Meeting Notes, April 25, 2019 *


Loretta Susan Wendy Chris Donna Dianne Annie Bhavani Becky Tom M Stephanie Elo  Tracie Tim Tedd Dotty Vicki Geri Eunice Za Greg  Joanne and me Celeste

Topic: Accents and Highlights...(tell us what you know)

Celeste: I took a workshop with Randy Sexton about figure in landscape. He had us do studies in one color and then we “subtracted” areas to indicate light (and highlight). I found this older acrylic painting where the highlights seemed to work well. I’m also showing a floral painting I painted outdoors yesterday at Cathedral Park. 

Loretta: If I get there …..then I know it!  (Laughter)!  I am showing a painting that I just finished.

Ken: I’ve had teachers say 5 colors are best…but then, maybe that color you want will be missing. So, (in my view) you can break the “rules”. I do feel that it is important to integrate any kind of “accent” color…..it has to be somewhere else in the painting in order to make sense.  I am showing a recent painting.

Susan: I don’t think too much about accents/highlights..I do whatever the painting needs. It is easy for people who are new to painting to put in a passage that is too light (and then a highlight won’t work there). I am from Chicago and The Art Institute is where I got my art education. I used to model at the school and at Palette and Chisel during the 70’s. Recently I uncovered this this drawing that was made of me by one of the instructors! I wish I could remember his name. He was a very good teacher and an illustrator as well. Of course, I really love how pretty he made me!

Wendy: I took a workshop from Albert Handel. In every painting he will do 2 or 3 “surprise” splashes of color! I watch his demos and when he does do this I’d always think “WHAT?” I mean, how does he decide to do that? How does he know that will look so good? (Laughter)! 

Chris: I love the accents…wooohooo! (Laughter)! I am celebrating when I put them in. I have to be careful not to put them in too soon. I am back from a wonderful vacation to Mexico with my family. I painted in watercolor. I am showing you paintings from the trip. It was so great that the children got to just play and play outside with each other all day (like we all did as children)! Here, also, is a painting one of my grandchildren did alongside me one day.

Donna: I have found accents and highlights to be something of a struggle! Sometimes, while painting plein air, I’ll get things too light (then I can’t put anything on top of that value!) Here is a painting I did recently.

Dianna: Being an “impressionist” I want to be all about the light, of course! I’ve been taught that a good way to keep values correct is that you begin by putting the lightest light and the darkest dark in right away. I confess, I do not always remember to do it that way. If the “bones” of your painting is right, the accents and highlights will be easy. I strive for that in my work, to always work toward a good foundation! One thing that has worked for me (working in acrylic) is to put a clear sheet (acetate) over the painting and then paint whatever correction onto the clear sheet. You’ll see right away if the change is would be an improvement or not! I’ve learned it really is a good thing to go for it—be bold, maybe drive it off a cliff! (laughter)! I am showing two recent paintings.

Annie: I pass 

Bhavani:  I think it is like dessert…you have to wait—and highlights do not have to be white! You have to look at the color of the light and the color of the object. (Bhavani added later...highlights depend also on the angle of the viewer)I am showing recent plein air paintings. 

Becky: I have trouble putting in highlights when the painting is wet! Sometimes I will wait to put in the highlights when the painting is some dry. I am showing a recent painting.  

Tom M: (new, welcome)! I paint sometimes on Fridays at OSA—that is where I painted this portrait. You know sometimes you spent 3 hours on a figure and you look at it the next day and say …”ehh” (Laughter)! I did work on this portrait quite a lot beyond the 3 hours,  putting accents and highlights in at the end.  For me, the highlights are the “icing on the cake”!

Stephanie: In my former career I was a lighting specialist…so when I first saw this topic I thought about “accent” lighting….(lights that are strategically placed).  When you are in control of the lighting you put light where you want it and that this so much different from plein air where you have no control! When you put a painting on facebook isn’t it funny how you can see the flaws? (Laughter)! I like to look at my plein air painters later and make proper “accent” adjustments. I am showing recent paintings.

Elo:  I took classes with Jennifer Diehl. She is famous for waiting to the very very end to put in any type of highlight….but I think we should be able to put in the highlights and accents first! (Laughter)!  Really, though, especially with plein air, if your memory isn’t great you can easily forget to put in that very important thing! I am showing a painting of a beach scene. The people in the background are important to totality of the painting! I am also showing a plein air that I did at Cathedral Park. It was the sort of day that didn’t excite me all that much (overcast) but then I saw a fast moving area of interest in the sky and I thought…ok! I am going to remember that and put that in!

Tracie: In college I learned about things we still pay attention to…like dominance, sub dominance, and accents. I remember learning something from an instructor who taught interior design. In painting we have to think about where we want emphasis and what small things might contribute. I did a commission for a friend and she told me she wanted me to do another…of course I said sure, but then she said “I want it to be of an octopus”! (Laughter)! I think it is a good idea to have to paint something that you hate (like this)! It forces you to really have to set your mind to design –how will I make this subject look good!?

Tim: Here is a Potato chip bag...it has sparkling highlights! (Laughter)! (The best way to handle accents and highlights is to observe them)! I am showing new paintings. Two from photos from my hikes and one plein air. 

Tedd:  One of the best things you can do is put an "x" on a spot on your canvas where you want to remember to put something important. You just go over the (light)  "x" and even if the light is changing you'll get the important thing in! I was asked by a family member for a painting of Irises --so I painted this!

Dotty: I know we are supposed to wait to put in accents/highlights...but, it's true... I can get ahead of myself and put them in too soon. Then I will spend the rest of the time fighting with my painting! I did this painting at Sauvie Island. 

Vicki: I am showing two examples of "unexpected" color by van Gogh and Matisse. I painted this at Cathedral park. It seemed to really improve when I exaggerated the red of this tree. 

Geri: I know that we are supposed to put our darkest dark and our lightest light in early. I've challenged myself to go big! (Laughter)! (see photos) 

Eunice: I have put saran wrap over a painting and painted on top of the clear wrap to see if the change would work! It is a very effective way to see how the painting would improve (or not).

Za: The terms highlight and accent are different from one another. As it pertains to Highlight...be aware of where the highlight originates from and also look at the form to determine where it turns. Where it turns is where there would be a highlight. I am sort of a "pattern" painter so I am someone who likes to indicate the light emanating and bouncing around. I think a lot about shape vs. form. I highly recommend looking for "bounced" light. Make some opportunities for yourself to paint outdoors! I am showing a painting I did in Bhavani's Wednesday figure session (that was outside). 

Greg: In photography "overexposure" makes things too white. The same can happen in a painting..too much indication of light can result in a drab washed-out look.  Painting is a balancing act. 

Joanne: I am showing a painting I did outside...I changed the faraway hills to be less saturated. Things that are painted outside can look so different when you bring them inside. I actually like to paint in my driveway...where I might make changes in outdoor light--it's better! A highlight doesn't have to be white, it is usually better if it is not. I am also showing a painting of my son Tony (who often models for us at OSA). 

Announcements

Come paint with us next Monday April 29...meet host Vicki Zimmerman at the Cracker Barrel store on Sauvie Island at 9am (purchase a parking permit there). 

Lake Owsego Lake Area Artists May 3 4 and 5 (Za Vue is the juror) https://lakeareaartists.com/Events.html

For something fun and different meet Tracie, Geri and Jeff for the live music this Sunday evening at Clydes Prime Rib 

Bhavani Krishnan at Lela's Bistro https://www.lelasbistro.com/#lelas


Spring show Portland Rental Gallery (Yong Hong Zhong, Don Bishop, Cathleen Rehfeld, Peggie Moje' and others): April 26 Friday https://rentalsalesgallery.com


Vicki Zimmerman at the NE Community Center lobby

Elo Wobig has 7 paintings at the Museum of the Oregon Territory 211 Tumwater Dr Oregon City (and the Museum purchased one of Elo's paintings for their permanent collection). 

Joanne Radmilovich Kollman portrait class at Elisabeth Jones beginning May 4 https://www.elisabethjones.art/portraits-in-oil.html

Red e Cafe "Reflecting the Journey" Joanne Radmilovich Kollman 1006 N. Killingsworth Friday April 12, 7-10pm

"Four Seasons" - A group show from four artists who all work in different mediums focusing on the Four Seasons; Romona Youngquist, Tracy Leagjeld, Steve Hill and Yong Hong Zhong.

Za Vue weekly classes continue (Tuesdays and Wednesdays at Colours in Hillsboro) email for details studioza@me.com

Wednesday Figure Sessions facilitated by Bhavani Krishnan Wednesdays (2:30- 5:30) email Bhavani for location (outdoors when weather permits): bhavani.krishnan@gmail.com

Life Drawing am and Figure Session facitlitated by Joanne Radmilovich Kollman  1:15-4:00  OSA

Expressive painting Saturday/and or Plein Air Saturdays OSA>Joanne Radmilovich Kollman
joradarts@gmail.com (check via email and RSVP)


Yong Hong Zhong one day workshop at Elizabeth Jones May 13 $75 register here:

Call to Artists: Elisabeth Jones Gallery: https://www.elisabethjones.art/call-for-artists.html

OSA classes: Susan Kuznitsky and others Thursdays and Saturdays (Susan is planning a outdoor figure workshop...email her for details) 

Hiatus Drawing club meets after the Alla Prima Meeting at French Quarter

April 26 reception at RJ Gallery (Joanne Thorpe, Sharon Furze, Kristina Sellers) http://therjartgallery.com

Next Meeting Thursday May 2 "Unrealized subject matter"---what subject have you wanted to paint but you have not yet painted !? (What are the reasons and what would it take for you to actually do it?)----Let's Discuss!

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