Meeting Notes, June 29, 2017

At todays meeting: Tedd, Jim, Tim, Stephanie, Thomas, Vicki, Nancy, Tracie, Genie, Mike, Eunice, Annie, Tom K, Elo, Judith and me, Celeste.

Todays suggested table topic: The light touch...what inspires you to paint with a lyrical or poetic stroke? If you haven't experienced much in the way of a light touch...should you consider it?

Celeste:  I am inspired by an artist named Haidee Jo Summers. She puts a lot of small light strokes in her paintings. She uses a rigger brush to put in light touches. Za uses a very light touch too. I painted this portrait in her class and tried to emulate her less-is-more way.

Vicki: I recently painted this in the lavender field and I consciously tried to maintain a light touch. I like Elizabeth Mowry as an example of an artist with a light touch.

Judith: I brought in my recently finished large painting.

Nancy: I painted this painting in 20 minutes. I saw Thomas Kitts out there at the same time. In this painting the light changed from one thing to another..the colors changed so much. I have to be reminded about light touch! I painted this portrait in Za's "surprise" model session during her class.
I didn't expect that we would do portrait, so I had grays mixed up, which seemed to work out right  for the portrait!

Tom:  I'd like to take credit for the light touches, but I can't. (Laughter!)

Elo: I consciously think of light touch while putting in a sky. In this painting I used palette knife to create color over the underpainting...so that the sky would have variety. I think maybe light touch is a technical thing!

Tracie: I am one of those who really likes that slim sliver of light...so I will use a small brush! I haven't been able to paint lately--so it is great to be here!

Genie: I try to use a light touch to indicate trees. I go with my family to State parks and hiking areas. They hike and "dump me" so that I can paint.  Recently we were in a park and the volunteers called out to my family: "You can't leave her here"! (Laughter)! I am showing my recent park paintings. My favorite one was the one where I didn't care what anyone else thought of it!

Mike: This topic made me think about this book that I got from the Robert Genn website. In particular I remembered this poem by Gerald Manley Hopkins. (Pied Beauty--see below). I also like this Richard Bach quote:
“Learning is finding out what you already know. Doing is demonstrating that you know it. Teaching is reminding others that they know just as well as you. You are all learners, doers, teachers.” I painted at the Monday paint-out. I painted the interior of the Community Center (Tim's show ..I even tried to paint his specific paintings) and the Hollywood Theater.

Eunice: Lyrical...I try, and you never know! Sometimes it comes out, sometimes it does not! I brought the homework I've been doing from my classes with Dennis Perrin.

Tedd: Sometimes I think I just don't want to make the commitment of a certain kind of stroke--so I have taken recently to putting in masses with a paper towel and subtracting paint from it. It is a different way of working!  I was inspired by Quang Ho to do a portrait in purple and then later glazing over it (like he did in a demonstration). This painting is the result.

Annie: I have been taking a class at PCC with Mark Andreas. I have put most of the paintings I did in that class into a box I call "painting hospital" (Laughter)!  These are paintings that in my view need some help! (Laughter)! I think that watercolor seems intrinsically poetic. It is a medium where a light touch is necessary. I wanted to show you these boxes I have of colors I have saved. Sometimes I get this out to decide on colors in a painting. I am showing recent paintings.

Jim: I think I have always had issues with pressure of the brush. I took a class with Greg LeRock and he said...whether a light touch or a bold one--just do it with confidence! The timid mark will show. I have been painting for the lavender festival...(though this painting was not plein air, so it won't be submitted). I painted this lily in my  yard. I have to say, so far my best plein air painting was done when I was worried about lightening!  I had to paint it fast!

Tim: Light touch, heavy touch...I do them all! (Laughter)! I don't get poetic until I am well into the painting, it takes me some time to feel comfortable sometimes. The Monday paint out was very fun and look, we painted THE most complicated thing out there! (Laughter)! (Hollywood Theater). I also went out with Thomas recently and we painted this rural scene. 
Paula: I think my light touch has often been a sign of uncertainty! I am working on that. I am showing a painting I did during the Eric Jacobsen workshop. I find that painting for a timed amount of time (30 minutes, for example) is a good exercise. 

Stephanie: To me, watercolor lends itself more to the light touch. The subject matter may dictate light or bold strokes. I am showing 2 recent paintings. I took my time especially with this Smith Rock painting and I changed some rocks (to improve the composition). 

Thomas: Many painters use a two step process. The first step is to "Set Up" the structure. This is the time when you put in mid tones and possibly some darks...then in the next pass you reserve the top for the "light stuff"--the nuance and light paint. That's one way. Another way is the "Puzzle" type of painting..where you put in big shapes all at once. I was told once if you don't drop your brush at least once while painting..you're doing it wrong. It is good to hold a brush at the end and to lead with your elbow. I am showing a 30 minute plein air that I did with my student. I am also showing a recent charcoal drawing I did in the field and the subsequent painting of the same view (I'm concentrating on cropping my paintings in a different way).  The charcoal drawing informed my painting. I used a different palette than I usually use.  I recommend you try to paint a painting with one brush only. It's a great exercise that teaches you that one brush can do it all. I recommend a synthetic mongoose type brush.

Announcements:

Fine Art Friday Figure has changed location and time
We will paint at the NW end of Laurelhurst Park Pond beginning at 11 am on Friday July 2 (We will split the model fee) SWE Cesar Chavez Blvd and Stark Street, Portland 
The model is Tony 
Regular OSA figure sessions will resume after the Plein Air Events (to be announced)
503.228.0706
Joanne Radmilovich Kollman
503.752.3708

Expressive Oil Painting  (Fresh Flower Saturdays)
July 1 and July 8 Still Life Session at Oregon Society of Artists
(choose one or both days)!
Lower Studio $25 
Join the 9am-12 noon session
or the 10am-1pm session
Whichever fits your schedule
$25 instruction and recommended homework if desired
You'll be painting or drawing in your medium of preference. I will be painting in oils and I have materials on hand if you are missing something or would like to try oils for the first time.
Please RSVP &/or sign up with Nancy in the OSA office 503.228.0706
Joanne Radmilovich Kollman
503.752.3708

Oregon Society of Artists Reception Legacy Exhibit, Sunday, July 2, 1-3pm
Please join us to honor artists who have been so much a part of the OSA tradition. 
A selection of art by these painters will be presented in this exhibit:
Francis Adams
Dee Baker  
Jan Browne  
Aloha Cannon  
Dorothy Fitzgerald  
Donna Jarvis  
Donna Lind 
Thane Logan
Jack McNally
Blanche Mega
Arlene Millering
John Reece
Alice Wanke Stephens
Jody Klevit, who with Ginny Allen co-authored the important book Oregon Painters: The First Hundred Years (1859-1959), will speak during the reception on July 2nd about the role that OSA members have played in the history of the visual arts in Oregon. Their book, a biographical dictionary, has been recognized as the “definitive book on Oregon art”. It includes biographical information on many OSA artists, including Thane Logan, a founding member, and the architect of the OSA building. Jody Klevit’s talk will begin at 1:30 pm, and will be followed by a special presentation recognizing these artists.
503-228-0706 Oregon Society of Artists, 2185 SW Park Place, Portland 

Tim Young recommends: wholesaleartsframes.com (discounts available)

Thomas Kitts Plein Air Drawing Workshop 
3-DAY Workshop 
DRAWING FOR THE PLEIN AIR PAINTER
August 11 - 13th, 2017
Where: Sauvie Island, Oregon 
How to register: Contact Thomas Kitts directly at PAdrawing@thomaskitts.com
Learn to paint with your pencil or charcoal! Become more skilled at composing your painting before you pick up the brush. When you paint en plein air you must work rapidly and state things in a clear and concise manner. This class will teach you how to create a dynamic design using the light and shadow pattern Nature provides. Yes, there will be fundamentals, but also advanced design and layout concepts as well. So learn how to stitch the little bits and pieces of your picture into larger, more unified masses. Learn how to crop your subject in an interesting way. Create dynamic compositions by pitting light against dark, and dark against light. Downplay your line work and emphasize the shapes. The things you will learn in this three day outdoor class will improve your painting in every way possible, indoors or out.
For more information visit: www.tinyurl.com/PleinAirDrawing

Other Thomas Kitts workshops:
http://www.thomaskitts.com/p/blog-page_22.html

Lavender Festival: http://www.wvlavenderfestival.org

Umpqua plein air

Erik Sandgren coastal paint out (July 10-22) FREE

Next Meeting Thursday, July 6. Suggested table topic: ! Regimen and discipline (in painting). Do you do specific things on a consistent basis that help ensure a good painting result? (an example might be setting colors out the same way each time, etc). Share your regimens and disciplines with us! Let's Discuss!





No comments:

Post a Comment

Note: Only a member of this blog may post a comment.