piddle: to dawdle, putter, squander time

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.