painting in the great out door studio.

1. Mother Nature designs in irregular patterns, lines, light and dark patterns, and shapes. This is contrary to man who lays tile and bricks and everything else in regular symmetrical patterns. Boring.

2. Studying colour outside will show you how they work together. You have to learn to see what is actually there, not what you think is there.

3. There is lots of "stuff" there. Can be overwhelming. Cannot be copied. One must learn to simplify and design for interest. Each line and shape that makes its way into the drawing must be interesting before the painting begins. If not, its too late.

4. There is a lot of blue in the distance.

5. Yellow fades out quickly as you look into distance. Darks are often darkest in mid distance. Look at the value patches across a road as the road moves away from you.

6. Facing the sun, or otherwise keeping the palette, your eyes and the painting surface in the shade helps with keeping the darkest darks not too dark. Wear a brimmed cap to help. There is a lot that can be expressed in the shadows.

7. Your setup must be comfortable for you. Sitting, standing.......

8. A finished painting is not the usual en plein air. You should get a design (installed not observed), shapes, lines, colour notes including temperature, values, edges, and paint quality. At least indications of these. This information can then be used in the studio to finish.

9. Although you may not get a finished painting, you will get training regarding design, shapes, values, and colours. Work at it and you will learn to "see".

10. Reserve darks, lights, and chroma. This will allow for a few finishing strokes that make the painting come alive.

11. Make every piece of your gear count. Brushes, paint, easel, canvas, sun protection, drinking water.......... Some of my favourites are an egg timer, camera, peaked hat, coffee mug.

12. See the red in those greens. Modify.

Yesterday we came upon this birch in its surrounding. Can an interesting composition be made for it?

Grey Sky, Courtesy of Irene

Glen Williams Assault

2011-08-26T16:48:00.000-04:00

It was almost a men's day, but we were saved at the last minute as Carol joined us. A superb summer day in the beginning. We met at the Williams mill and spread out, some painting side by each.

Rod and Vic doing the book shop

The complex of odd angled structures that include a lawyer and book store caught a lot of attention. The shapes were intriguing. If you get the value of them well and put them in a decent composition you are half way to a good painting.

Dick minding Daisy while painting the book store - seen across the street

Interesting that we talked about shape and value while relaxing into a start. As for me, I decided that the shade was inviting near the book store that the others were painting. I set up and painted back at them, doing the Glen Oven and waiting for it to open for a mid morning coffee. Before I got far into my painting Dick ran across the street and asked a lady to move her car from the front of the book store - he was doing an architectural painting.

Basic Lay-in

Well, I guess the concept was OK. I proceeded to refine the drawing while doing the tones/values. The further I went the more trouble I encountered. I had demolished the values - we had just been talking about that. Maybe the discussion confused my brain. Then I put down tones that made it worse.

Long Road to Correction

Stepping back I noticed that the painting was nearly cut in half. Top to Bottom and left to right. At least I knew what was wrong so I could set out to modify in the studio. The trip for coffee and back to the studio gave me a rest. So, I worked on the original concept, using the thumbnail and the palette knife. Scraping it off can be a painting technique - or an erasure. I got it to where I originally aimed to get it on site.

The Glen Oven - Ready to Finish

Genn's Lessons

2011-08-14T17:41:00.000-04:00

I have been reading the Robert Genn newsletters for more than 10 years, almost from inception. Not only is he a successful painter but he is extremely active in the art world (and elsewhere). He helps anyone interested in art through his sharing of his process, philosophy, and humour, and he does occasional workshops.

One of his readers shared the ten most important things she learned during a recent work shop.

"Here are my top ten things that I learned at Hollyhock";

10. Look three times. Think twice. Paint once. No Licking...

9. Humming like a bee is cool. Visual and auditory mix....

8. Load your brush. Paint like a millionaire....

7. Veggies make me feel good. Stay mindful and relax....

6. Life is a gift. Art is a gift. Be grateful. Buddah says....

5. Blue glazes. Unifying colour....

4. Stop apologizing. No guilt required....

3. Fathers and daughters can be pals. Really....

2. The greatest gift you can give to the world is to be your most awesome self.

1. Go to your room.

I remember the first time I came across "Go to your room" from Robert. It basically sums up what has to be done to advance your craft. This was later supported by Malcolm Gladwell's "Outliers". In that tomb Gladwell expands the activity in the room to include a learning feedback loop, else you do the same old thing and get what you always got. Another respected artist who actually knows art could fill this role nicely.

From the teaching I have done, this advice fills the largest need.

Paint on.

Too Much On? Scrape it Off!

Problem Solving Check List

2011-08-12T16:13:00.000-04:00

Here is a short list of aids for making a problem tangible. I am sure we can add to this without boundaries.

Careless drawing - not measuring, no idea of perspective

Wrong shapes

Too many sharp edges

Painting what you think you see, not what is there

Too many values

Wrong values

Jumping from concept to concept

Incorrect temperature changes

Too little paint

In a hurry - finish before starting

Overworking

Working from photos, in the context of concept

Poor working light

Failure to squint for edges and values

Too many hilites

Garish colour

Wrong colour

Improper paint quality - thick, thin, texture

Aimless brush strokes - licking

Glare on canvas

Copying

Shadows off value

Today I had a hard time mixing colours. Just me. I could see what I wanted to do. Maybe my blood pressure was up. Tomorrow is another day.

Gairloch's Monet, 16x20, Oil on Canvas

Problem Solving - Making It Work

2011-08-08T10:52:00.000-04:00

Why isn't this working? Have you ever asked yourself this question? Or, has someone (wife, mentor, observer, respected artist........) told you that your effort isn't working?

Row on Row, a Beginning

Just what does it mean? It means that things on your canvas do not look like they were intended to look like. Your concept is not being rendered.

When you place strokes on your canvas that bothers you or doesn't look true, do not leave it and go on elsewhere. Sometimes these elements are difficult to identify, poor drawing, colour that doesn't belong, shapes that are off, values wrong and so forth. These will haunt you until they are made right. This is because all the elements in your image are interrelated. If you go back to correct later you often end up with so much to do that you don't bother "I had fun, but I'll have to see if I can save it in the studio". If everything is off, where do you start to bring it together?

How do these train wrecks happen? Usually there is no clear concept, or the concept changes continually. I find that many people are impatient and try to finish before starting or going through the one stroke at a time process. No measuring, avoiding drawing, not seeing but rendering what you think you see.

So, when things do go wrong don't give up, don't put it away so it will paint itself, don't dab at random, don't fake it, don't twist the painting to fit the problem. Instead go through the process of elimination. You must make the problem tangible. The opposite of "it doesn't work". Your problem (not the painting's, the circumstance's, or the subject's) can only have problems in value, shape or drawing, colour, paint quality, or edges. So which one is it? By elimination it might be a value problem. If you have, or establish, one correct value you can compare the others and make the correction.

Rockwood Early, 10x12, Oil on Linen on Board

Sometimes it is more difficult and a set of interrelated problems exist. For example colour passages often have a value error embedded. or a drawing problem often has edge problems. No matter, the process of elimination and comparison is the best way I know to straighten out an image.

I'll follow this with a check list to assist in the process of elimination.

Modern Art Concepts

2011-08-01T17:49:00.000-04:00

A friend of mine has been taking the elements of modern painting and applying them to portraiture, figure painting, and the landscape. He was trained in New York City by a Hans Hofman disciple. In his early painting career my friend was a minimalist abstract painter. Here is a painting done in 2011.

Rosedale Valley, Ross Skoggard 2011

This is quite a way from traditional painting. I came from a traditional painting beginning. Here is a recent painting of mine in which I am playing with modern painting techniques.

Captain Brock's New House, 16x20, Oil on Canvas

It seems Ross and I are coming from polar opposites towards some middle ground. My non art school approach has been one of ceaseless experimentation, some art history reading, and time on the easel. It seems that Hans Hofman's modern concepts originated to some degree from Paul Cezanne by way of Monet and the impressionists. These artists were concerned not with pure realism but rather making their own statement about the art they created. For example, Monet was concerned with the effects of light from specific sources at specific times, not with the object itself. The concept is oriented towards creativity as opposed to pure likeness.

See if you can spot some of these elements as used in the above paintings. Look for;

Line - the use of line to show planes, define positions in space, draw attention etc.

Planes - the use of drawn planes to show depth, to attach colour changes, stacking to indicate depth.

Distortion - the changes to shapes to activate them, flatten the picture plane, or show another view point.

Visible Brush Strokes - used for emphasis or expression, unfinished to make sure the observer knows she is seeing a painting.

Paint Quality - flat painted shapes, or impasto, or modulated strokes and colours, or edges that are poorly defined (for example, a tree just stuck in the ground as opposed to appearing to grow out of the ground.

Colour - Apply a colour change where there is a plane change, indicate depth or form, add expression and life instead of employing greys .

Flattening - to shorten the picture box (a landscape into a still life for example), keep the eye inside the painting (instead of falling out of deep holes), to stay in concert with the tow dimensional canvas.

Here is a Cezanne for your reference.

A Mont St. Victoire, Paul Cezanne

Other Ways to Achieve Depth (Perspective)

2011-07-29T12:16:00.000-04:00

A number of artists have added "tools" to their depth creating efforts. These include Giorgione, Titian, Monet, Cezanne, Hawthorne, Hensche, and Payne.

According to Hawthorne and Hensche, Monet found that every plane change has an associated colour change. They modelled depth using colour instead of drawing type value change. This suited Monet who was primarily interested in light effects on colour.

Cezanne eventually developed a system that included the picture plane as part of the structure of the painting. He created depth by employing visible lines (including outlines) and overlapping planes. He often painted over these lines. These planes were not required to diminish in size according to scientific perspective. Here are a few examples.

Movement into Depth

No Outlines - Movement into Depth

Linear Perspective

Here the eye is lead into deep space where it drops out of the picture. Cezanne wished to control this or eliminate it. This is standard perspective. He did a number of things to avoid this. We can discuss this later. Meanwhile, one can apply these ideas to all genres including the landscape.

Similar Values

Here we have a "tree" in front of some overlapping "rocks". Substitute what you like for these elements. The colour temperature of the other shapes indicate depth without greying or value change. No question there is depth, and the eye doesn't drop off the back. The image is flatteded and is in concert with the 2D picture plane. These concepts had many implications in modern art, all espoused by Hans Hoffman and employed by Picasso and Matisse et al. Variations on a theme. Individual tools for the kit box to be used as deemed fit. These are not either or, they can be mixed and matched.

Tree with Rocks in a Stream Bed

Here the planes are tilted on their sides as if looking at a slip shod set of patio stones. Dynamic. Notice the planes used in the first examples. They are drawn by hand. Much more interesting than those done by ruler. Just like nature!

Cropping, Portraits, and In the Landscape

2011-07-24T14:13:00.000-04:00

Out at Scotsdale Farm last week, Terry moaned about her penchant for "going big" with her subject matter. She thought that my approach was more artistic. Not necessarily. She is essentially painting a portrait. Here is a sample of her house portrait. Nice light.

Bennett's Hang Out

This pretty much shows the house full frame. If that is your concept, paint it. Make it interesting. Nothing wrong with that.

Here is a different concept. The point of interest was just a part of the building. So the area was cropped to help focus on that.

In Red Oxide

The monochromatic was also part of the concept to learn about the use of grey.

Here is the concept of putting a subject (buildings in this case) in the landscape. The interest is in the lay of the land or the context of the subject.

Servant's Quarters

None of these is right or wrong. Terry has decided to try all three concepts in a series of paintings. A great way to learn and develop.

The Hay Bales Part III

2011-07-21T12:48:00.000-04:00

It is quite astonishing how the light and colour change throughout the day. Morning light changes quickly until mid morning. The prevailing colour tends to be yellowish. From then through mid afternoon the rate of change slows, the shadows are close to under the object, the hilites are on the top of objects somewhat bleached out by the sun. As the day progresses, the rate of change increases, the prevailing colour goes towards orange, the shadows elongate, the hilites are on the sides of objects perpendicular to the light source.

Late Day Hayfield

This version shows some of what I would expect on a sunny day in the evening. The arrow shows the light direction. The shadows would be quite long this late in the day and they would be consistently in the same direction. The shadows would be cool. The area at 7 would have some warm areas affected by the orange late day sun. Sometimes this is red depending on the atmosphere. That area would still be dark on average with cool shadows cast (to emphasize this you could indicate some trees to provide structure). The yellow would disappear from the depth but the depth would be lighter. The tree line in the rear would be lighter, greyer, with some warmth (cooler than the foreground) from the sun. The green shadow (balancing the image) in the right foreground will remain cool and get lighter as it recedes. The sky often displays a gradation in value and colour. Lighter and warmer towards the source of light.

"I have worked on my painting and now it looks like this. It is so hard to remember all these things. Thanks for the help. I know I have more to do, but even my husband likes it!"

Monica's Backyard

I showed it to Karen. "I like it!" "Do you like it better than the original you said you liked?" "OK, I get it, I see why I like the new version. I understand why getting better means that people will see and appreciate the quality. Still, I see why Harold is right. People will still buy anything if there is nothing to compare to."

Evening Hay Bales - Part II

2011-07-19T11:47:00.001-04:00

"I see, I've changed some bale sizes based on the linear perspective. What about the values and shapes?" I sent her the following;

"Here is your painting with the values you chose for various shapes. Darks will be darkest up close, yellows disappear quickly in depth as does the value. Remember there are other ways to skin the cat. I assume you are learning how to create from what you see. IE, learning how to see."

Hayfield Value Pattern

I checked the values with my value scale choosing the average value for the major shapes. This composition is simplified with respect to the number of shapes. That is easier to deal with and to paint when you have little time. This value scale has the lightest at 0 and the darkest at 10. You generally reserve the lightest and darkest values in case they are needed at the end.

"I see I have some value work to do."

"So, late afternoon. Then shadows should be consistent, hilites consistent, values correct. Then colour, edges etc. As a generality, sky lightest, tree line darkest (vertical), flat area second lightest. Late day sun usually orange like, so tree line would not be cool since this is in the sun. Cool shadows within of course."

"How did you know this? You have only seen the painting."

"I have been out in such conditions many times so it is in my observation memory bank."

"I guess I am still not seeing but painting what I think."

"Here is a thumbnail I did in a couple of minutes based on your painting and my memory bank."

Thumbnail - plan, think, speed

The thumbnail is the end product of the concept development. It is the thinking part. It shows shapes, values, composition, light direction, colour and various notes. Here it suggests paint stroke direction and inferred lines for the undulations in the field. This takes little time. It facilitates staying on concept and speed. Essential when the time is compressed.

Next, light direction, colour temperature, shadow pattern, hi lites and accents.

The Case of the Evening Hay Bales

2011-07-17T15:54:00.000-04:00

"The neighbour rolled his hay this afternoon. I just had to get out there and paint them last night. I didn't have much time. The sun was going down."

Hayfield 1 As Done

" I really like it" exclaimed my good wife. Well, that brought back an echo from Harold. "People buy any kind of crap". I passed that echo on to my wife who said, "I just like it". "What is it you like about it" I asked? "I like the colours". Aha! So, in this case maybe the vibrant colours covered up the rest of the painting's attributes.

We had been talking about the eye level and its use in representational painting. More specifically, we were talking about evolving as a painter who is learning to Paint (more or less) what you see. (It is important to understand context in your development. After all there are no absolute rights or wrongs.)

Here is the first email response to Monica.

"Here are a few images showing the eye level and the lines used to size the hay bales. You should have this my measuring during observation.

"The last image shows the distance from the viewer and thus the sizes for that distance. Let me know if this makes sense to you please.

Of course in nature the sizes do have some variation - makes it more interesting, but not THIS much. Makes the painting look like the painter didn't know or observe."

Hayfield 1 Eye Level

The eye level was shown according to what the painting image told me. Monica confirmed. There was a dip in the field putting the bales below the eye line. That will affect how the bales are drawn.

Hayfield 1 Simplified Linear Perspective Lines with Distance Planes

This diagram shows the distance of various bales from the observer.

Next issue concerns "Values".

A Little More on Linear Perspective

2011-07-13T12:10:00.000-04:00

I have had several questions concerning the eye level. "I don't get it, there is no perspective in the painting, etc." "What do you mean "structure"?" "In the sky, the forest, the water?" "Drawing, I thought you didn't need that to paint landscapes."

Eye Level Indicated

This is the beginning of a scene on the water. If you observe water you will find it is always seeking to level itself and find the lowest level possible. Gravity. So here I have just indicated my eye level in thin paint. It will disappear as I go, not to be part of the finished painting. I placed the eye level above the middle of the canvas. This was done to support the concept I had, not to follow some rule.

Darks of Features Added

You will notice that the eye level is above the shore line. It will become obvious that shoreline features will run above and below the eye level. Water (unless we are looking at a falls or a tidal wave) can't get above the eye level. Here the eye level is at the base of a large hill. If this were a lake in a flat desert the eye level would coincide with the horizon. But here you can't see the horizon.

Features Added along with Shapes

You will see here that a shape on the right side has been indicated - closer to the viewer. The hill value is beginning to be loosely brushed in and a start for the water and its reflections are beginning. Note that water and reflection. It is not the right value or colour at this moment. However, it already appears different from the background. I have already begun to indicate the linear perspective lines in the ripples in the reflections. Here it is a reminder to me. I showed it in my thumbnail when composing the shapes and values and locating the eye level on the canvas. So I am using the eye line to guide the placement of these little indicators. They go to the far shore and thus behind the shape (island) to the right. In fact, the water also goes back beyond the shore line where there is a small bay behind a rock. That small bay cannot have a water level above the eye level - or the drawing will not look right. A discerning viewer will spot this immediately.

Coming Along

At this stage the little indications have disappeared having served their purpose. It is not so obvious in this painting but there are linear perspective lines in the forest as well. For this type of painting, the largest trees will be in front closer to you.

Now, having said all of this, there are many ways to skin the cat. I'll talk about some of these later on.

Lower Lookout, 10x12, Oil on Canvas

Fixes on the Fly

2011-07-10T13:52:00.000-04:00

This time we hiked into the interior of Rockwood Park. OK, so it is a small park. Bobby's knees are past warranty. Remember everything you need. No second tripping to the car. We found a spot and began to set up.

Bobby's Ready.....

Shade, a bit of a breeze. Beauty all around. Then Bobby brought out his vice grips from a 15 pound bag of tools he had lugged in. "What are those for?" "I use 'em to tighten up my tripod. All the nuts and knobs have disintegrated." "What is that easel made of?" "It's plastic. So light its incredible." "But you need a set of tools for it." At that instant, down she went. The whole kit and kabootle.

No Hands to Paint With......

~>"**^j#@! "I'll have to go back to the car for my French easel." "You'll never make it back. That thing weighs a ton. I'd have to send out a search party for you." "Well, I can't paint like this." "Hold on, let's see what we've got. What's this?" "Its just a strap I use to tie the tripod in this bag." "Since you have the pochade box fastened to the tripod, maybe we can jury rig a tie down for it". "I think you're right. Its just the swivel I can't tighten. If we can get a good knot here............." "You're in business. Just clean up that mess and you're off........."

First We Paints Ourselves................

Settling down we both got relaxed and started painting the island scene before us. Side by each we painted our versions.

Bobby Small Brushin' In the Sun

By this time the sun had moved creating different light and colour. Bobby got a little fried in his determination to get on with it. We packed it in to finish in the studio. Bobby was off to by a real tripod.

The Eye Line, An Assist to Drawing

2011-07-06T11:24:00.000-04:00

We were out painting the other day with a few other painters, one of whom was new to it. She asked about perspective. I summoned Vic to do his atelier thing. Everyone gathered round. He explained that he starts his paintings by indicating where the eye line is. The questions came. "Is that the horizon?" The response, "It could be". Questions ??? "Could be?" Response, "If the land is flat, as in the desert of on a large body of water". Question, "Isn't it where you are looking?" Answer, "No, it is your look ahead eye line". "Your eye line could be at the base of a hill or mountain, or looking off over something in a valley."

Here is an example.

Barn From the Road

Here the eye line indicated is below the foundation of the barn. I was standing on the road. The barn was on the top of a small hill.

Vic continued to demonstrate that the linear perspective lines always go down (or up, depending on where the eye line is) to the eye line.

Linear Perspective Lines Indicated

Here the linear perspective lines are shown as they approach the eye line. The point at which they meet the eye line in this case is off the page. Note that the two perspective lines to the left would meet the eye line at the same spot.

In this painting I was playing with the structure, distorting it on purpose to make a picture more interesting. But, I still have to understand the principles to make it believable as opposed to a comic. In many paintings the perspectives lines are not so obvious.

Alton Shed

Vic proceeded to say that there is perspective involved pretty much everywhere. In the clouds, roads, fields and so forth. "Why didn't anyone teach me this in art school?" Who knows. It can be used in abstracts as a method of indicating depth, even when flattening the picture plane. You don't have to be formal about it. Merely indicate it.

Our beginner than ran off the evaluate the juried art show next to the coffee shop. Running back she exclaimed "every painting in the show has major errors, come look, tell me if I get it." She got it. Everyone began to understand why some of their paintings lacked structure and why their drawing looked unbelievable. Now to practice.....

Early Greens Surrender

2011-07-02T18:29:00.000-04:00

Here it is just past the first day of summer. Look what I saw on that longest day.

First Cut, Late

So I looked around and....

Rafting on the Credit

Look how the oranges have crept in. Still surrounded by green but the better days are coming fast as the sun burns out the spring green and the days begin their shortening towards that great painting season (afraid to say it yet).

Here is one that is a great challenge. You just can't do this from a photo. You have to be out there with the bees and yellow jackets a buzzin'. Try it, share it.

Canola

It's not easy being green. Not to worry. Now you can avoid it or choose to learn how to deal with it without moving to the seaside. Along the country roads everything is going to seed. But still everything is dominated by green and will be for 10 weeks or so. Paint on.

More on the Big Brush

2011-06-28T23:22:00.000-04:00

I should have added a few other things about the big brush. My mentor was taught by Harold Boyes of Montreal. One of Harold's mantras was the use of a big brush. As big as you can stand then add a size. I didn't understand what he was trying to say for the longest time. He pointed out that there is six sides to a brush. So you have a myriad of painting surfaces. Oh, and by the way, a well maintained good brush has a razor sharp edge to it. You can do fine work with it if you train to do it.

To begin with, a big brush keeps you from starting at the finishing end. When I teach, this is one of the problems students have. No patience. Get to the end. Start with details. What's the secret? This in turn helps you stay focused on the concept.

Books and Lawyers Start

If you practice you will find that you can do just about everything with the big brush. More important, you will develop a fine appreciation for brush pressure, for the feel of the paint, for laying wet paint on top of wet paint. for glazing wet over wet. Yes, glazing wet over wet. This all supports doing work in one sitting. Alla Prima. And yet taking your time. Wasting few brush strokes.

Books and Lawyers - wet wash, wet shapes indicated

Using the large brush details are laid in either as small pieces of paint, as strokes over parts of underpaint revealing small pieces of paint, or just inferred - brush touches that make the viewer believe detail is there. After all, a viewer does not need to see detail, her eye will fill it in as required. That makes the painting forever interesting.

Books and Lawyers - en plein air

This can be taken as far as the concept requires.

Books and Lawyers - finished in the studio

This might be more interesting less finished.

Why Alla Prima?

2011-06-27T18:06:00.000-04:00

I prefer alla prima or direct painting for a number of reasons. Basically alla prima means a painting done in one sitting. No, it's not the only way, or the best way, or anything else. I just prefer it, but I don't always practice it.

First of all, I enjoy working wet in wet, and I have devised a number of strategies to paint that way even after the painting has rested for a while and gone dry (Oiling in for example). Secondly, I find the immediacy or freshness is best achieved that way. Thirdly, the day changes and tomorrow will not be the same as today. In fact I'll be a different person tomorrow. Then again, I'll still be the same tomorrow as well. Finally, alla prima is also appropriate for using modern elements for painting - visible brush strokes, use of line, flattened image with simultaneous application of non perspective methods to obtain depth, no corrections, subordination through the use of loose un-modelled elements, colour changes for plane changes etc.

Across It (The Credit), 16x20, Oil on Canvas

Working this way I have found that brush work (palette knife etc) sensitivity and paint viscosity and sensitivity is very important. You have to be able to add paint on top of wet layers with minimal disturbance of the underpainting. Some passages here are quite thick, some thin. For me the use of a large brush facilitates not only speed (cover an area with few strokes) while working relaxed but also sensitivity to the feel of the brush and the paint. Painting often is the other aid. I use bristle brushes primarily along with a painting knife and an assortment of old broken down brushes that I feel comfortable abusing.

Design, What You See Is'nt What You Get

2011-06-25T17:16:00.000-04:00

Design is an interesting intangible. Gary Spearin once told me "It's your job to make it a painting". Most times I find that the scene chosen requires at least some design work in order that you can meet your concept. If you don't do this you become a copier. Now, that in itself can be a good development exercise. But the road to evolving into an artist requires the installation of design elements. They just don't get there by themselves. Too much, too little, too busy, too dull, subordinate etc etc. Decisions, decisions.

As an interlude to the early spring greens I have been painting a series in Glen Williams. It has been quite refreshing. In addition it has been in line with some art history experiments I am doing, but more on that at another time. Here is what I saw.

The Way Into the Glen - Rainy Day

Now, I have been in and around the area on all sorts of weather conditions. So I chose sunny and added light. I did quite a number of other things to the scene. Here is some other reference. Dramatically different light key.

Sunny On the Way to the Glen

Have a look and see if you can discover my concept. Then see how many design elements have been installed.

Going Down Town, 12x24, Oil on Canvas

Second Rockwood Outing

2011-06-17T21:46:00.000-04:00

The first time to Rockwood was exciting yet I was able to relax and catch the essence of the old mill pond dam. Second time, another day, another experience. This was the ladies day out. Maybe that's why I had trouble relaxing and focusing on my concept.

Five Is a Crowd

Yup, five of us scrunched into a small spit of land viewing the river entrance to the park. We even had a guard.

Daisy Doggin' It

By the time I took these shots the sun had crept around and put my palette in its glare. Tiny little beady pin hole eyes are difficult to paint with. You have to compensate for colours put down too dark. That was obvious when I got home. Much worse than that, I failed to identify my concept and stick with it. I was really painting three paintings.

A Start

Interesting rock face, interesting stream riffles, interesting source in the dark tunnel. Let's do 'em all. I buzzed between these on the same canvas. Below was my morning effort. I am trying to refine this effort from this. I will returned to the concept of the water riffles. I may paint the others on site at another time.

Ready to Begin Again

This is a poor photo. The light and colour are off, but you can see my dilemma. I hope to do some work here tomorrow at our small Georgetown Show in the Montessori School. I believe I know where I want to go. Now for the going from memory in the studio.

New Territory, Design

2011-06-15T15:31:00.000-04:00

You can paint a lifetime in your back yard they say. Probably true when you get to the point of seeing. However, there is the excitement of new territory that quickens the pulse. Yesterday was such a day. We painted for the first time in Rockwood. We've been threatening, but finally did it. It turned out to be a guy's day out. Ladies tomorrow.

Dick Caressing His Soltek

You would think that adapting to new geography would be easy, but the more different the more adaptation required. I had a difficult time settling into Maine last month. Dick got down to business. He was on home turf.

Dick's Painting, Early Stage

I decided to paint some water. Partly this was to facilitate adaptation, partly to reduce the greens.

Pochade Heaven

Here is the start of the painting. You can see that I decided to leave a lot of things out. That simplifies, and reduces the number of shapes. I am staying away from the landscape trap of 3 parallel ribbons running across the canvas. I use as big a brush as I can. This helps me relax and paint the big picture again simplifying. The third simplification tool I used was squinting. This shows me the values of the shapes, the edges, and rids me of clutter.

Coffee Time, 12x12, Oil on Canvas

Summer Workshop

2011-06-13T11:46:00.000-04:00

My workshop yesterday was a real treat. There were only six participants, all eager and interesting. One participant has painted for 73 years and at the other end of the scale, one was painting for the first time. This was not difficult to deal with with such a small group. The primary theme was painting en plein air. The weather was about 15C, breezy, and quickly varying clouds and intermittent sun. So the strategy of dealing with quick changes from warm to cool light became paramount. We worked on painting first what was going to change quickly, and leaving that which would remain more or less static.

Judi and Irises, Wagonside

The effect of light on her subject was Judi's concept. A big challenge. We talked about block studies and the Monet Hensche connection, and learning how to see.

Alison Simplifying

Alison was working on simplification and the elimination or reduction of detail. Squinting exercises gave her some insight.

David and Warren

David was working on an unfinished sketch in an effort to get rid of his usual super detailed approach. This concept was used while attempting to capture the movement in the reeds and water. His composition was restricted to two shapes to which he did considerable design. He was using watercolour and pen and ink.

Warren used a knife to pile on the paint on top of a burnt sienna ground. He was challenged with edge control and management. It takes time to master the knife.

Chris in the Spireas

Our rookie Chris had an interesting day. We tried to get him to relax, put on some paint, and see how the process works. He did some work with a fairly complex composition. By the end he was seeing colour mixing possibilities and how putting simple masses down with the correct value brought the image together without too much fuss.

John Hiding from the Wind

John worked on a sky scape aimed at capturing the movement in the turbulent sky. He saw how he could control the viewer's eye by changing his edges and his contrast away from the intended subject.

Aside from the cool breeze everyone seemed to have a good day, all promising to keep on painting. We have to thank Rosemary Armstrong for her hospitality and the use of her property.

In the Movies

2011-06-11T16:05:00.000-04:00

We pulled in to Scotsdale to find a congregation of trucks and cars all over the fields. We were stopped by beer bellied dude with a head set and a Toronto hat. Expecting peace and quiet on a week day, we got the movie mogul two-step run around. "OK, said I, we'll go in the back way". There must have been 50 trucks and cars and a pile of people with head sets and pretty clothes trying look like they were doing something.

Throw Money This Way

This guy claimed he knew exactly where they were going to shoot. Not. But they did feel important. Monica splashed one of 'em and his one white sock got a bit dirty. "I work a long day" he complained.

I. Am. Important

Just workin' our tails off.

Gettin' Hungry

The camera man entourage prepped the action mobile for the man just in case he showed up.

Hitch Her Up

Ok, soup's on. Lets eat to get rested up for the afternoon.

Shrimp and Lobsta

Apparently it is episode 4 for this new TV series. Boring from this end.

Meanwhile at locations unknown to the crew but under their noses we got down to work and did a canvas or two.

Threatening to Rain

Tomorrow I am teaching en plein air. Must have been a good boy - cool, sunny with cloudy periods, good small group.

Painting in the Rain II

2011-06-09T10:50:00.000-04:00

The emails started to fly at 7am. Beauty excuses, but basically chapter one types. "Looks ominous", "the forecast is for rain", "we'll get wet", "have to enter the juried show", "have to feed the horses", "have to do paper work", blah, blah, blah. Haven't heard the "having my wisdom teeth out (again)", or "can't figure out how to set up the French easel", or "I have no sense of direction" brands lately. Need some creativity here.

Well, the usuals turned out for a rain day, and it was awful as usual.

Vic the Ring Leader in the Rain

Just in case it actually did rain, I hid in the shade to avoid sun burn. Also worked on a short picture box painting.

Just an Awful Day

Nothing ventured, no painting gained. 80% of the time when inclement weather is predicted we end up with good or decent days. The other 20% we improvise. You have to get the miles in.

Painting in the Rain

2011-06-07T15:32:00.000-04:00

It happens often enough. THEY forecast a decent day. We arrive on site. We sit sipping the moca and watching that cloud cover move toward us then to surround us, providing fleeting moments of interesting colours. Then the drizzle starts. It progresses to showers, then to a deluge. Go home you say. Ney ney! Why lose an opportunity to experience a side of nature and increase your understanding and your ability to see?

Downpour on the Farm

Here you can see the saturated colours in the rain. No sun to bleach them out. This was a recent storm. The rain was heavy. It was not predicted. No plans for painting umbrellas. So, how to improvise? Local structure was available in the form of a farm building porch. That will work, even in significant wind. In the past we have painted from under bridges. And from under trees - not the best in lightening.

Drizzle Day in LaCloche

This was an all day affair on the north side of Killarney Park. On again, off again, drizzle all round. Saturated colours and not much wind. Warmer sky grey here. We had rain gear jackets and a trusty cap. Our French easels were perfect even in the open. They can easily be adjusted to tilt the canvas top back over the palette so little moisture gets on either. Here is Bobby doing his rain dance.

Bob Ross Oiling in the Rain

When the scene looks like this you have to develop a strategy to get a painting. You will always learn something.

Dark and Gloomy in LaCloche

Under the Pine

It is amazing how dry and cozy it is under the right tree. Two of us huddled here painting back to back. Perfect study. Try a week of rain in LaCloche to get the feel of rain painting. Three of us managed 47 paintings.

So, in this weeks version of the flood, one of us focused on a pattern in the water under an evergreen. Beauty abstract. Short picture box eliminates the atmosphere if that's what you want.

Farm Pond Dream

Waiting is another approach. Done properly it is like a skilled boxer waiting for an opening. Conquering the old bull young bull syndrome.

While it is good fun and learning to get out in the elements you need not challenge Mother Nature. If she is sending lightening, mud slides, floods, blizzards (well, maybe these are OK) just call it a day and have an art gab at the coffee shop.

Head Gear

2011-06-03T17:28:00.000-04:00

This is about what to wear on your head. Not what is in your head or how to get things into your head. Although, head gear might help what is in your head get on to your canvas. I have now changed head gear twice since the cool of winter. It's not officially summer, but I am in summer hear.

Head Gear

The hat front and centre is my winter gear and it is my most recent acquisition. It has the peak plus the equivalent of a toque built in (In the past I added a toque over my cap). And it has ear protection as required. I have worn this hat at -40. No problem. It is the classic "block heater". Moving clockwise is a blue grey baseball style hat, but it's from Newfoundland. Therefore it is superior. Again the peak. I wore this hat in early spring. After the heat started but was still bearable, I wore my gentleman's fedora style hat. Beauty peak and brim for all round sun protection. This hat has a built in air conditioner in the top. Hot air is expelled through the side vent mesh. Quite nice, quite dapper.

Cool Warm

This hat just doesn't cut it in anything resembling real heat (above 22C for me). So I have moved to the topless model - full air, decent peak. Found this one at the dollar store. This hat will get used till the first chill of fall. Then I'll move to the cool French cap for some character and variety. Still with a peak in a darker grey colour. The constant in all these hats aside from comfort is the peak. This shades my eyes from the glare providing protection while letting me see unencumbered. You should not wear sun glasses. Then again if you like looking through a coloured filter......

Gradation for Light

2011-05-31T10:48:00.001-04:00

Most of the time we paint a light reflection, not the source. This however, applies to both. Reflected light varies in intensity with the highlight the pinnacle. This is a gradation. Only a small area of an object in the light reflects the full force of the source light. (painting a light source then is similar to a highlight) Other parts catch the light at different angles reflecting varying quantities of light. As a result, a highlight cannot be effectively painted as a spot of white paint. (White is another problem for another time) The gradation towards the light is what makes the highlight so effective.

Still Life by David Leffel

And no, it is not just the value contrast at work.

The Young by Joaquin Sorolla

Gradation gives the landscape luminosoity. Without it the observer merely labels a passage "this is light, this is shadow" and it no more convincing than a jet black tree against a bright sky. The observer thinks paint, not light. Painting from life trains the eye to see such things.

Sure it works with abstract....

Small Abstract!

Chateau de Black Fly

2011-05-28T11:56:00.000-04:00

May, moist, cool, sunny. In the shade of the Hockley we set up. Mottled sun light. Looks different every season.

Under Attack

Should have known better. How many seasons have we been doing this?

Unfettered

Monica took several deet showers. Spray and mist everywhere. Quite a show.

Looks Relaxed

I thought I had taken a swim in musk oil. Guess I didn't dunk. 17 bites - hands and ankles. Little buggers did my painting hand as I painted. Vic declared "they don't bother me". Ha! He had a blood change and was unknowingly under attack. It turned out later that he was bitten all round the hat line and on the hands in a major way. Couldn't get his fingers together for the swelling.

We should have;

taken more care with repellent, hair, hat line, ankles etc.

searched out a breeze

painted in the peak of heat

or, wait till they burn off in a few weeks. For an addiction this is not an option.

A Friend Passes

2011-05-23T18:37:00.000-04:00

Quite a few years ago my mentor Vic Sullivan had me paint a couple of barns. OK, they were cute and traditional, but it is a challenge to bring the creative side of art to bear. In those days the efforts were learnings. In fact, 16 years later I remember clearly the aha's associated with each.

Six years ago we began painting an expanded version of the Hockley valley. One day we happened upon this scene.

Planted To Wheat

She was surrounded with Canola in another season and Soy Beans in another. She became known as Bob's Barn when we tried to find her for Bob Ross (wanted to be an architect) to paint. We tried to get Bob back to paint her as the seasons passed. That day happened finally as a whole group attended to her.

Bob's Barn Posing

Any number of portraits of her exist.

In Red Oxide

Soy Beginning to Turn

We pass the spot often as we paint in the Hockley, speculating on her, saying hello.

Past Harvest

We had better get the gang together to paint her again. The winter has been pretty harsh.

Fading

Didn't paint her in the winter. Should'a, could'a........

Wind and Rain Storm

Why should you paint such a subject? There is the learning, composition, installing the direction of the light, finding out about local light in the shade of an interior, working to be creative. All of that. But when she goes, to be no more, that record of history that is yours alone makes it all worth while. You will have a personal memory of an old friend.

Gradations

2011-05-19T10:44:00.000-04:00

A gradation is a passage that changes from a little of a characteristic to more of it. For example, a passage may go from thin to thick paint. Or, from light to dark, from cool to warm, from low chroma to high and so forth. Scenes, figures, portraits, and still lives are full of them. This is something one begins to "see" when you are able to get your overriding mind out of the way.

New York Cityscape

Can you see some gradations here? There are plenty of them, and plenty of opportunities to install them into a painting. For example, in the sky the value goes darker from left to right, and from bottom to top. It also goes from warm to cool as it moves from left to right. The road, the buildings, and the yellow cabs also have gradations. Where do you deploy these gradations? Your concept, your artists sensibility, and the paintings need will give insight.

MOMA Picasso

You can see them in this Picasso, right? He was heavily influenced by the Post Impressionists. Cezanne in particular. A specific concept and the gradation tool installed as required.

What about this one? A Famous Matisse.

MOMA Matisse

Matisse, direct competitor to Picasso, had the same influences. They both owned Cezannes in an effort to figure out what he was doing. Another specific concept.