I received a bouquet of flowers...so here is my alla prima (wet-into-wet method quick method) try that is not yet finished. I have some more work to do on this so it is still a work in progress.
I don't know how I feel about this piece.
Sunday, September 14, 2008
Floral Bouquet
I received a bouquet of flowers...so here is my alla prima (wet-into-wet method quick method) try that is not yet finished. I have some more work to do on this so it is still a work in progress.
I don't know how I feel about this piece.
Tuesday, September 9, 2008
Saturday, September 6, 2008
Achievement ... is in all of us.
This young man, a few yards from the finish, is my son. He is about to complete a two year long life goal and is finishing a grueling 14 hour Iron Man course in Louisville, Kentucky (August 31, 2008).
Few friends or relatives have bothered to call to congratulate him. Why is that? .... when less than .1% of the population will ever achieved such a great test of endurance.
For those of you who might not know what an Iron Man course is like, in 14 hours, Darren swam a little over 2 miles in the Ohio River (half of which was against a swift current), completed a 112 mile very hilly bike ride, and ran 26.3 mile on an also hilly course in stifling heat and humidity. He did that sick and not at his physical best.
I understand human nature for with everyone who achieves a great goal, the rest of us are tempted to succumb to the feeling of smallness and insignificance?
In a world that operates with a "if you are up, then I am down" mentality, truly achieving anything great is a lonely pedestal upon which to stand.
To take that attitude is to miss the real glory of this moment for all humanity.
I love my children and they are very special to me; growing up, however, they were just ordinary kids with a mixture of strengths and weaknesses ... like the majority of us.
What is amazing to me and the great glory of this moment is that God is taking these two ordinary kids and working out extraordinary achievement in their lives. That is miraculous.
I knew that God took some really ordinary men and women in ages past and did glorious things through them. So we all have the capacity to do great things.
I am hoping Darren will blog his experience and that he will relate what a miracle of God's Grace was upon him to do the impossible. When he does, I will add a link and let him tell in his own words how the Apostle Paul's words became a revelation in his own life experience: "My grace is sufficient, says the Lord, in your weakness I am made strong."Darren sent me the following ... which I thought was quite thought provoking too:
Our deepest fear is not that we are inadequate.
Our deepest fear is that we are powerful beyond measure.
It is our light, not our darkness, that most frightens us.
We ask ourselves, "Who am I to be brilliant, gorgeous, talented, fabulous?"
Actually, who are you not to be?
We were born to make manifest the glory of God within us.
It is not just in some of us; it is in all of us, in everyone.
And as we let our own light shine, we unconsciously give other people permission to do the same.
As we are liberated from our own fear, our presence automatically liberates others.
Our deepest fear is that we are powerful beyond measure.
It is our light, not our darkness, that most frightens us.
We ask ourselves, "Who am I to be brilliant, gorgeous, talented, fabulous?"
Actually, who are you not to be?
We were born to make manifest the glory of God within us.
It is not just in some of us; it is in all of us, in everyone.
And as we let our own light shine, we unconsciously give other people permission to do the same.
As we are liberated from our own fear, our presence automatically liberates others.
~Nelson Mandela
Sunday, August 17, 2008
Merlin - Lesson in Composition (Con't)
Cennini Forum: Remember the Merlin composition that was started last June? Finally, I am getting back to this task. Having read nearly four books on composition, I finally was able to design a drawing that Rob Howard (Cennini Forum Moderator - Master Teacher) finally found acceptable. And I quote Rob, "The basic composition is solid. From this point it's just add more information that helps to tell the story. That's not to be confused with mindless detailing."
So I am posting. I chose the part of the story where the white dragon has defeated the red dragon and Merlin's prophecy has been declared true, the tower regained, and the soldiers rise up to go out and defeat the enemy.
Now all I have to do is add more information to help tell this story without adding details... mindless details that might cause confusion. "Oh vay." I'm still working on it.
Tuesday, August 5, 2008
Books on Composition
In preparation for Landscape Boot Camp with Gordon MacDonald in Nova Scotia, I am reading quite a number of books on composition which I highly recommend those being:
Composing Your Paintings by Bernard Dunstan
Composition of Outdoor Painting by Edgar Payne
The Power of the Center by Rudolph Arnhein
Composition by Cyril Pierce
Carlson's Guide to Landscape Painting by John Carlson
As I am discovering, composition is a visual language that over the ages of artistic development and analysis, natural fundamentals have emerged that almost all art critics and artists agree are principles that must be followed in order to create quality paintings.
These principles are sometime rather complex to put in to words. I find that many authors in an attempt to write in an academic way...often lose their audience. I will review the following books two of which I have completed and one I have just started.
Rob Howard has been harping for months now on the importance of "speaking" to the viewer though not only subject matter but also the very construction of the art. All of what he has been saying on the Cennini Forum is confirmed in all that I have read.
Composition of Outdoor Painting by Edgar Payne
Currently I am at the center of this book and I can say that the information here is spot on. The only thing about this book is that Payne is not a very fluid writer. He inverts many of his sentences and places the most important information at the end.
Topics include:
• "The Approach To Art" -- the purpose and aesthetics of art, emotional impules , nature, discipline, influences, etc.
• "Selection & Composition" -- critical selection and judgment processes, mistakes in composing, simplicity; painting various objects including marine, mountains, trees, clouds, etc.; fundamental principles, styles, value, color balance, interchange, scale, etc.
• "Harmony" - color, pigment, rhythm, repetition, etc.
• "Types of Composition" -- symbols, steel yard principle of balance, the 'O', the 'S', the 'Pyramid', the 'Cross', group mass, the diagonal line, the 'tunnel', the 'silhouette', the 'pattern', etc.
I have read and outlined this book. The first few chapters are a bear to get thought because Arnhein is introducing the concepts of eccentricity and centricity and it is rather complex. If you stick with it, it will begin to make perfect sense and fortunately though out the book the author continues to overlap and restate this principle so you do finally get what he is saying.
My pet peeve is that many authors write to impress their academic counterparts. As a copy writer for years (self taught), I had only one desire in my writing and that was to communicate my point as clearly as possible. I wasn't ever trying to impress anyone with how educated I was, or how wide my vocabulary is. In fact, I tried very hard to write at the level than anyone can understand what I am saying.
By the way, I had to pay $48.00 for this book which has been reprinted. An original copy would be between $100 to $300 a copy if you could find one. What does that tell you?
This book seems almost written for students studying architecture. However, the principle is crucial to all art students. It is rather academically written and a slow read. With that said, it is essential that artists understand how powerful indeed are the centers found in a tondo (square/circle) or a rectangle, or any geometric form.
The center is powerful and being unaware of that natural "bulls eye" is to open oneself to making huge blunders in composition.
I highly recommend you read this and study the principles of centricity (formal, direct, centralized compositional devices), and eccentricity (informal in-direct compositional devices); the power of vortexes (arrows), and the pull of earth's gravity.
I lack one chapter finishing. This is just a classic book and be prepared to pay $80 to 300 for an original copy. What does that tell you? It is out of print and hard to find.
This book is a really easy read and the information is presented with such simplicity that it literally "sticks" in your brain. Pierce presents the very fundamentals in this little simple book and the illustrations are easy to comprehend as well. It is very well written in that it communicates a very complicated subject in a great simplicity. A must have for any artist.
I have just started this book but I can say that John Carlson does not know squatt about painting mediums. I ran this by Rob Howard on the Cennini form and he stated that all of the information on mediums was wrong...dead wrong. However, one member on the forum knew Carlson and his paintings and felt that his ideas on composition and landscape painting were right on. So I will read the book and report back when I have finished.
Composing Your Paintings by Bernard Dunstan
Composition of Outdoor Painting by Edgar Payne
The Power of the Center by Rudolph Arnhein
Composition by Cyril Pierce
Carlson's Guide to Landscape Painting by John Carlson
As I am discovering, composition is a visual language that over the ages of artistic development and analysis, natural fundamentals have emerged that almost all art critics and artists agree are principles that must be followed in order to create quality paintings.
These principles are sometime rather complex to put in to words. I find that many authors in an attempt to write in an academic way...often lose their audience. I will review the following books two of which I have completed and one I have just started.
Rob Howard has been harping for months now on the importance of "speaking" to the viewer though not only subject matter but also the very construction of the art. All of what he has been saying on the Cennini Forum is confirmed in all that I have read.
REVIEWS
Composing Your Paintings by Bernard Dunstan
This is a book that I did not outline but just read from cover to cover. It is very good and I would recommend it. The substance of his information is packed with practical methods every artist should know. His explanation of the "Golden Proportion" is very clear and easy to remember. Once you see this fundamental perfect proportion, you see it in almost all of the masterpieces. Dunstan is a very clear writer and it is easy reading and it's only 103 pages. This will support the other books that go in greater depth.
This is a book that I did not outline but just read from cover to cover. It is very good and I would recommend it. The substance of his information is packed with practical methods every artist should know. His explanation of the "Golden Proportion" is very clear and easy to remember. Once you see this fundamental perfect proportion, you see it in almost all of the masterpieces. Dunstan is a very clear writer and it is easy reading and it's only 103 pages. This will support the other books that go in greater depth.
Composition of Outdoor Painting by Edgar Payne
Currently I am at the center of this book and I can say that the information here is spot on. The only thing about this book is that Payne is not a very fluid writer. He inverts many of his sentences and places the most important information at the end.
Topics include:
• "The Approach To Art" -- the purpose and aesthetics of art, emotional impules , nature, discipline, influences, etc.
• "Selection & Composition" -- critical selection and judgment processes, mistakes in composing, simplicity; painting various objects including marine, mountains, trees, clouds, etc.; fundamental principles, styles, value, color balance, interchange, scale, etc.
• "Harmony" - color, pigment, rhythm, repetition, etc.
• "Types of Composition" -- symbols, steel yard principle of balance, the 'O', the 'S', the 'Pyramid', the 'Cross', group mass, the diagonal line, the 'tunnel', the 'silhouette', the 'pattern', etc.
I will update this when I have finished the rest of the book.
***
The Power of the Center by Rudolph ArnheinI have read and outlined this book. The first few chapters are a bear to get thought because Arnhein is introducing the concepts of eccentricity and centricity and it is rather complex. If you stick with it, it will begin to make perfect sense and fortunately though out the book the author continues to overlap and restate this principle so you do finally get what he is saying.
My pet peeve is that many authors write to impress their academic counterparts. As a copy writer for years (self taught), I had only one desire in my writing and that was to communicate my point as clearly as possible. I wasn't ever trying to impress anyone with how educated I was, or how wide my vocabulary is. In fact, I tried very hard to write at the level than anyone can understand what I am saying.
By the way, I had to pay $48.00 for this book which has been reprinted. An original copy would be between $100 to $300 a copy if you could find one. What does that tell you?
This book seems almost written for students studying architecture. However, the principle is crucial to all art students. It is rather academically written and a slow read. With that said, it is essential that artists understand how powerful indeed are the centers found in a tondo (square/circle) or a rectangle, or any geometric form.
The center is powerful and being unaware of that natural "bulls eye" is to open oneself to making huge blunders in composition.
I highly recommend you read this and study the principles of centricity (formal, direct, centralized compositional devices), and eccentricity (informal in-direct compositional devices); the power of vortexes (arrows), and the pull of earth's gravity.
***
Composition by Cyril PierceI lack one chapter finishing. This is just a classic book and be prepared to pay $80 to 300 for an original copy. What does that tell you? It is out of print and hard to find.
This book is a really easy read and the information is presented with such simplicity that it literally "sticks" in your brain. Pierce presents the very fundamentals in this little simple book and the illustrations are easy to comprehend as well. It is very well written in that it communicates a very complicated subject in a great simplicity. A must have for any artist.
***
Carlson's Guide to Landscape Painting by John CarlsonI have just started this book but I can say that John Carlson does not know squatt about painting mediums. I ran this by Rob Howard on the Cennini form and he stated that all of the information on mediums was wrong...dead wrong. However, one member on the forum knew Carlson and his paintings and felt that his ideas on composition and landscape painting were right on. So I will read the book and report back when I have finished.
Monday, July 21, 2008
July works in progress....
Finis.I finally finished these studies (left) and signed them. I've left them to compare.
These shells are suppose to be one hour paintings quick-ees but for the life of me I just can't get anything done in hour.My plan is to keep doing these until I quite obsessing for perfection. The little pink shell just needs some highlights and I am done with that one. The yellow shell has about three hours on it. I am improving my speed though.
Thursday, July 3, 2008
July Drawings
Here is another drawing...this time child. Strathmore gray/green, charcoal, cream pastel pencil.
These are recent drawing done on toned pastel paper Strathmore 11x14; CarbOthello Pastel pencil in Caput Martuum Red #645 and white. The object of these studies is to find pictures of fashion models that represent today's idea of beauty, and to reproduce them correctly in shadow and highlight, to learn to identify today's idea of beauty (this ideal changes as cultures change).
Thursday, June 26, 2008
Portrait Boot Camp - with Rob Howard
Click Title to View Slide Show
Haverhill, Massachusetts - June 6-10, 2008
Rob agrees with the philosophy of the military: recruits learn best under intense pressure. I attended the third art boot camp and once again came away a much improved artist. This was art school on steroids along the Merrimac (River).
What I had to do was swallow my ego and face my fears of failure....accept the pressure of painting about six and half hours for four straight days as fast as I could. It was going to be good for me and I was going to learn a lot and I did.
This was a very special camp. George, Susan, and I had Rob to ourselves for four straight days. (Frankly I was shocked that the camp wasn't packed out....and also thankful Rob decided to put it on anyway. How fortunate for us. Later Rob said that he didn't usually teach such a small class but wanted to try out some new ideas on us.)
Over the next four days, we all worked so hard that we literally broke out in a sweat at the easel. Everyday we made plans to go out to dinner together after camp only to cancel due to exhaustion but we did get to know each other over our lunches.
We were to experience a different challenge just about every four hours over the next four days.
Day one went fairly well for me. I was painting fast for me and encouraged. Once again, Rob showed us what great colors we can get with simple palettes.
We all know what a master Rob is at the easel but there is something about seeing him in action before your own eyes that brings a new appreciation for what he can do.
The first day we learned about lighting, the importance of a plumb bob, the importance of representing the range of values, the importance of edges, the "bump" and anatomy of shade and light. A draped mannequin was to be painted with the view of glazing her on day 3. The afternoon we moved to the next mannequin to study further the effects of light and more study of the anatomy of shadow and highlight and mass tones.
This was my attempt. Note how far to the left I placed the head on the canvas a mistake. Need lots more thinking before I start. Rob reminded me, "we are not making art we are studying." I felt better and kept going. Learned so much about lighting, shading.
All week, Rob set the standards high expecting our best effort, and gently he guided us individually with our unique needs.
Day two we were pressed under a deadline with a new setup that concentrated on drapery.
The day flew by with a second setup in the afternoon and more demos.
This is my attempt at drapery and glazing.
Day three we were glazing.... Rob demonstrated the proper way to apply a glazes to a grisaille (left & below) and a verdaccio (center) under-painting methods.
Then we moved on to the "beauty" ... a contemporary fashion model mannequin with a plaid hat. This time we were painting directly. Oh boy I will shine today...I can do that I thought.
Unfortunately, I made a huge mistake on my palette ... mixing the wrong white (titanium) into the mass tone and watched my skin tones die before me turning into a chalky dead mess...(oh no!!! I know better than that. What was I thinking?) Then I couldn't get the drawing right ... it was so far off I just cringed and no time to correct it. She looked deformed. UGH!! I felt totally the fool thinking "why did I think I could draw anything?"
Seeing our discouragement, Rob ... (with that impish grin said) ... "so you hit the wall did you?" And everyone agreed; it was a brick wall....an ugly end of the day for me.
Rob began blocking in the little "beauty" in pastel. He worked very quickly blocking in the shapes with fast broad strokes, then slowing, corrected the drawing, and before long had the thing knocked out.
Oh. He was teaching us something very important namely ... to start off loose and slowly tighten as you go to the finish. We had all been tight from the beginning....
Day 3 was over thankfully.
Walking back to our cars Susan, George, and I all were realizing that tomorrow was live model day ... ... well no guts no glory ... nothing to lose. Yet we all had come to the conclusion that lessons learned on that day would never be forgotten.
Day 4 ....we began the day minus our egos and performance anxiety since that was dealt with the previous day all residing at the bottom of Rob's two trash cans. I remember standing in front of that easel ... thinking about Rob's demo at the end of the day ... start loose ... and I started....verrrry loose.
Live Model Setup ... the final day. It was going well much better than the day before. I blocked in the whole canvas and drew the model fairly accurately..
I was moving forward making little corrections and looking for big shapes...
What I had been learning was clicking and the fear was gone. As Rob promised, any fear I had of painting a live model was completely gone.
In fact, it felt easier.
I know this is not a great portrait; that wasn't the point. What is impressive that this is just four hours of work. This was I there to learn. I know now, that I can take this now and finish it and when it is finished it will represent the model quite well. THAT is the point.
It was on that day that Rob came up to my painting and took my brush and applied the ever so slightly warmed tone to the "bump" to the cheek and then the very palest of pinks for the highlight and stroked it perfectly. He took that brush and confidently placed it, then deftly swept it to a feathered end in one long artful swoop.
Wow. I truly understood. That is what I need to learn to do and I know I can do it. Camp was over. We all put down our brushes, cleaned up, packed up, and went over to one of Haverhill's great pubs for lunch and enjoyed a relaxed time chatting with Rob and the model ... and saying our farewells.
I came away from camp grateful and a little sad.
Like the oileo verdi basking in the sun (left) sometimes ya need a little heat from the sun to clear up the cloudiness. That is what the camps have done for me.
This was my third boot camp and Lord willing I will be going to the Landscape Camp this fall. With each camp my skills are growing.
This is a year that I shall never ever forget ... and I know George, Susan joins me in thanking Rob from the bottom of our hearts. I hope more advanced camps will develop...if so I'll be there.
Haverhill, Massachusetts - June 6-10, 2008
Rob agrees with the philosophy of the military: recruits learn best under intense pressure. I attended the third art boot camp and once again came away a much improved artist. This was art school on steroids along the Merrimac (River).
What I had to do was swallow my ego and face my fears of failure....accept the pressure of painting about six and half hours for four straight days as fast as I could. It was going to be good for me and I was going to learn a lot and I did.
This was a very special camp. George, Susan, and I had Rob to ourselves for four straight days. (Frankly I was shocked that the camp wasn't packed out....and also thankful Rob decided to put it on anyway. How fortunate for us. Later Rob said that he didn't usually teach such a small class but wanted to try out some new ideas on us.)
Over the next four days, we all worked so hard that we literally broke out in a sweat at the easel. Everyday we made plans to go out to dinner together after camp only to cancel due to exhaustion but we did get to know each other over our lunches.
We were to experience a different challenge just about every four hours over the next four days.
Day one went fairly well for me. I was painting fast for me and encouraged. Once again, Rob showed us what great colors we can get with simple palettes.
We all know what a master Rob is at the easel but there is something about seeing him in action before your own eyes that brings a new appreciation for what he can do.
The first day we learned about lighting, the importance of a plumb bob, the importance of representing the range of values, the importance of edges, the "bump" and anatomy of shade and light. A draped mannequin was to be painted with the view of glazing her on day 3. The afternoon we moved to the next mannequin to study further the effects of light and more study of the anatomy of shadow and highlight and mass tones.
This was my attempt. Note how far to the left I placed the head on the canvas a mistake. Need lots more thinking before I start. Rob reminded me, "we are not making art we are studying." I felt better and kept going. Learned so much about lighting, shading.All week, Rob set the standards high expecting our best effort, and gently he guided us individually with our unique needs.
Day two we were pressed under a deadline with a new setup that concentrated on drapery.
The day flew by with a second setup in the afternoon and more demos.
This is my attempt at drapery and glazing.
Day three we were glazing.... Rob demonstrated the proper way to apply a glazes to a grisaille (left & below) and a verdaccio (center) under-painting methods.
Then we moved on to the "beauty" ... a contemporary fashion model mannequin with a plaid hat. This time we were painting directly. Oh boy I will shine today...I can do that I thought.
Unfortunately, I made a huge mistake on my palette ... mixing the wrong white (titanium) into the mass tone and watched my skin tones die before me turning into a chalky dead mess...(oh no!!! I know better than that. What was I thinking?) Then I couldn't get the drawing right ... it was so far off I just cringed and no time to correct it. She looked deformed. UGH!! I felt totally the fool thinking "why did I think I could draw anything?"
Seeing our discouragement, Rob ... (with that impish grin said) ... "so you hit the wall did you?" And everyone agreed; it was a brick wall....an ugly end of the day for me.
Rob began blocking in the little "beauty" in pastel. He worked very quickly blocking in the shapes with fast broad strokes, then slowing, corrected the drawing, and before long had the thing knocked out.
Oh. He was teaching us something very important namely ... to start off loose and slowly tighten as you go to the finish. We had all been tight from the beginning....
Day 3 was over thankfully.
Walking back to our cars Susan, George, and I all were realizing that tomorrow was live model day ... ... well no guts no glory ... nothing to lose. Yet we all had come to the conclusion that lessons learned on that day would never be forgotten.
Day 4 ....we began the day minus our egos and performance anxiety since that was dealt with the previous day all residing at the bottom of Rob's two trash cans. I remember standing in front of that easel ... thinking about Rob's demo at the end of the day ... start loose ... and I started....verrrry loose.
Live Model Setup ... the final day. It was going well much better than the day before. I blocked in the whole canvas and drew the model fairly accurately..I was moving forward making little corrections and looking for big shapes...
What I had been learning was clicking and the fear was gone. As Rob promised, any fear I had of painting a live model was completely gone.
In fact, it felt easier.
I know this is not a great portrait; that wasn't the point. What is impressive that this is just four hours of work. This was I there to learn. I know now, that I can take this now and finish it and when it is finished it will represent the model quite well. THAT is the point.
It was on that day that Rob came up to my painting and took my brush and applied the ever so slightly warmed tone to the "bump" to the cheek and then the very palest of pinks for the highlight and stroked it perfectly. He took that brush and confidently placed it, then deftly swept it to a feathered end in one long artful swoop.
Wow. I truly understood. That is what I need to learn to do and I know I can do it. Camp was over. We all put down our brushes, cleaned up, packed up, and went over to one of Haverhill's great pubs for lunch and enjoyed a relaxed time chatting with Rob and the model ... and saying our farewells.
I came away from camp grateful and a little sad.
Like the oileo verdi basking in the sun (left) sometimes ya need a little heat from the sun to clear up the cloudiness. That is what the camps have done for me.This was my third boot camp and Lord willing I will be going to the Landscape Camp this fall. With each camp my skills are growing.
This is a year that I shall never ever forget ... and I know George, Susan joins me in thanking Rob from the bottom of our hearts. I hope more advanced camps will develop...if so I'll be there.
Monday, May 19, 2008
Bluejay On Ground
This is not officially finished but I am pleased with how I am painting. I'm not please with the photo. The brush strokes are very soft and subtle on the original but not on this jpg but it's the best I can do. The bird is done with very few strokes and it says just what I want it to. I haven't decided if and what I will do next but I will not touch the bird.
All that I have learned from Cennini Forum and Boot Camps are beginning to pay off. I am encouraged.
Preparing for Protrait Boot Camp
This is a Work In Progress (WIP)... a Graiselle underpainting technique where the painting is done in monochrome gray. Once it is finished and dry, glazes will be added to color it. This is the first task we will be required to do at the upcoming Portrait Boot Camp (Haverhill Ma - June 6) and I want to be able to finish it. This is a bust of Michanelo's David (plaster casts are used at camp for this) .... I wanted to see how long it would take me. Hopefully I will be able to paint faster as a result and complete the assignment.
I will post updates in the progress.
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