A Work In Progress

Sketch- made after thumbnail and decision to focu on the
hat itself and not the fence

Original Photo

Added pastel pencil and finally decided to locate
hat in upper right quadrant of paper; also
working out values

Initial pastel: 8x10 on 600 grit
Uart Sanded Pastel Paper --
not my favorite medium, but for competition,
it is required. 

Possibly the final pastel painting, though it still needs to be tweaked.
I sill like the subject, but  . . . the angle is wrong, and to me, it's not a still life. I've noticed other paintings in the competition that are less still life than this--creeks, rivers, horses, etc.  I may or may not enter. At least it doesn't cost anything. I really, really would love to win some of the prizes--a new set of pastels and year's subscription to the Pastel Journal. *sigh*

Plein Air, Acts II, III, and IV

Whew!

Except for my first lesson in pastels, I don't think I've ever learned so much, so fast as I have working en plein air, which is a French terms that means "in the open air," especially in reference to painting. 
Preston King, my instructor (for anyone who has not read this blog before), said that working en plein air would make me a better studio artist; I don't know about that, but it does make me want to finish a painting in shorter time and makes me realize that when one painting is done, it's DONE. Learn from it, and move on to the next one. Not all paintings are prize winners; not all are precious, but the more that one does, the more one learns, the better one gets. Talent is a gift; we all have talent, but as Stephen King says, "Talent is as common as table salt." The difference comes from hard work and that involves practice, principles of composition, practice, color theory, practice, and much, much more that I still have to learn.

In order to prepare for the Lamar Arts' Paint the Town competition, Preston had me practice painting en plein air as my art lessons. I can't begin to explain how terrifying as well as how much fun it was. The worst day was the first. Nothing is more intimidating than having the instructor paint the same subject and compare the two. However, nothing is more informative, either.  One's mistakes are glaringly obvious, and while embarrassing, the lesson is not mean-spirited and one learns more than can be imagined. Though to be honest, I think once was enough for me.

Sorry . . . a lapse into creative, though one-sided conversations: 

Why, thank you, Mr. DaVinci; I'll take my palette of pastels and go home now.  I'll see you in a few centuries; that's a mighty fine table you're painting there. The composition is excellent and one's eye falls immediately upon the fellow with the long hair, just to the right of center, wearing red, with a blue robe. Me? Nothing . . . just a couple of rocks.  

Ah . . . Mr. Van Gogh! You have long been my favorite artist; yes, I know your stars have become cliche, but to me, they still seem the inside of my mind. There have even been poetic masterpieces written to them. And songs. I just like to stare at them--as I do your sunflowers at times. Me?  Um . . . it's an apple.  I have not yet mastered the tree, though I do a fair to middling bush now and then.  

Finally . . . the popular Mr. Kinkade! Your work is the most falsely romantic I know, which is not to say I dislike it. But I'm beginning to prefer the reality of romantic paintings--the lacy shadows of trees, the different shades of purple as well as green, the variegated shades of rocks. Me? I'm happy with the thundering velvet of storm clouds and the roads that lead me onward. 

Now . . . Back to the Acts:

Act II: This was painted from inside the studio at Generations Gallery, looking out the window; it is as bad as it looks. No point in delineating all the flaws; they're obvious. Just moan and groan and move on to the next one, the following week. 

Act III:  The picture I took of it was crooked, but at last I had one that was not a total embarrassment. Thanks to Joy Morgan, who takes pastels on Friday morning as well, who suggested I lower my roof line and to Preston (again and always), who helped with the composition and with the "reflections" in the window.  I had no idea how much difference that would make. 

Act IV: This is the plein air painting I completed in Barnesville, Georgia, on April 25, 2013. Despite much more professional work from some of the finest middle Georgia artists I've seen, this modest painting, a simple 8 x 10  won first place.  I don't think I've ever been so humbled in all my life. 

Plein Air #1: The Speaking Rocks

“Just look around,” the instructor said.

“Find something that speaks to you.

The sandy orange beach,

 the tall pine on the

green-brown outcrop of land.

 Here. Watch me.

Make a telescope of your hand.”

So I followed his direction,

but the beach was void of life

and the tree stood, solemn and alone.

Then  . . . I saw two rocks

begin their morning swim—

or so they said to me.

The smaller stone ran fast ahead

of its shadow fallen just behind

and looking back a crevice smiled

on the greater boulder by his side

wading in, slow and deep.

The sun was gold and purple-green

playing catch in shadows on the pond

and those two rocks

they stayed that day,

long after we were gone.

Notes from Artists' Network Free Weekend Videos

I love free trials. I hate when they end. One day, perhaps, I'll be able to subscribe for 6 months and get to watch the ones I want as much and as often as I'd like.  Here are the notes from Pastel Techniques in Plein Air. In an upcoming post I will recount my first true plein air experience. It ain't like paintin' in the backyard.  I hope between these notes, Preston's directions and beginning experience that I'll eventually graduate to plein air--I think I need to aspire to an apple. I think that would be a fitting plein air for me. :-)

NOTES: 

Pastel Techniques for Plein Air Painting with Stephanie Birdsall

Dress in Neutral colors

Large shapes

Move horizon line if too close to center

Look at values--dark/light; dark/light

Consider alcohol to go over initial block in; not heavy, don’t want to lose tooth--dampen large brush; tap on paper towel so it’s not too wet; help create block in or under painting with the alcohol

Try ampersand or kitty wallis paper

What a good point: you should not have someone have to ask you what time of day your painting is; it should be obvious

Also, get darks down and they will direct the painting --yep, yep. That is what preston did yesterday, and what I did, to a lesser degree.

Trust yourself. [MY note to me]

Lay in a under painting in a monochromatic color, like brown, as in yesterday or sienna or whatever

After the under painting, begin working dark to light in the local color

Value Studies #2 and #3

I promised myself that I would continue the value studies and while I've struggled, I believed I've learned. Too bad I didn't begin this pursuit a few years ago (say, when I was 20). I believe that if I'd been practicing and learning the past 40 years, I might may a journeyman. Lol.

There isn't much time to post, as I am waiting on "my ride," as soon as he gets out of the gym, so I'll just offer pix and add commentary later:

Value Study #2:

Value Study #3:

Reflection on an EARLY Monday Morning

There are times when the conscious part of my brain  tells me to sit down and begin the story that's rumbling around, though it has not yet taken complete form, but there is another, deeper rumbling in the folds of mymind. Instead of beginning a writing "assignment" for writers' group, I found myself  composing something completely different. which came out more effortlessly than what  I planned. Lol. I can't help but chuckle at myself. Perhaps later I can can get back to my "assignment," if my impish muse allows. 

Everything I Really Need to Know I Learned at Generations Gallery
(With apologies to Robert Fulghrum)

1. Show, don't tell--whether it's writing, painting, dancing or any other art
2. "Big" words are not always the best words
3. There are no mistakes, only opportunities for learning
4. Think like a child: kids are better at accepting criticism & discouragement than adults; they start over; we give up
5. You're never, ever too old to try something new and wonderful
6. Accept people with love and kindness, for who they are, here and now, without preconceived expectations and they'll surprise you every time
7. Art--writing, painting, sketching, dancing--equals personal joy and satisfaction, complete unto itself and is a part of the spirit, where lies a divine happiness that nothing and no one can diminish
8. A community of artists in conversation is even better than . . . chocolate.
9. "Home" is where the soul finds joy, contentment and creativity.
10. Life interferes with art--but does not negate its importance.

A Value Study from Wet Canvas

God Bless Piddling!  Long may we PIDDLE. "Life, Liberty, and the pursuit of Piddling," I say.

*sigh* I have no idea WHY comparison/contrast is so difficult to understand--or so difficult to teach. To my way of thinking, I've done all but write the papers for students, and still some of them are giving me blank stares.

So . . . to refresh my soul, I went to Wet Canvas and through various searches found three lessons on VALUE.  (Wet Canvas - Value Study 3) Only 2 months behind in the workshop as it is presented, I backed up to the first lesson in January (Wet Canvas - Value Study 1), read, studied, took notes, learned a new term or two ("shapeweld" and "linking") that relate to art. At the end of the lesson, are provided various references photos, all of which are copyrighted, but from which artists or students of art can work.

I think I learned a great deal form this exercise, even though it is only watercolor and obviously lacks a great deal:

When time next allows, I will make an effort to go to Wet Canvas - Value Study 2

It's amazing how hard I work on something so simple as 3 brown eggs--with such little success, but the time sure does pass pleasantly, as I paint and listen to Jane Eyre on iTunes' podcast: Just the Books.