2023 Strada Easel Challenge Day 24 - Hydrangeas and Copper Study

 Day 24 #stradaeasel

Another study with a metal container. I got further than I thought I would - The hydrangeas are dried and really old, but haven't been ready to toss them just yet. I'm still enjoying the strada easel challenge and so glad I joined. 

Hydrangeas and Copper Study - $NFS
Oil on canvas sheet
©2023

2023 Strada Easel Challenge Day 23 - Poppies and Brass Study

 Day 23 #stradaeasel

Well I moved on to something different, and it was a good day mostly. This is done with both brush and palette knife. The values could use more work, but the shapes in this are easy to do with the palette knife. 

I started out thinking the bras would be the subject, but got curious about some artificial poppies I've had for awhile and they pretty much asked to stay. Anyway, glad I did this one and still experimenting with tools. I think this is a great way to learn painting. Having the information is one thing; making it work is the bigger challenge. 

One other thing - today I found myself begin to get tired while work on this and felt like I was going to loose the freshness if I didn't stop immediately. For some reason, this is the first time I was aware of that. 

Brass and Poppies Quick Study - NFS
5 x 8 Oil on canvas sheet
©2023

2023 Strada Easel Challenge - Day 12 - Tetsukyusu - Unfinished

Day 12 #stadaeasel 

Today was a very  l l o o n n g g g g day. Doctor's and helping daughter along with usual house todo's. So  the value study was all I could muster. I'm glad I did it though because I better understand the challenges I'll face when I actually get to paint it. 

Another unexpected benefit of doing the strada easel challenge is I haven't been obsessed or overly concerned about making mistakes like I use to be. I know I have to work for a couple hours (at least) and get the result posted no matter what!! 

Value Study Pastel - Unfinished - NFS
Tetsukyusu 
Pastel on drawing paper
©2023

It's a new Japanese teapot that I bought for myself because it is so cool. It's called a Tetsukyusu - made of cast iron and lined with enamel. The decoration is embossed and it is heavy. Inside is a removable tea infuser and I thought the trivet was a nice addition. 

Here's a photo of the set up I threw together because I was running out of time. Need more contrast when I attempt the actual painting.

Tetsukyusu

2023 Strada Easel Challenge - Day 10 - Keepsake Japanese Vase - Block In

 Day 10 # stradaeasel

This miniature Japanese vase (2.5" high) has been with me since 1953 gifted to me by my 3rd grade teacher Ms.Trudeau. She introduced the class to Oriental culture and their art has been interesting to me ever since.

Will work more on this tomorrow.

Block in Unfinished - NFS
Keepsake Japanese Vase
Oil on canvas sheet
©2023

2023 Strada Easel Challenge - Day 9 - Tea Pot w/Bamboo Handle

 Day 9 #stradaeasel

Decided to work with this tea pot still life a little more today. Cleaned up the drawing a bit, but the tricky part was to get the design on without losing the volume. Still could use some work, but I think it's time to move on to the next object. 

I'm actually discovering more about process going through this #stradaeasel exercise. I'm more aware of choices I am making.

Unfinished - NFS
Tea Pot w/Bamboo Handle
Oil on Canvas Sheet
©2023

2023 Strada Easel Challenge - Day 8 - Tea Pot w/Bamboo Handle

Day 8 #stradaeasel

The Strada Easel January Challenge is having a positive effect on my attitude. Got up this morning looking forward to another day of block-in. That hasn't happened for quite some time. 

This one I used the palette knife in a few areas. I really wanted to finish it so maybe will work on it again tomorrow. Whenever I go to a thrift store I look for still life stuff like this one. 

Unfinished Block in - NFS
Tea Pot w/Bamboo Handle
Oil on Canvas Sheet
©2023

30/30 Challenge - Angel - Day 29

During this 30/30 Challenge my own subject matter has been all over the place from indoor studio still life, portrait from life, and landscape. Included rendering same subject matter from photos to reinforce how differently the colors are represented. Certainly not a body of work for gallery representation, but what a pleasure to just play and experiment. I've learned that I love to paint anything and everything.

After the end of the challenge, I'll narrow it down and select a few things to concentrate on for awhile. Since so many questions have come up while working on certain subjects, I'll be quite busy with my journal too.

Questions that you might also be asking are:
Why do I paint? Why this subject?
Is it a big idea or just something to practice craft?
What's my real motive - self fulfillment, therapy, money, etc.?
Is the idea related to art concepts or just a copy of something sitting on a shelf?
Does each start have an intention? What is a successful painting?
Is this one better or worse than the last one? Am I making any progress at all????
Many more...

Day 29

My daughter's kitty, named Angel, went to kitty heaven recently, and I thought I'd do a little study for her. Finding a good photo wasn't easy, but notice the double heart shape on her chest fur-so cute!?

One of my personal goals was to start something new everyday, have to say, I came close. Only a couple were longer projects, but there was a reason behind the shift in the plan - mostly because I was trying slightly different things in one painting each day.

Since I'll be headed to a meeting, this will be one of several starts to be finish after the challenge this month.

30/30 Challenge - A Change Coming On - Day 10

WOW! This 30/30 Challenge is 1/3 complete!
Have to say it has been a great experience so far, and am mostly able to get this accomplished because of fewer unwanted distractions in my life. Yay!!!

Day 10

This little painting includes some changes on my palette.

After doing some preliminary mixing to test some combinations, I removed the Prussian blue, and will be using Manganese blue instead and will allow for some substitutions.
(The substitutions are so I can use up some of the tubes in my collection of paints.)

© 2015 - Manganese

My palette now has Cad Yellow Light (interchange with lemon yellow), Indian Yellow, Cad Scarlet (interchange with Pyrol Red or cad red light), Quinacridone Magenta (interchange with Alizarin Crimson or Permanent Rose), Ultramarine blue (as usual), and the Manganese blue (interchange with Cerulean blue or possibly Sevres blue). I will also include Yellow Ochre and Transparent Red Oxide and White (will be trying variations of this too). There may be occasion that I'll use a touch of Ivory Black because when mixed with yellows it makes some interesting greens.

To review these first ten days...

Setting a time limit for working on a study... this is good sometimes, and not so good

at other times. If I want to measure to see where I am with my sight skills, it's a good thing. However, if I want to learn something while exploring the possibilities of technique, then 'no thanks'; that's when I want to stand at that easel for as long as it takes for me to get my 'aha moment'.

© 2015 Grayscale

Values are starting to recording more easily when looking at color. Still do not get it the first time everytime, but with practice it does get easier.

© 2015 - Desaturate

Tip: Try using 'de-saturate' when converting to check for values, also use 'grayscale' to check for values - see which is more faithful to the information of the various steps. If you like, you can also use 'posterize' to flatten the value shapes and see if it relates to the way you first put down your basic value shapes before the details.

© 2015 - Posterized

Materials always seem to be changing to fit the desired end result. With this in mind, and after using a variety of canvas types, brush types, and colors, I am learning my preferences, and as a result, more of the preliminary thinking is taking care of itself. This is a plus and HUGE time saver.

Working Without Judgement is so liberating. No pressure, no feeling like I have to perform in a particular way... I can explore the what ifs, and claim the discoveries as my own, even if someone else has already figured it out. I must encourage you to take at least a few hours each week to do something similar. There will be no failure; only a lesson learned!

And finally the Changes I decide to make on my palette or choice of brushes and ground for painting are based on a real understanding of what the heck I'm doing and why. This is a priceless place to be...  I so appreciate my past instructors for giving me the boost to get started (a future blog topic), and yet to make a choice for this process selecting what materials, and exploring the technique is the most honest way for me to work!

A huge thanks to the readers with me on this 30/30 challenge. This first 10 days, I hope have been helpful to you in some way too.

Why is Art Good for Us?!?

I for one knows first hand how good it feels to create something. You may call it 'art' or 'craft', and there's truly no need to be perfect; it is a process of discovery, and just really does enhance the life experience.

If you want more than just my word on this, there are many articles that can articulate the benefits with far more words, and scientific details!!

Don't know how long the following articles will be available, just think they are worth sharing.

A visit to the museum to simply look art -

How your brain benefits from making art/craft -

How kids' learning skills benefit -

Here are three quick portrait studies done from life... artEast in Issaquah, WA has live models regularly on Mondays, and offers other workshops that you might enjoy.

 

I do not limit making art just to visual art - I consider music, writing, and other

forms of positive creative expression to be every bit as important.

NOW GO MAKE SOME ART!!!, do your best,

and someday you just might create something great!

T'was the Night Before Xmas... Christmas Card Opt #2

I finally completed the second study for a Christmas card.

The photo of my Granddaughter was actually taken a couple of Christmas eves ago - so I thought the title fitting. She's sitting in her Great Grandma's chair that now resides at her Auntie's house.

It is a little brighter than I originally thought I would do, but it will be darker by default after it is printed. It is getting a little late to be working on a Christmas card image, but at least it will be ready for next year if I don't make it happen this year. ;o)

T'was the Night Before Xmas
9 x 12 Oil on Stretched Canvas
© 2013
NFS

Portrait Study w/ the Zorn Palette

Haven't done a portrait for a long time even though it is one of my favorite subjects. I like painting from life, but usually difficult to find time and resources for this.

Since I've been exploring the Zorn Palette via the Online Watts Atelier, it seems that a good photo reference might be enough to get in some portrait practice. So I used one of their photos (part of an online lesson).

This lesson is done with an umber under painting and then painted in color with 'yup, you guessed it' the Zorn Palette.

Burnt Umber Portrait Underpainting

Burnt umber is, IMHO, a harsh color, and not a favorite of mine. I could have done more to refine this under painting, but I sometimes get impatient and move ahead if I anticipate learning something new. The resulting color study (painted over the under painting) was quite pleasant to do.

Portrait using the Zorn Palette
9x12 Oil on Canvas Sheet

Now the interesting thing is when I use to work at painting a portrait, I had all kinds of colors on my palette, and honestly confused myself on a regular basis. The Zorn Palette is still new for me, so I'm not 100% on point with its color values yet, and shadows are always difficult from a photo. However, I think this palette does a nice job of giving good flesh tones for a portrait painting.

Yes, I believe I'm going to try another soon... ;o)

Beginning a new Still Life

Process...

I love to relax and read so I thought I'd do a little painting about this.

I typically start my paintings direct from the set up I arrange by using paint and brush to draw onto the canvas. It has served me well, and I am able to make adjustments as needed at this stage because the oils are somewhat forgiving that way. But there is a downside to this as you will read below.

I wanted to practice my drawing because it is not only good for my skills in general, but drawing is also relaxing and fun for me, and it assists in working out some of the inevitable problems of an arrangement that usually show up while working on the painting when it is more difficult to make changes. Instead of investing a couple of hours on the painting figuring out my lay in, doing a charcoal or pencil study can be more efficient and not feel so 'expensive' when I am not satisfied with the result.

So this little charcoal drawing is just that - a prelim-study (more than a thumbnail sketch). After all, the masters did it that way, so who am I to argue. Just think of the patience and effort they put into their masterpieces! 

Still Life Study
10 x 10 Charcoal on Newsprint
© 2013

As I look at the study, I think it needs some breathing room rather than clustering all the objects so closely together. I can do this by adjusting the set up now before beginning the actual painting. I also think I'll use different candles - maybe one used candle would be better, and a wine glass to bring another human element to the set up.

You can see my marks for the 'notional space' of the objects and a border area beyond it. I like to do this to see what my canvas size will be, and if I need to make adjustments. The changes I'm anticipating will also likely change the format from squarish to a more horizontal rectangle. I will plan to post an intermediate stage for the painting after the changes.

BTW, as a side note, I started reading The Practice and Science of Drawing by Harold Speed. There are technical aspects and examples in this read, but there are also some unexpected concepts as well, and I recommend it. A quote from the book's content...

'Art is the expression of the invisible by means of the visible.' Eugene Fromentin

Paint Two Images - Stage 3

Finally stopped fussing about these two paintings and settled on laying in some color ground suggesting a landscape. It's all very loose and I've decided to allow these two paintings to develop in steps without a real definite plan. That means things may change quite a bit before I'm done. Should be interesting - or not. ;o)

Title TBD - Stage 3
16 in x 20 in each - Oil on Stretched Canvas
© 2013

Paint Two Images
Paint Two Images - Stage 2

"Paint Two Images..." - Stage 2

It has been about 6 months since I posted anything about this project regarding the 'Paint Two Images Project'. It seems no matter how important a project is, it doesn't mean it is going to happen quickly, and this is definitely one of those projects.

I think about this project almost daily, and have mulled over old drawings, and new drawings, and lots of ideas about what these two images should be. All in all, I kept returning to a figurative theme, and here is the next stage of the project.

Title TBD - Originals Not for Sale
16 x 20 inches - Oil on Stretched Canvas
© 2013

While researching for this project, I came across one charcoal drawing and one ink drawing that were done in 1980's during figure drawing classes. When I drew them, I didn't know I would be using them in the future - the thought never occurred to me. The female model was done during a fashion illustration course, and the male model is actually a dancer who modeled for art students in Seattle. The originals were done about 4 years apart, and I was a little surprised to see how little the style of my drawings changed.

As I develop the idea for these paintings I became keen on using symbolism, and I am leaving it open for interpretation. Several thoughts have swept across my mind about what it might mean, but I tell you 'it changes' a bit even though some passages are constant. It is like different layers of understanding are represented.

The actual rendering of the image is not determined because of the difficulty of finding and affording models to work from, so in the interest of allowing these paintings to develop as I go along, they may likely be left to look very graphic rather than realistic. BTW, I am working on them simultaneously as though it is one large painting. This should keep them looking harmonious both in style and color.

I have some ideas for the background, and will be posting that result I hope in the near future. I have resolved that no matter what the result of these paintings, they will be framed and put on the wall.

30 Day Challenges vs Master Study

It seems that the 30 day blog post, or producing a painting a day for 30 days is popular in January and a couple other times during the year. I think this works really well for the challenging yourself, but not so good for others - like me.

After a little consideration motivated by truly wanting to be more productive, I signed up for a 30 day challenge knowing right up front that it had to be adjusted a bit to suit my work life.

Instead of cranking out just any ol' blog post, IMO, I think it requires interesting content to make it valuable to the reader, and I just don't think I have that much to say that many would find interesting. I tend to be more of an internal processor, with occasional inspiration to tell a story.

Or in the case of completing a painting every day, OMGosh - I just know I wouldn't do well working that way. It makes me nervous and frantic just like trying to write something new and interesting everyday.

I am certain there is value in these activities with lots of starts and generating ideas - but to produce a final result every single day is just toooooo stressful for me at my current level of development!

So, I decided to give myself a slightly altered challenge and promise to paint everyday. Work on a painting I'm interested in producing, and work on it a little everyday. And glory be - I am succeeding!

Mancini Study in Reverse - NFS
8 x 16 Oil on canvas
© 2012
(Resting - 25 3/8” x 39 5/8” Mancini - c. 1887)
http://fetishofsilence.tumblr.com/post/26372840522/antonio-mancini-resting-c-1887-oil-on-canvas

This painting is the result of the last week's activity. It is a study from a painting by one of my favorite painters - Antonio Mancini. http://en.wikipedia.org/wiki/Antonio_Mancini. The painting resides at the Chicago Art Institute.

I chose this one because of the contradictions embodied in this painting that I completely enjoy. The composition is done with a half and half split - darks and lights  almost equal, and a few other oddities we are taught not to do. I had to paint it to see if I could understand why I liked it sooooo much. (BTW, I did it in reverse to see if it worked both ways.)

My brushwork is not the same as Mancini, and I could spend many more hours improving on this painting. I only had a computer printout, and haven't had the privilege of viewing it in person. There are other obvious differences besides brushwork, but my pursuit of learning and understanding this painting made it worth the week's effort. I highly recommend selecting master paintings for study - there is much to be learned from this process - just be sure to give the master their due credit.