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 Monday, June 29, 2009
Artists Who Inspire
Posted by richard

99-Bert-&-Richard.jpg
As someone who travels frequently to paint, I have had the pleasure of visiting many interesting areas. Some locations are more inspiring than others, but all provide some degree of visual interest. Experiencing the diversity of terrain and the quality of light continues to be a source of fascination and motivation.  A frequent side benefit to these sojourns is the opportunity to meet the local artists. As interesting as the locations may prove to be, it's often the creative souls that inhabit them that leave the stronger impression.
 
A couple of months ago I was fortunate to be asked to teach a group of pastel artists in Ojai, California. Having annually traveled to the Santa Barbara area to paint and teach, I was eager to trek the short distance over the coastal range to the Ojai Valley. As beautiful as the area is (trust me, landscape artists, you'll not be disappointed), it was the grand lady that graciously opened her studio for the workshop who stole the show. Bert (short for Alberta) Collins is the embodiment of an artist (See Bert pictured with me, above, and one of her paintings, below). From the moment you meet her, you know you are in the presence of a special spirit. Students and fellow artists constantly occupy her studio, and her paintings are sold as fast as she can paint them. Born in Los Angeles in 1928, Bert began painting in oils in 1960 and started teaching eight years later. After a very successful career as a still life artist in southern California, Bert and her husband Ralph moved in 1976 to the Ojai area, where she instantly became an involved presence in the local art community.
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In 1984, Bert saw two pastel paintings in a local art gallery and was enthralled. After giving pastel a try for a year, she was completely hooked and immediately encouraged her students to change from working with oil and acrylic to pastel, and she has never looked back. She gives credit to Albert Handell for most of her early pastel instruction and later became friends with the late Santa Barbara pastel artist, Glenna Hartmann. In 2002, she opened her home/studio/gallery where she continues to teach. There's a long waiting list to attend her classes, and her students appreciate her patience, guidance, upbeat attitude and expertise in pushing them to be better artists.

In recent years, health issues have severely limited Bert's mobility, but she hasn't let these medical challenges interfere with her creating or teaching. I can personally attest to her tenacity. Although limited to a walker, and lacking the ability to raise her head more than a few inches, she was out on location every day of the workshop. Rain, bugs and severe winds were not enough to remove the smile from her face as she worked. Witnessing the passion and joy expressed as she painted was enough to humble the toughest of plein air painters. As the workshop ended, it was easy to see why she's considered a legend in the community, and is so beloved by her fellow artists. If you find yourself in Ojai, California, be sure to look her up at her West Hills Studio/Galler on 1545 Cuyama Road. Besides having the pleasure of seeing her beautiful pastel paintings, you're likely to be as inspired by her spirit as I was!




6/29/2009 1:58:18 PM (Eastern Daylight Time, UTC-04:00)  #  Comments [4]
 Monday, June 22, 2009
Plein Air Positioning
Posted by richard

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With the advent of nice weather, many of us find ourselves back out under the sun attempting to capture a bit of the fleeting light. A couple of weeks ago, after the International Association of Pastel Societies convention in Albuquerque, New Mexico, I was able to paint again in the beautiful northern New Mexico high desert. With its clarity of color and diversity of textures, I was reminded of why it has inspired so many artists over the years. While painting there, I was also reminded of one of most irritating issues of working en plein air: the intensity of surrounding light and how it affects the appearance of our paintings.
 
Most of our attention is focused on finding what to paint; once discovered, the job of positioning ourselves begins. Most of us were taught that it's better to work in open shade than bright sunlight. Working under this intense light can easily produce dark/dull paintings. Many a painting that looked fine on location is found to be extremely dark and in need of major adjustment when analyzed indoors. For this reason, it's always wise to second-guess your value and color selections before committing them to surface. Take breaks and scrutinize your painting in a variety of lighting situations (shade, full sunlight, and various angles which reflect different color influences). Whether you end up painting in shade or full sunlight, it's advisable to have your pastel palette arranged in values. If your pastels are organized in values, you'll know what value range you're working in, even if they appear overly dark or light in that situation. Learn to trust your palette.
 
Another issue often overlooked is the amount of light surrounding the painting surface. When the painting is in shade and the surrounding light is extremely intense, you'll have a hard time adjusting. There are two ways of dealing with this: turn or tilt your painting surface until it's in full sunlight and trust your palette to guide your value choices; or create a large border around the painting to block the proximity of the surrounding light, allowing a space for your eye to rest before reaching the painting. For this reason many plein air pastelists prefer to attach their painting surface to a larger drawing board even if one is not required. If you use prepared pastel panels that are capable of standing alone, reverse tape them to the support by running a strip of tape over the backside, letting it stick out around the painting, then tape the exposed border to the support. This allows you to paint to the edge while still holding the painting surface securely in place. Choose a neutral color and mid-value drawing board when possible. Otherwise, alternate between white and black until you find a good fit. Remember that, due to simultaneous contrast, white will make the painting look darker and black lighter in appearance.
 
By putting some effort into understanding the lighting situation in which you're working, you'll be better able to adjust, producing a more pleasing outcome. At least one excuse for why the painting didn’t turn out will be surrendered.




6/22/2009 2:13:57 PM (Eastern Daylight Time, UTC-04:00)  #  Comments [1]
 Monday, June 15, 2009
The VALUE of Notan
Posted by richard

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In the previous blog post “Light as it Falls on Form,” I discussed the use of value relationships as a means of creating the sculptural aspects of representational painting. For this post, I'd like to talk about the use of value as an element within the compositional layout of a painting. In Japanese, Notan means “dark/light”. The term refers to the harmony that results from the arrangement of dark and light spaces within the composition of the painting. This arrangement reflects the quantity of reflected light, or the massing of varied value tones, to create a design. It is important to separate this from light and shadow, which models individual form. By generalizing abstract areas within the composition into value masses, a better understanding of the overall value-design aesthetic will be understood.97-notan.jpg
 
Getting individual value shapes correct as they apply to an individual object without analyzing the overall arrangement of values throughout the composition often leads to a frustrating day of painting. Before committing to placing pigment to surface, it is advisable to do a few “Notan” or value map sketches in order to understand the design of values. See my example of a photo and the accompanying Notan sketch (here).

Some tips:
• Keep the sketches small to avoid the introduction of unnecessary detail into the equation.
• Generalize areas and mass together similar values to create abstract patterns of value.
• Work with as few values as possible. If associating just dark and light is too confusing, try to limit yourself to no more than three values (a dark, middle and light).

This allows you to scrutinize the overall design and make adjustments in advance of painting. Confront reality with these “Notan” sketches. If it feels better to make the sky darker to balance a composition, do it. Experiment with the possibilities. Don’t become too married to the literal. As for pens, the Tombow brand neutral-grey markers, which come in a variety of values, are one of my favorites for making a quick representation of value masses.

Whatever means you employ for the sketch—pencil, pen or marker—keep it simple and abstract. Allow this tiny sketch to guide your value mass arrangements and then model values throughout the painting to create the individual forms necessary to represent reality, ultimately creating an overall aesthetic of value harmony. To learn more about this concept and its applications, study Arthur Wesley Dow’s book Composition: Understanding Line, Notan and Color, originally published in 1899 but now available from Dover Publications.
 




6/15/2009 4:34:53 PM (Eastern Daylight Time, UTC-04:00)  #  Comments [3]
 Monday, June 08, 2009
Light As It Falls on Form
Posted by richard

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A classical art training has many advantages, among which is to learn to see and understand light as it falls on objects. By accurately portraying these values, form and depth are created. One of the ways this is taught is to analyze light on a ball. Begin by acquiring a good size white ball, place it on a flat surface, and position a bright spotlight to strike it from one side. Darken the room to intensify the contrast between light and dark. Then, stand back and study the way the light hits the ball. Identify these areas: the highlight (the shiny spot of light); the area of illumination (the shape that receives the direct light from the source); the halftone (the point where the light begins to bend into shadow); the core shadow (the area where light can’t reach); the reflected light (the place where the light travels beyond the object and reflects back); and finally, the cast shadow (the shadow being cast from the shape of the object).

After these initial observations, slowly walk around the ball and pay attention to how the highlight travels across the surface of the ball while the other value shapes stay put. More or less of one value area may be visible but they aren’t moving; you are. The shiny highlight, though, seems to follow you until the ball is in silhouette. This bit of information provides one of the most profound insights into how light works. It strikes an object, falls across its surface, and creates the appearance of form but the highlight reflects off the surface and comes directly back to you. There are three factors to keep in mind: the angle of the light source, the surface or topography of the objects it is striking, and you. You are part of the equation. Highlights travel to you. To better understand this, try standing by a body of water when sunlight is sparkling off its surface. Look at your feet and you will observe that the highlights are coming to you. Walk along the shore and look again, and you’ll notice that the highlight has followed you. Just as we are always in the middle of our visual space, so too is the viewer of our paintings. Depending on where the light source is in relationship to the objects within our paintings, highlights will reflect off surfaces towards the middle.
 
If you spend time observing and studying the light on the ball, you will never look at a tree or rock the same way. This is why most plein air painters, who race against the moving light, start by placing the shadow shapes in their paintings. By representing the shadows, the position of the light and the surfaces it is striking will be easier to understand. Then you’ll know where to place the highlights.




6/8/2009 1:11:02 PM (Eastern Daylight Time, UTC-04:00)  #  Comments [0]
 Monday, June 01, 2009
Picking Up Where We Left Off On an Unfinished Painting
Posted by Richard

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As luxurious as it is to have all the time in the world to work on a painting, it often proves to not be the case. Whether the light changed while we were plein air painting, life commitments interfered, or inspiration was lost, we often aren’t able to bring our paintings to completion while motivated. Sometimes this can prove to be a good thing, taking us away from the compulsion to keep adding marks for the sake of adding marks when, with evaluation, we find it nearly complete, if not done. For those other times when considerable work is left undone, it may prove hard, if not nearly impossible, to find that initial inspiration again. When confronted with this situation, I have found a few useful tools for picking up where an unfinished painting was abandoned.
 
First, remind yourself of the theme of the painting. Why did you start it in the first place? This is an invaluable key throughout the whole of the painting process. It keeps us on track, stopping us from straying too far from our intention, and lets us know when we are done. If you don’t know where you are going, how will you know when you have arrived?
 
Second, honor your mood. How we feel emotionally has a profound effect on our paintings. Some days we are up and others down. If you began a painting in a serious mood, trying to pick up where you left off while in a giddy mood can prove disastrous. Remind yourself of how you felt when you started the painting and try to work on it again when in that mood.
 
Third, associate a type of music to the painting, or remind yourself of what you were listening to when initially painting. The tempo of the music can prove very helpful in getting you back into the mood of the painting.
 
Fourth, revisit the subject matter of the painting. If it is a location near you, go back and spend some time, even if the time of day or year is different. If you're using photographic reference, leaf through other images from the scene as a reminder of the day.
 
Finally, associate another artist’s work to the painting that you find exciting or wish to emulate. Spend some time reviewing a book or magazine with these images. This is not for the purpose of copying but for the inspiration and permission someone else’s work can offer. If they can approach it that way, or leave it that way, so can you.
 
All of these tips play on our senses and often rekindle the initial motivation we had for the unfinished painting. If, after employing these tips, the painting is still not speaking to you, it's best to put it aside, rather than forcing the process. Just like a good game of chess requires concentration and strategy, so too does painting. We plan our moves in advance. When the rhythm is broken, it takes some effort to get back in the game.
 
The painting Winter Canal (above) required the use of music and repeated visits to the location to find the inspiration needed to finish.




6/1/2009 3:05:25 PM (Eastern Daylight Time, UTC-04:00)  #  Comments [2]
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