piddle: to dawdle, putter, squander time

Monday, July 15, 2013

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*


Sunday, May 12, 2013

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. 

Tuesday, April 16, 2013

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.




Sunday, April 14, 2013

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


Thursday, April 11, 2013

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:



Monday, April 1, 2013

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.

Tuesday, March 19, 2013

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. 

Saturday, March 16, 2013

American Stonehenge

I have a friend whose house backs up to a creek. Lucky for me! She has taken and shared some wonderful pictures. I love the tangled, often overgrown creek sides and the attendant beauty in the light that shines through the trees and the shades of foliage and occasional flowers.

I really enjoyed doing this painting. The bridge, of course, runs across the creek, and it seemed to me that its pillars are like many other bridges we have here, in the South, and I would guess, all America. We don't come close to anything like Stonehenge, but, of course, we have plenty of concrete; perhaps in a far, far distant future, someone will discover our remains, as we have found the Druids.  I think theirs will still  be far more mystical, but, in the meantime, we have our American Stonehenge:


Just a Beginner

One of my good friends from the Generations Writers Group came to pastel class today. I was so happy that she came and played with us. Preston, of course, separated us, so we wouldn't talk, and I had a momentary relapse, thinking I was in second or third grade, but had I been teaching, I would have done the same thing. Sometimes students who have been taking a class in any subject (or art) may inadvertently say or do something that is not exactly in keeping with fundamentals the teacher hopes to convey. Not only that, but it can be unproductive for the seasoned student as well--one might think one knows what one is doing, which, for me, is not good. I approach every painting and every piece of writing, as if I were a beginner. I try not to let myself think of myself as intermediate or (worse) advanced. If I do, then I'll forget the basics--and I don't want that.

It was delightful today to hear Preston telling Kelli and Carol the basics he's always told us: "Simplify. Whatever your subject is, look at the shapes. . . . Don't try putting eyelashes on the mosquito yet. . . . No, you're not done yet. . . . Keep your fingers out of it . . . . Let the pastel do the work."

It took me back to the day I got up the nerve to come to my first pastel class and completed the ever popular apple:


After I completed the apple in class, I came home, found a picture of a comely pear, and painted it, so that I wouldn't forget the technique and so that I would be able to keep my fingers dusty. Naturally, having done it at home, there are flaws . . . the shadow doesn't "kick up" the way it should behind, and there's a "halo" around the pear, that I realized was there, but at the time, didn't know how to correct.


Still . . . I'm so very glad I worked on the pear at home. The one thing I realized about both the apple, pear, and any other class I've ever taken: if I enjoy what I'm doing, and being taught by someone who knows his/her stuff, I work twice as hard at home, to be prepared for the next class. It might not show it in my work, but . . . I'm just a beginner. 

Monday, March 11, 2013

Spring Break Inspiration


The Mountain Sighed
(A make-belief Drew & Pappa story)
He had been lost to himself for some time. Somehow alive, but not alive; aware, yet unaware. Alzheimer’s had muddled his brain so that he was no longer sentient; his body responded only to sensations, textures—tactile awareness.  He had no ability to tell how many minutes or months he had been this way. He knew no one, not even himself.
And then he did. His mind seemed to open to brightness, to a white fog that seemed to encompass him; slowly, as from the ground in front of him, it seemed to gradually lift, to become thinner, less white, more gray and he perceived the ground itself: rich, black soil, covered with leaves, green and brown and tree trunks on either side of him that seemed to part for a road, not yet paved, rough yet well trodden which stretched before him. Looking up, the grayness clearing, becoming only a heavy mist, he saw, in the distance a figure advancing toward him, moving in a familiar, firm stride; a figure that seemed to walk with a purpose. Above him, the impenetrable white fog became clouds in a sky of white, gray, blue and lavender. His attention now, though, was not on the sky but on the figure greeting him with a smile he knew and eyes the same blue as his own.
“Who are you?” he asked, forgetting anything else.
The figure smiled broadly. “You don’t even know yourself, much less your own kin.”
The man looked at the figure closely. In truth, he had just discovered himself again, and did not feel he could know anyone, kin or not. He shook his head, thinking to free his sight and his mind from cobwebs. He saw that he was now in his familiar khaki pants and plaid work shirt of thin cotton. On his head was the work hat that he had worn for years; on his feet, his brogans. He was a man in his prime again; he could feel his muscles flex and knew strength in his arms and hands that he had long forgotten. For a few long moments he forgot this figure of a man and took stock of himself, fully alive and aware for the first time in what seemed new life. Then he remembered his companion, and again asked, “Who are you? Where am I? How did I get here?”
The stranger smiled again. “You can call me George. The rest of your family is waiting to see you, but I’m usually the one who is the first to welcome my grandsons—or great grandsons, in your case. D’you remember now, who you are?”
“Why, sure. I’m Andrew Jackson Brannon, but my folks call me Jack.”
“That’s right.”
“But I just got here.”
“Yes, it took you some time to get here—longer than we would have liked, but let’s not worry about that. You’re here now. Look around. D’you know where you are now?”
Jack took in more of the area—saw colors of brown and green, heard sound of  water running out of mountain rock, becoming a creek, cutting its way through a ravine close by. Mountain laurel bloomed on a hill. “I’m back home,” Jack said. “But I don’t know how I got here.”
“Never mind that now,” George said. “Folks up ahead are looking to see you—your wife and son most of all.” Sudden tears came to Jack’s eyes. Could he—would he—see them again? “I just thought, before I took you to them, you’d like to see your grandson once more. It will be quite a while before you get to shake his hand.”
“Where is the little fellow?” Jack wanted to know.
“He’s not such a little fellow now,” George replied. “Since we’ve been on this road and talking, he’s just about grown up. Look.”
As George pointed, Jack could see that he was, indeed, on the top of a rise. Not a mountain where he had grown up, but one George seemed to know well. Jack followed him up a rise to a clearing, where George pointed down.  Jack followed this line of sight and saw a young man, wearing black leather jacket, baseball cap and jeans, making his way to them, though it was apparent the young man believed he was alone. He stopped, periodically, looked around, as if to memorize the scene and continued up the steep walk, to the plateau.
Jack smiled broadly. That was his boy alright. “What’s he doing here, George?”
“Oh, he’s here to do school work on this place. His mother told him I fought here, back in the Revolution, with the other Over Mountain Men, so his folks brought him here. It was his idea to climb up to the top by himself, though.” They watched in silence as the young man made his way through the trees. “He’s built like us,” said George, “but his eyes are brown. Reminds me of my Cherokee wife. Her name was Acorn Eyes—they were brown, like his.”
Jack watched in silence, as his only grandchild stood close by, within a few feet of him and George. He wanted badly to reach out to him, to touch his shoulder, to let him know he was there, but knew how impossible anything tangible might be. Yet he was proud of him and gratified to at least be here, to see him, nearly full grown.
George turned to Jack. “Glad you came now, I reckon. We’ve got to get going, though. I promised your wife it wouldn’t be long.” 
“I’m ready,” Jack nodded silently. He felt happy for what lay ahead; sad, for leaving what was behind. Just the way of life, he knew. He drew in a deep breath, full of the sweet aromas of the wood, the mountain, the life underfoot, and as he exhaled, the white fog descended once more, enveloped both men, and they were gone.
The young man on the cusp of manhood was now at the bottom of the hill, with his parents. “So was it worth the trek up to the top of the mountain?” his mother asked.
“Yeah,” Drew replied. “I really got a better idea of what the land was like. I might have stayed longer, but it looked like it was about to get foggy?”
“Foggy?” his mother asked. “In the middle of the day?”
“Yeah. I know how it sounds, Mom, but yeah—it was like a cloud was coming down. It was weird. And one other thing—up there at the top, there are no trees; it’s like a plateau, but I could swear I could feel the mountain sigh, and there was a warm wind, rising from the ground.”

Thursday, February 28, 2013

OH! The Woes of Perspective

I just don't get it, so . . . I'm trying to learn. Here are the links I've looked at so far. I've printed hard copies of some, but I don't want to lose them, so . . .:

The Helpful Art Teacher

Artist Network Articles

How to Draw a House in 2 Point Perspective

Perspective Made Clear

Draw/Sketch Perspective

And this website, just for fun (and because teachers have the same response, whether art or English):

The Angry Art Teacher

Wednesday, February 27, 2013

Learning a New Term: Pochade

The following information is from:  Pochade

The term ‘Pochade’ is derived from the nineteenth century French verb Pocher meaning to sketch. The word itself, however, holds much more meaning and inspiration for it is a gateway to endless potential.
The Pochade box is normally of smallish proportions. The exact size and materials may vary, although the traditional box is wooden and must have three consistent elements. The first of these factors is a hinged lid which aptly rests at the correct angle to use as an easel. Ingeniously the dual purpose lid also serves as a storage space to safely transport the drying master pieces. The second element is a palette, which neatly rests on top of the lower section of the box. It can normally slide to one side thus revealing the third element- the storage space for the artist’s materials.
This miniature portable studio became very popular throughout the 18th and 19th century- particularly with artists such as Turner and Constables. It was a practical way of being able to seek out new places and challenges and then transfer them back to the larger canvas in their dwellings. In spite of the obvious advantages the Pochade box became shunned by artists in later generations until the mid 1980s when a Pochade revival began.
Typically Pochades are small pieces of art work created in under an hour using mediums of oil, pastel or watercolour. They have the versatility to be created in plein air, in the quest for perfect light, or inside man’s own creations. There is no need for elaborate detail or a deluge of easels and artist materials. Pochade painting is designed to be a swift facilitator of the muse. The artist sees the inspiration, opens the box, pours out his soul and closes the box- leaving him free to experience and be inspired yet again. The result is a three dimensional capture of line, colour, tone and mood.
The Pochade stands for much more than a transportation mode of convenience. It stands for freedom; freedom of mind, freedom from limits and freedom of space. It is an accessible portable way of experiencing art for what it is, how its roots began and ultimately what it will become. It is a way of capturing life as it exists at this very moment. A pocket sized postcard of the senses.

At some point, I hope to summon the courage to paint en plein air. Right now, the concept is challenging, but daunting; I can't see investing the sort of money I see that is often spent on easel, pochade, umbrellas, clamps, and the other needed or helpful items that seem required of artists. Since I am a very long way from being a professional, I believe I will be working from a tv table, with my desk top easel strapped down--perhaps by duct tape. Perhaps I should call this blog the Redneck Piddler. lol.  I know I will feel inferior to those with more experience, but I think before I can even hope to invest in this effort, I'd best see how the initial foray turns out. Preston has said that he would like for us (his two students--Joy and I) to enter the paint out competitions in Barnesville and Madison.  ha!  Terrifying. Of course . . . if we want to learn and employ what we've been taught, even as amateurs, I understand the reasoning, but  . . . still . . .  I was planning to do the next plein air at Generations Gallery, but had not considered anything other than that. So . . . IF time allows, over spring break, I will attempt to get something like a plein air set up configured.  . . . minus the standing easel, pochade, and the other accouterments.  Redneck Inventioning, here I come! 

Tuesday, February 26, 2013

Office Sketch and Value Study

Looking for a new subject to paint, I went through old, old photos I took once upon  30 years ago. I ran across one of a sad, forlorn looking house and tree. Their very starkness and barrenness were apparent in the photo years ago and still seem that way to me. At any rate, whether they will become a pastel painting is anyone's guess. I tried to create a values study using Tombow Dual Brush Pens, of a grayscale palette.  It's not quite right, but . . .  that's okay. That's why it's just the initial idea & sketch. Besides, in my next life, I'll be perfect.  Lol!!




Clouds #3

A few posts down, there is the original photograph that I snapped from my car, and, above that, the watercolor. Here is the pastel painted from the initial photo and watercolor. It looks fuzzy and out of focus because it was painted on velour paper. If you're familiar with velour fabric, you know what the paper feels like. Joy Morgan was kind enough to give me a piece of the paper for my own use and experimentation, and the clouds seemed to be an appropriate subject for the fabric-like paper.


I've read several reviews of people on www.dickblick.com who love this paper; I'm afraid I don't share their enthusiasm. I find that the subject of the painting makes the difference in the support I should use. A painting with great rough texture might call for U-art paper; the clouds did work well on velour; clairefontaine paper is the best paper for almost everything; mi-tiennes is good for many pastelists. I don't like it at all.  Of course, it comes down to personal preference, as in all things.

Wednesday, February 20, 2013

A Poem for Late February


Where this poem came from:  
This observation simply occurred to me today, when I came to work. I have noticed this young woman this semester, and I did consider telling her how nice her hair was; then it occurred to me what her reaction might be. And it made me think that we now live in a society in which we can't even accept a compliment from a stranger, and that that stranger might not want anything at all--except to acknowledge someone else's humanity.  The last two lines of the poem are ego-centric, but with the intent that the "first person" speaker could actually be anyone, as easily as it could me. 

Observation and Confession

I noticed this semester, same time, same place--
a young woman and her laptop,
sitting in the foyer of the building.
Her laptop, being open, I noticed first:
blue swirls on background of white—not waves exactly—
at least I don’t think so. Swirls. Lovely really.
And she is, too.
Young, blond, slender, comely.
Today her hair no longer fell in a cataract to her shoulders;
It was cut, just below the ears,
making her seem older, her eyes larger, lovely still.
What I wanted to do was to sit beside her,
tell her that I noticed her, her hair and laptop,
let her know that she needn't sit alone.
But who was I to do such a thing?

“You won’t believe what happened today,”
I could hear her tell a friend. “This woman
just sat down and started to talk to me. She’s been
watching me this semester—same time, same place
when she came into this building.
No, I have no idea who she is—or what she wants.
Telling me how nice I looked, with my haircut.
I think she’s nuts.”

Indeed, surely I must be; for all I would ever want
might be for someone to notice  . . . me.  

Sunday, February 3, 2013

Sunday Play

What I love about watercolor is that it's quick, fun, and I don't feel that it has to be well done. It can be simple and still serve a purpose. This morning before church, I was flipping through various pictures I'd taken  the last few years. I found a photo I'd taken on the road home, about a half or three-quarters of a mile from our house. I'd tried drawing it once before, but knew then even less than I know now, so I'd left it alone. Today, since I was just piddling, I decided to sketch it, then use watercolors. Somewhere along the way, I began to see the tree's shapes and began to understand what Preston has been saying about shapes and clumps of color. It's waaaaay not perfect, but then, I'm learning that it doesn't have to be perfect to recognize  a concept. I just have to keep piddling and at least I begin to understand the idea, even though I don't yet execute it as well as I'd like.

So . . . The Road Home:


To distract myself from additional homework this afternoon, I tried to draw & paint in watercolor a lovely little gosling I was lucky enough to snap a picture of. It's very cartoonish, but I had fun: 



Painting a picture
Writing a poem
Saying a prayer . . .
They are, in truth, all one.


Saturday, January 26, 2013

Notes on Studios from Pastel Pointers

"To have a sacred place is an absolute necessity for anybody today. You must have a room or a certain hour of the day or so, where you do not know who your friends are, you don’t know what you owe anybody or what they owe you. This is a place where you can simply experience and bring forth what you are and what you might be. This is the place of creative incubation. At first, you may find nothing happens there. But, if you have a sacred place and use it, take advantage of it, something will happen.” (Joseph Campbell)

"The French term for studio is atelier. Besides referring to an artist’s place of study, atelier curiously can have the connotation of housing an alchemist or wizard. So besides being a place for meditation and prayer, the studio/atelier can be the place where you allow yourself to experiment, transform, and produce magic – Voila!"   ~ Richard McKinley

Success & Failure

The really great thing about art is that there is seldom TOTAL failure in what the artist does. Of course, the oppositte is true for the novice: there is seldom perfection. Whether we are writers, artists, or cooks, most everything we do is a combination of success and failure. No matter how much we would like for our work to be simply the best WE can produce, sometimes the best we can do is LEARN from what we've attempted. As Richard McKinley says and as Preston King continues to remind us ME!!), not every painting is "precious."  So it is with writing as well. Not every poem "sings" and cliches work themselves in despite my best efforts. Do I always take the time to revise? More so than I used to, but not as much as I should. The key is still what I always told my students, what I still tell myself: hang in there. Persistence is not the only reward. In attempts we make, we are still happier and more gratified for the effort. If we were ever to reach perfection, what then? I shudder at the expectations. No . . . I paint. I write. I make mistakes. I learn. I try again. Not a bad cycle. Hakuna Matata. No worries.

I'll post the last painting I attempted, with notes, as soon as I take a picture of it. The notes will help me remember what I learned.

In the meantime, I decided to work on preliminary watercolors today, in my watercolor journal each student received in the workshop this past fall. The efforts here are not meant to be finish products, but help to capture the color, general shapes, values of  the subject. Adjustments can be made before putting pastel to paper. And there's something . . . nice  . . . about work that one knows does NOT have to be "right" or "perfect" going in. It's like a rough draft for a piece of writing. I can take it or leave it, change it, or refine it.

The Mailbox:

 
 
Clouds (NOTE: I LOVE skies and clouds; my dad used to call me and ask if I had seen the sunset, because on some evening, it was simply beautiful. I missed a lot of sunsets. These days, I see many sunrises and afternoon clouds. Following the watercolor is the original picture, taken from my phone; I mention that because they are NOT as similar as one might wish. Such is life.)
 
 
 
All I can say is that in my next life, when I come back slim--no, SVELTE--and organized, and everything else I'm not now, I'm going to have a camera phone with more than 3 megapixels. LOL!!
 
 


Thursday, January 24, 2013

Nonviolent Takeover

This is roughly my fourth pastel painting, and the first one I did truly "on my own." There are a host of errors that accompany this work. There is no real "focal point," for one; it looks cartoonish; the "path" has blocks, not flat stones--because I couldn't figure out how to do them, even after my instructor, Preston King, explained what to do; the leaves and greenery look distinctly individual, instead of "clumped" or grouped.

But still . . . I like it. My son chose the subject, so that helped in its appeal; it looks medieval, which I like; the green and black in the very initial underpainting, on the sides was not bad, but most of all . . . I learned what NOT to do. This was done on Cannes-Tiennes paper, rather than Clairefontaine. I won't say I will never use it again, but certainly prefer Clairefontaine when I can afford it!!  

I continue to learn and I'm thankful for the mistakes and flaws from which I can learn. Sometimes looking back makes me mindful of what not to do.



Lilies





(The following poem needs a great deal of work; the painting also needs to be re-done--I've only painted one other "flower painting." Blooms are very difficult--I've seen some gorgeous pastel paintings of flowers; this is not one of them. Ahhhh....something else to aspire to. (Good thing we can laugh at ourselves, eh?)  The other thing I should say, in case anyone else reads this . . . the poem is purely fictional.)

The day the lilies bloomed was one year to the day
     my sister died.
There were three of us--my mom, my sister and me--
just as there were lilies, pink and lavender.
Three.
But my sister had some troubles--we never knew just what
and that morning, mom called up to wake her,
but silence was all she got.
Mom went upstairs, banged on her door,
but not a sound, not a word
came from behind my sister's door.
When Mom went in, it was her screams that I heard.

There was no note. No reason that we knew
for why my sister did
what my sister felt she had to do.
If it had been a sniper, some teen-age discontent,
we at least could believe that she'd been happy,
that her soul had been at peace, even if it wasn't true.

But she's gone, without a legacy
except the lilies by the door
They've never bloomed before.
I wonder . . . I can't help it . . . next year . . .
Will there be any more?


Thursday, January 17, 2013

Camus & Me

"In the midst of winter, I learned that there was within me, an invincible summer.  And that makes me happy. For it says that no matter how hard the world pushes against me, within me, there's something stronger--something better, pushing right back."
~ Albert Camus


Winter Snow - 2011


On Piddling

"You like to piddle more than anyone I've ever seen,"
said my mother.
It was neither a condemnation nor an accolade,
simply a statement of fact.
I had sense enough back then to be sensible.
I knew that a life could not be exist on piddling,
and if I thought it could, my mother's stern attention
reminded me that it would not.
So I studied, became responsible,
did my best, made her proud.

But still I made mud pies, imaginary friends,
listened to all the stories my dad could read or tell,
and piddled.

I still work, but I have plans;
I plan to piddle--all I can.