Meeting Notes, May 3, 2018

At today's meeting: Sharon, Loretta U, Pam, Yong, Jim, Tim, Carol, Geri, Stephanie, Anna, Elo, Kenn, Chris, Vicki, Tracie, Loretta L, Tom D, Dave, Sharon, Nancy (new), Eunice, Judith, Kristina and me, Celeste

Today's suggested table topic: Thick and thin...are you getting a variety of thick and thin paint application in your paintings....or not? What are your thoughts?

Celeste: I just took a workshop with Michael Lindstrom. He always gets you to put down more paint that you would normally....the idea behind it, to get you to get a feel for what it is like to be bold with paint. I am showing a painting where he put in some big spots of paint on my painting. I do try to get variety of thick and thin in paintings because the thinly painted painting seems blah.  I'll continue to work on it.

Ken: I paint in acrylics mostly and where I've gone over a section, that results in a textured surface. I'm often after that and pleased with it when it happens. I am showing a painting that does show texture.

Loretta U: When I started painting (in Europe) I painted in impasto. I am showing a painting that I did back then that is done (completely) in thick paint. Currently I like a small touch of texture in all my paintings. 

Jim: I also took the Lindstrom workshop. I especially like the Lindstrom workshop because he gets me to use more paint (I have had a tendency to paint without enough paint). I am showing paintings from the workshop and also some paintings I did for a Facebook challenge (Art Studio Inspirations).

Tim: I do go for variety of thick and thin in painting. I painted this plein air. I also did a studio painting from one of my photos. I used Naphthol Red, Thalo blue, yellow and white.

Geri: I'm painting in acrylic these days and really enjoying it. This is a WIP ("work-in-progress") and it is a little tacky. (Laughter!--(she means not dry yet). 

Elo: I brush in color (somewhat thinly) as my "block in"...and sometimes I leave it showing through. That method works especially well to imply dense foliage. I really like leaving it when I can, because that first pass is so fresh. I am showing work I did at Crystal Springs Rhododendron Gardens and also the Leach Botanical Garden. I "announced" when I painted this that it has a Thomas Kincade look to it...but I have a policy to not disparage my own work!  

Judith: Elo, It does look like Thomas Kincade (Laughter)! I have been taking a class. You will remember that I painted this raccoon last week, this week I added a sundae to it. (Laughter)! I have been accused of painting too thinly, but in fact, I am accustomed to glazing and it is a legitimate way to paint. You may also remember this painting. It got a big reaction last time I showed it because it had Donald Trump in it. (Laughter) I replaced Donald Trump with a dead body. (Laughter)! The lavender festival scares me, but maybe I could be involved, if I put a dead body in the lavender. (Laughter)!

Kristina: I did this painting with palette knife. Palette knife makes it so you can put down a lot of paint and move it around.

Chris: "I got nothing"! (Laughter)!

Vicki: If I work too thick...it is a disaster for me. I like to provide a washy area and then put paint over that. I am showing paintings where I managed to put down a fair amount of paint.

Pam: Too thick is where I will have issues too. I am showing the commissioned painting I told you about last week. The main feature is the Corvette and the client has his reasons for wanting other items added to the painting. 

Stephanie: I like using a palette knife to put paint over an old painting. It is satisfying seeing some of the old painting show through. It can make a really nice contrast. I use thicker paint to advance and thinner paint to recede. These are recent paintings. Tomorrow I am going to Crystal Springs if anyone wants to join me. 

Tracie: I tend to paint on the thin side...but I am in this new place where it doesn't matter to me. I'll do it my way! I am showing this new painting of honey. You'll notice it is like the Mona Lisa, no matter where you go in the room...the eyes follow you. (Laughter)!

Loretta L: I am taking a class with Karen Esler. I did this painting from a photo I took at a rest stop. These women were all dressed up. I am learning to not put the paint on too thickly at the start...if you do that you will wind up just having to scrape it off!

Tom D: I did these recent plein air paintings. Sometimes when it is not going so great I'll put on more paint in frustration! (sometimes that works out)!  In this painting, I did lay it on sort of thick.

Dave: If I want more paint, I will put it on. I decide case by case. Anton Pavlenko is someone who piles on the paint! I can't go that far. We went to the waterfall Thomas Kitts discovered and I painted this. Also, I painted this city scene from my photo taken downtown.  

Nancy: (new! Welcome, Nancy): I painted in San Miguel. I painted the rooftops and the instructor came over and just deftly put in a simple shape and color that wowed me. You can see the difference between her stroke and mine!

Eunice: I'm surprised that no one has mentioned how important it is to keep your shadows darker and thin and your lights opaque and thicker. It's a basic tenet! (laughter)! 

Carol: If I put down thick paint too early...there is trouble. I painted at Joanne Kollman's Fresh flower Sunday. (at OSA)..I brought my own vase.  I added some more to it at home. I am also showing this painting I did from my photo reference. This was at the coast, a little girl was hopping down from where she was and I caught that in the photo. 

Yong: I don't put in any thought about this (even when working in oil). Instead, I ask myself, does this painting look right? What does it need? Thicker paint is just texture, if the painting needs it...I'll put it in (but I'm not thinking about it)! I am showing paintings from the Crystal Springs paint out. This one is where Elo and I painted near the same spot. (Elo interjects: "yes! you stole it"! (Laughter)!

Anna: When I started painting I painted in layers and I painted "smoothly" (with glazing). Then I abandoned that to paint very thickly (for all the wrong reasons). I was encouraged to paint in a impasto style for commercial purposes and now I am retraining myself out of that! One important thing I have learned is that it is preferable to scrape a section rather than wipe it. I am showing recent paintings and studies.

Announcements: (Important announcement in red at the end!)

Outdoor figure Workshop with Za Vue and Sergio Lopez (July28 and 29) see image below. Email Za: studioza@me.com

Terry Miura 3 day Cityscape Workshop at OSA June 15, 16, & 17. Contact Terry Miura directly via his email to sign up and pay for the course:  terry@terrymiura.com
 Cost $420. OSA: 2185 SW Park Pl 97205 
Paint the figure Friday ("Fine Art Friday") at OSA April 20 1-4pm  with Joanne Radmilovich Kollman (uninstructed life session)
$20 drop ins are welcome

Come paint with 
FRESH FLOWER SATURDAY (and/or open studio, paint from your own reference) Saturday 1:30-4:30 pm  $25
Drop-ins are welcome. Joradarts@gmail.com 503.752.3708


Thomas Kitts Workshop, 5 days, August 6 thomas@thomaskitts.com

Lavender Festival Plein Air Event (sign up by April 30th for the fee discount): http://www.wvlavenderfestival.org/oregon-lavender-paint-out.html

Yong Hong Zhong two upcoming watercolor workshops (May and Sept)
http://yonghongzhong.com/workshpsevents/

Pacific NW Plein Air 2018 (+ Workshop with Randall Sexton)

Southern Oregon Plein Air 2018 (+ Workshop with Aimee Erickson): https://www.soartistsworkshop.com/southern-oregon-plein-air-2018-2/

PPLC Newsletter:  (Eugenehttps://mailchi.mp/c264eca178f1/pplc-october-newsletter-1480569


O'Connors is closing for good May 31. (New development/owners) We are looking at options and deciding what is next for Alla Prima Portland.  Do you have specific ideas/recommendations for a new location? email Celeste celesteobergin@gmail.com

Next Meeting, Thursday May 10, Suggested Table Topic: Hauling your painting gear around...do you have any tips and recommendations for making it easier? (lighter gear, a rolling cart, an efficient way to pack things?) And..if you are a studio painter who never has to haul things, do you have tips for efficient studio organization?









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