Today's subject today's suggested table topic warm what does warm mean to you as an artist.
Celeste: It was a revelation to me when I when I finally saw the "warm" in clouds! I brought in two paintings that I did for the "Big 500".
Jeanne: I wanted to tell you all about this wonderful deal Alaska Airlines has during this week. I think it is called "cyber week". You can go round trip to San Francisco for around $90! The Legion museum has a show right now Bounard. It is from February 6 to May 16. I am going to take a flight there and take the light rail to the bus and then I will be just one mile from the museum. I will have about four hours there in the museum and then I will come back the same day. I just wanted to let you all know about this because it is very doable in just one day! I am also showing you a painting that I did on Ridenhour Road. The fall colors are still hanging on.
Annie: I did a workshop with Marlene Hyde (sp). We did these diagrams to help us understand how light works and how it is how it dissipates and radiates. I am also showing you my sketchbook. I did some black and white drawings. (I was inspired to do this by seeing Jim King's sketchbook)!
Stephanie: When you look at warm things you actually feel warm. This is has been scientifically proven. I have brought in two recent paintings. I am also thinking about the type of warmth there is represented in paintings....(for example, like paintings of grandchildren and loved ones)
Carrie: I will pass on this topic.
Tim: My painting is on the wall there. I feel I succeeded in showing the warmth in the distance. It's tricky because you have to cool things off to make things go back, but often there's also some warmth in the distance. That type of thing is a challenge!
Loretta U: Warmth for me is December in Florida (laughter)! I paint mostly with cool colors. That is what I really like, but I am completely aware that you also need warm colors too.
Talya: I lived for a long time in Alaska... and warm is something I like (laughter)! I did a workshop with Daniel Gerhardt. He taught us about the warmth and shadows. That was a revelation. He told us about how translucent paint is really necessary in shadows. My palette is mostly warm. I am showing two paintings, one of them a self-portrait.
Kay: I have heard it said that shadows are warm, but this is been difficult for me sometimes to get my head around. I wanted to show you this book that I have about Brassai, he was a photographer and he knew everyone. I brought in two paintings that I did for the Big 500. One was done with the Zorn palette....it is of Brassai!
Judith: I just got back from Palm Springs. I am "into" warm! (Laughter)! I'm I brought in a few warm paintings.
Scott: I am from Central Oregon, so I have knowledge of the cold! I brought in a painting of a tree.
Dotty: I like to do a warm underpainting. I use transparent gold ochre or an orange color. I brought in this painting of Cannon Beach. You know sometimes when you stare at something you can see an "after image". I like to indicate that sort of thing in my paintings... I will put red around a tree...to create that type of experience.
Bill: I have heard this quote by Benjamin Franklin: "At night all cats are gray." It has actually nothing to do with painting, but I thought I would tell it to you anyway (laughter)! I brought in these paintings of my son. This new painting shows the difference in how he looks now versus how he looked decades earlier. I also brought in a reclining figure. (Editors note: sorry Bill I wasn't able to get the photograph of your one painting under glass).
Vicki: I have recently been in Florida. I am fascinated by the Spanish moss there. I have found out the Spanish moss is neither Spanish or moss! (laughter)! The challenge with warm and cool is always a balancing act.
Loretta L: I brought in a painting of Kornblatts; this painting even incorporates both warm and cool.
Genie: I visited Silver Falls recently. It was so cold there was 1 inch thick ice inside the car! (Laughter)! I have been told that when you have a strong warm color it is good to use a muted cool color to bring it out. I am showing a painting that I did recently.
Charlie: This whole subject about warm and cool sends me to the books! I still have difficulty seeing and distinguishing warm gray from cool gray. I have seen the warm and cool in clouds. I was looking at it so long and so hard that I really wish I hadn't run into that car! (Laughter)!
Betsy: Hawaii is warm! I brought in two paintings of Hawaii.
Kristina: One of my favorite artists is Maxfield Parrish. He knows how to use warm and cool! I brought in a recent painting.
Mike: When I think of warm ...I think of the relationships. I think about relationships because one needs another in order to exist. I did these charts of neutrals that are warmed. I use this to remember just how to mix these things. I brought in a book to show you. I like the relationship I have with all of you! There's a metaphor between relationships with people and relationships of temperatures and color!
Jerry: I have been preparing for my Open Studio. I hope you all come. It is December 10. I have been pulling out work for the Open Studio and when I saw this painting I saw that there really needs to be more warm in the sky. These are clouds at Castlerock. I did this plein air. I remembered that Gamblin makes a warm white (and I brought in a tube to show you).
Tedd: I have found an app that is really for graphics people...but it definitely applies to painting. It is called Camba. I read an article about how you really could consider pre-planning a color scheme... You can have something in mind to plan your painting. The article showed the emotion of a red painting versus the emotion of a cool painting. We have to think about those things! My painting on the wall is predominately red.
Eunice: I brought in a painting that I did recently. I have heard that warm paintings sell better than cool paintings.
Brenda: I always do a warm underpainting....it helps the colors applied on top to read correctly. I did this painting in Jennifer Diehl's workshop. I know that cadmium red is an excellent color to find a use for in a painting. I am teaching a workshop at OSA in the spring. (My winter classes are filled) I brought in flyers.
Thomas: I see some new faces! This is one of my favorite topics (about warm and cool). In the old days painters had to use a mild vibration because they didn't have as much chroma as the impressionist had later. The reason you need both warm and cool...well, if you were to paint something in all in orange for example... the eye would get fatigued looking at that. It is good to do exercises like where you'd take two reds and put them together... closer and closer until you can see the differences in temperature. It is important when you paint things to paint in the temperature of light where is going to be shown. If you do something monochromatic you try to smuggle in a compliment. You know that things about how you're not supposed to do things 50%/50%? Well, that also applies to temperature.
Joanne Kollman tonight at the First Presb Church First Thursday 5-8pm
Thomas Kitts and Anton Pavlenko Friday 5-8 pm at Brian Marki:
There is a movie at the Living Room Theater called Peggy Guggenheim art addict.
Jerry Dickinson's December 10 open studio, Dec 10, 5:30-9:30 (Falcon Art Community)
5415 N Albina (click image to enlarge):
Dec 12 Peoples Art Big 500
Some of us met at the Medley Tea (like we do each Thursday) to visit and do some sketching.follow Make sure you check our Facebook page:
The Portland Art Museum field trip is Dec 16:
The Seattle Art Museum field trip will be Jan 6
Thank you all for bringing in your paintings and ideas. Next meeting, Thursday, Dec 10, suggested table topic: Painting glass and shiny surfaces! Do you have any suggestions?