At todays meeting Loretta L, Geri, Tim, Susan, Mike, Jeanne, Jeanie, Kristina, Kathy, Ward, Carolynn (new), Genie, Dave, Sharon, Jim, Eunice, Loretta U, Kristina, Christine, Tom, Anna, John, Paula, and me Celeste.
Today’s suggested table topic: how do you describe light in paint? How do you “capture” the light? Do you have specific tips?
Celeste: I read an article about the Boston School of Painting, specifically notes from Frank Benson. He said that if you have trouble in your painting go back and revisit the light and shadow. The problem often comes from painting objects instead of painting how the light falls upon the object. I’m showing recent paintings. (I like to paint these small paintings, it makes daily painting manageable).
Mike: Watercolorists know that this is the light! (Mike holds up a white paper) (laughter)! In watercolor we have to be mindful to reserve the light in the paper. I took a workshop with Eric Wiegart he recommended Carlson's Guide to Landscape Painting. It's really great book that spells out light on various planes (sky, flat, slanted, upright, etc.).
Jeanne: This is a painting I did after the artist Vuillard. I really love how he handled the light here. It is really worthwhile to paint some of the master paintings! I'm also showing an oil sketch from life. I have been taking a class with Phyllis Trowbridge. I’m also showing a book about Matisse and Diebenkorn. This shows their work side by side. This has to do with the show that is in San Francisco (SFMOMA). I encourage everyone to go and see the show there-- it is actually doable in one day! (I’ve gone to other shows in SF—and done it in just one day). The show is up until May 29:
Kathy: I paint with watercolors, but I have more of an acrylic way about my painting. (I often take more of an opaque approach). I don’t leave a lot of the whites on the paper in the traditional watercolor manner. In this painting I concentrated on the lights in the eyes.
Kristina: light is my main motivation. Jennifer Diehl tells her students that light is not “contained” by edges. Light goes beyond the edges! I am showing a recent painting from Italy and also I am showing this book by James Gurney, (Color and Light). I was especially impressed by his painting where he shows the light of the sky on this yellow shirt! In a similar manner… on my painting you can see the top of the tree is a blue green (to indicate the color of the sky).
Loretta L: In my classes I have been told, “value does all the work, but color gets all the credit”! The mid-tones really define the light. I am showing you a plein air that I did in acrylic and a value study in black and white.
Tom: I pass on this topic
Tim: I looked out from my studio to see that the light was both stormy and light at the same time. I jumped up and tried feverishly to capture the look of it! Here’s the result. I really liked doing this -- I was forced into it with no time to think. I’m also showing a recent portrait (of my granddaughter).
Geri: I am a big fan of lost and found edges...where the light comes together with the background…I will emphasize that (erasing big areas—like in this drawing). It lends mystery. I am showing a drawing that I did at the Portland Art Museum –it is from a photograph by Richard Avedon.
John: I have just recently returned from a trip to Arizona. I took thousands of photographs! (Laughter)! We went to the Phoenix Art Museum and we also visited Carefree. I saw a lot of art there. I always enjoy coming to this meeting to learn things! Thank you!
Anna: A long time ago Jennifer Diehl recommended that I read a book by Ian Roberts on composition. I didn't do it at that time, but I've since gotten the book and now I’ve been doing value studies. I wish I done this when she told me to do it (Laughter)! What I have learned is that my mid tones have not been dark enough. You have to have your mid-tones dark enough to be able to indicate light highlights. I love the new challenge that we’re doing on Facebook. It is making me think about composition. I watched the Bryan Mark Taylor DVD (the section about light and shadow). I am showing recent still life painting. I bought some of these objects at Goodwill.
Loretta U: Middle tone is a new concept for me! (Laughter)! I will think about it! I am showing a painting I did recently.
Susan: This topic comes up a lot in the class I teach. If one of my students is having trouble I’ll tell them to take a picture of what they are painting and to convert it to black-and-white. Then you can see right away what the problem might be. I recently decided that I wanted to paint this photograph… It’s from a trip decades ago. It is for a show called “Under a vast sky”.
Ward: As a teenager I was really interested in photography. I read a lot about Ansel Adams and it is cemented in my soul. When you complete an image you know if you did great—you just feel it and know it. You also know if you missed the mark. Trust yourself. You can fix it. I am showing a painting that I did recently. The section here got damaged—the paper got damaged….but I found a product that could fix it! Watercolor is really not as unforgiving as we have been led to believe. You can fix anything! Oh--I am going to be purchasing a new drum and I can’t wait to bring it in and play it for everyone!
Paula: I have been taking an online class with Marla Baggetta. I have been working on capturing the light! These studies are done on toned paper. The underpainting always makes such a positive difference. You can see in these two paintings that they are different in temperature.
Jeanie: I am working on a very large painting. It is 3.5 x 4.5 – and I don't mean inches (Laughter)! It is the biggest canvas I've ever worked on. The subject is water and sky with rays of light from the sky. I have to keep working on it --because right now it looks like an alien spaceship (laughter)!
Carolynn: I’m new (Welcome, Carolynn)! I am from Scappoose. I had a wonderful high school art teacher --he taught us about oil. Watercolor and acrylic seemed foreign to me., but I’ve tried it. I did this copy from a book and also this copy of a Tom Browning painting. I painted this teddy bear-- it was originally white and I changed the color of it
Christine: When I was a graphic artist I did a press check with a client. He stood next to the printing press with and asked me…”could we get the paper whiter”? (Uh no!) (Laughter)! Of course it was not only a matter of what type of paper we were printing ---but also what colors were next to the white of the paper. You have to have something really dark next to the white in order to make it appear the “brightest white”! I am showing a recent painting.
Eugenia (Genie): I did this painting in the Colley Whisson workshop. His work emanates light! My husband made these blocks for me because I was reading about these color blocks and how valuable it is to paint them. I read that in this book, Impressionist Landscapes. I’m going to do more studies with these blocks. I remember what Za said about having fun! I like an artist named Erin Gregory and I did this painting along the lines of her type of work.
Dave: What attracts me is high contrast. I have found that putting down small color notes directly on your canvas is so helpful…just put a small indication of what color goes where—it reminds you of your plan. I am showing a painting of the ocean and also another recent painting (of an area near where Sharon is from).
Sharon: I am so impressed by everyone’s work! Glad to be here. J
Jim: I wish I had the painting that I'd like to show you. It was sold. It was a real lesson in lights and darks together. I have been remodeling my house. It has been a very big challenge to do daily paintings on the Facebook challenge throughout this time, but I have done it. I left my wife in the laundry room and went outside to paint this stormy sky. I'm also showing the result and also a painting I did of a toy that I had when I was a child.
Eunice: I will be doing more value studies the future. I have been taking an online class with Dennis Perrin. I’m showing a painting that I did recently -- a rose and also painting I did of some tulips from a photo reference.
Max Ginsberg demonstration and lecture April 23 Sunday 1 to 4pm, $50 (There will be a limit and it is already ½ full sign up now if you are interested)!
Joanne Kollman drop-in class Friday setting out your palette warm and cool
Clothed model sessions are 1 to 4 on Fridays
Classes with Ward, Brenda, Susan, Joanne, Michael Orwick, Steve and others:
Art Extravaganza with Susan Kuznitsky and Ward Stroud Saturday April 22
Susan Kuznitsky featured by Informed Collector:
Susan Kuznitsky will be teaching a class called Plein Air in the Garden July 21-23 (see info below)
Jeanne Chamberlain is having her first solo show at the Multnomah art center you are all cordially invited to her reception-- it is on Cinco de Mayo day. (also see info below) May 5, 7-9pm
Mike Porter makes fabulous wood-turned brush holders and /or coffee scoops –he donates the proceeds to charity. Contact Mike Porter <firstname.lastname@example.org>
Elizabeth Ganji is At Art on the Boulevard