Meeting Notes MAY 2014

At todays meeting Loretta, Tim, Tedd, Stephanie, James Sampsel (New), Jim, Eunice, Kristina, Jeanne, Marty, Vicki, Joanne, Dave, Char, Diane, Za, Cam, Anna, and me (Celeste).

Today's suggested table topic:  “Revelations” (things that you ultimately “got” when painting). When did you discover it and how did you discover it?

Celeste: I was a graphic designer, so I understood warm and cool colors but I understood them in ink. When I started painting I couldn't quite put it together how warm and cool translated in paint. Once when I was painting on the coast I painted what I saw and suddenly I realized that it was the warm and cool that was making things look realistic. I brought in a copy of a van Gogh painting.

Eunice: My aha moment was when I understood about keeping darks dark in value. You have to stick with the values of whatever you are painting. So, if you are painting a shadow you must keep all your values together within that shadow.
It is good to re-frame a thought about painting into an “I wonder” question. I wonder if I did this, what would happen? I brought in a finished painting from Jackson Hole.

Jim: I have come to understand that you have to squint and simplify in order to make a good painting.  You absolutely must reduce things to their simplest form. How fun it is to see things come together! Squinting is a difficult habit to maintain, but I think I do a better job of it now than I used to. I brought in a portrait of my wife, Lois. She posed for me. I’m pleased to report...t does look like her. 

James Sampsel (new): I have moved here from Missoula, Montana. I had a mentor who helped me to learn how to paint. I have painted hundreds of paintings. I had an aha moment about lost and found edges. At first I didn't quite understand the concept of lost and found edges.... but now I do! I brought in 2 plein air paintings. Welcome James.

Jeanne:  I was at a workshop in Sitka when the instructor asked me why I was working with student grade paint. Sometimes it takes someone to point something out to you. I was struck by how much better (and more graceful) the work is after I began using better quality materials.  I painted outdoors recently, but I wasn't happy with the results and that is why I don't have anything to show today.  Despite this disappointment, I am resolved to stay with things when things are difficult. I am pushing myself to accept that things will be difficult at times.

Kristina: Like Celeste my aha moment has to do with color temperature. I realized you can “turn” an object with color temperature. Also, a teacher once ran her thumb through an edge on my painting changing (and improving it) significantly. It was very helpful for me to see her do that. I brought a recent plein air painting.

Dave:  My biggest revelation was with Scott Christiansen. He teaches a lot about painting with neutrals.... specifically grays. I like grays and I use them a lot. I brought in 3 plein air paintings.

Char brought in a painting of the mountain.

Joanne: I have no one big specific aha moment. Eric Jacobson keeps a checklist about what he expects from his paintings. Also, in the Schmid book there is a long list of things to watch out for in your paintings. (Things like “careless drawing”).  I see some of my paintings from four years ago and I think to myself “what was I thinking?” I have learned how to unify a painting. Sometimes I do that by glazing a color over an existing (dry) painting. 

Marty: I worked for many years in a competitive environment.  I decided to spend time now doing something without so much pressure.  I took up painting and pretty much everything is a revelation for me. I brought in 2 paintings that I did recently.

Za: My teacher said, “You are understanding how to shift temperature! A lot of painters paint for very many years and never understand this!” To me, I was simply painting what I saw. I do definitely understand temperature and how important it is. Recently I was painting outdoors and I didn't like my work even though it was technically correct. I said screw this I am just going to have fun and I wiped out the technically correct painting and painted one with heart instead. The first painting I scraped off was fine but it lacked enthusiasm. You must remember to bring the joy when you paint will be obvious in the outcome. I brought in a plein air painting. 

Cam: I work full time and I can only come to this meeting when I can... like when I have a vacation day. My revelation is that I approach everything as practice.  I brought in a painting I did on a sunny day. Even though it was bright outside I used chromatic gray.... because that is what I saw.

Diane: I am back from Atlanta. On the airplane I read a book called “The Beautiful Question”. The author recommends asking questions that are positive.
I know this; if you have no connection to what you're painting the connection will not be there.

(editor's note: I am not sure that this is the book?)

Vicky: I took a workshop from Elio Camacho. He said something that really stuck with me. “You are painting a painting not copying life”. That statement gave me permission to do things like move a tree or add something or take something out. I brought in a plein air painting.

Stephanie: My revelation was switching to oil from acrylics. I took a workshop from Za. We worked with a limited palette and I discovered softer edges. I also enjoy that you can wipe the oil paint all away and start over. Michael Orwick says you should learn to kill your darlings.  (Don't be too precious).

Anna: Kristina’s husband said to me: “Kristina goes out with her friends to paint, but she also goes painting by herself.... that’s just what she does”. This was a revelation to me.  I never think about going out by myself, but I certainly understand the value in doing so! I am also working on not being so caught up in disappointment. I am working on moving forward and being grateful. You know no one on his or her deathbed ever said “I wish I had spent more time in the office”. I brought in 2 recent plein air paintings.

Tedd: I have a big mirror that I use in my studio and I use it all the time to see “issues” in paintings. I can make corrections because I have seen it from a different view. I brought in a painting today of a model from life.

Tim: My big moment was when I realized that I could paint with thick paint. It was fun and I have like doing it ever since I discovered it. I brought in 2 recent paintings.

Loretta: Realizing the value system is what has been my big moment. Remember this: “get out of the way of the brush”.

(editor's note:  Mark Larsen arrived at the end of our meeting and his new painting was included in today's photos).


Kristina is in the Emerald Art Spring juried show (reception Saturday). She is also accepted into the Wallowa Valley Festival of Arts at the end of this month in Joseph.

Joanne is in Blackfish Gallery. First Thursday is tonight.

James Sampsel will give a demonstration Thursday, May 8 at OSA (11:00). He will talk about his travels over the winter and his “system” for painting hundreds of paintings. James is also an instructor for Wilderness Plein Air river trips. He will be giving a workshop on the ninth about “fearless painting”.

Anna is in the art splash show in Tualatin and the Forever Art pop-up gallery

We have 29 people signed up for the Alla Prima Portland show. If you have not signed up please send your information to Stephanie now. Your name will be listed in all the promotions.

The Hood River Facebook page is up. Go there for any information that you may want for the Hood River event:

Tim Young recommends

It was so LOUD and hard to hear today at O’Connors... thanks for putting up with it and sharing your art and ideas!

Next meeting: May 8. Suggested table topic:
Purchase equipment you regret buying? ( want to swap or sell or give it away? Bring it and/or check our new facebook group to sell or swap it here):

(Note: Not having something to sell or swap or give away does not preclude you from the meeting)!
Meeting May 8, 2014:

At today's meeting Loretta, Jim, Tim, Jeanne, Susan, Brenda, Renita, Joanne, Marty, Stan, Za, Bill Kirkham (new), Kristina, Dave, Eunice, Peggie, Anna, Mark, and me (Celeste).

Today's suggested table topic: Your favorite living plein air or alla prima painter. Also, today was sell/ swap or donate your (no longer used) art supplies day. Very successful and great fun!
Here is our facebook page for selling/swapping or donating:

Our favorite artists are listed below in random and anonymous order:

Eric Jacobson
Jim McVicker
Frank Serrano
Quang Ho
Roos Schuring
Jeffrey Watts
Sergio Lopez Garcia
Richard Schmid
Brenda Boylan
Rom de la torre
Jennifer McChristian
Randy Sexton
Kim English
Kevin Macpherson
Robert Lemler
Joanne Arnett
Walt Gonshe
Sarkis Antikajian
Marc Hansen
Michael Orwick
Thomas Kitts
Eric Bowman
Katherine Stats
Ned Mueller
Mitch Baird
Ovanes Berbarian
Jane Schmuckal

Welcome to new participant Bill Kirkham!

Dave McBride brought in two recent plein air paintings.

Kristina brought in a painting that she didn't like at first, but it has grown on her.

Bill Kirkham comes from California.  He took a trip to Europe and has just returned. He painted there in acrylics and brought two paintings from his trip.

Za brought in a figure painting. She is painting tonight in a demonstration at Sequoia Gallery. Check with Sequoia Gallery about available room for tonight's demonstration.

Stan brought in a painting that he painted plein air last Tuesday.

Joanne brought in two recent plein air paintings.

Renita brought in a painting that she painted partially from a photo and partially from memory.

Susan brought in exercises she did in Brenda Boylan's workshop. She also brought in a finished painting.

Brenda brought in a recent plein air urban scape.

Jean brought in a painting of a magnolia tree (Congratulations Jean for your recent award at OSA).

Jim brought in a painting of a ballet dancer in repose.

Peggy brought in a painting of a still life.

Anna brought in two plein air paintings (one from one from Rowena point and one from the Rhododendron Gardens).

Mark brought in a new painting of irises.

Announcements. If you have art supplies that you could donate to Joanne’s classes (for young people) please email her:

This weekend (and next) is the Lake Oswego paint out. Here is the link for more information:

Anna Lancaster is part of a plein air show at the McLaughlin house. It is up for the entire month of May.

Mark your calendars for Hillsboro Plein Air (Sept 12/13 2014) 

Thanks all for coming today and sharing your ideas and paintings. 

Next Meeting: Thursday, May 15, 2014 Topic: Confidence! (How does confidence figure into your painting, tell us how!)
May 15, 2014 Meeting notes:

At todays meeting Loretta, Chris, Tim, Tedd, Lisa, Kristina, Jeanne, Bill, Diane, Joanne, Jim, Thim, Eunice, James, Stephanie, Nancy and me (Celeste).

 Today's suggested table topic:  confidence (or lack of), how does it factor into your painting aspirations?

Discussion below in random and anonymous order:

I read something about Lori Putnam. She was a Juror in an event. She was quoted as saying “I look for paintings that were painted with soul, instead of painted with ego”. For myself I can clearly see when my paintings were painted timidly versus painted with confidence and verve. It all shows in the brushstrokes.
Negativity (ego) can sneak in....and when that happens I try to shake it off and simply respond to what I see.

My confidence goes up and down. It goes up (of course) if I am having fun. When things don't go smoothly ....I have a tendency to react and feel down. I'm working on everything. 

When I am out painting I tell myself it doesn't matter. It's okay. I don't have a lot of confidence. On occasion, I get lost in the process (a good thing), and the painting turns out surprisingly well.

 If there is something out there that has 'juice' then I can get excited. You know what I mean, if the scenery excites me I feel energized and ready to paint! If the scene is mundane, then I am not interested. It's the same thing with painting a figure or a model. I like a model who is engaged and present. If they are, I can paint much better than if they are not.

It's as if my subconscious and my consciousness fight with one another. I can spend a long time on a painting and not like the result ....I can spend a short amount of time on a painting and like the result much better! 

Work and confidence for me are intertwined. Sometimes I go up and up and up almost to a point of overconfidence. And then sometimes I plummet. Like a soufflé! So, for me is definitely up-and-down up-and-down. I work on being reasonable, but I am aware this up and down business is just something I need to accept.

I set goals for myself. I told myself I would paint three days a week and I have. When I compare my paintings from before to now...I see a lot of improvement. I am confident that I will paint better tomorrow because of the practice that I am putting in on a regular basis. Jim McVicker is disciplined. He paints from 7 o'clock to 10 o'clock and stops no matter what.  (The light will have changed considerably after that time). He will start a different painting. This is what I'm currently doing; setting painting session time limits (like McVicker).

 I might not be famous, but I'm going to paint anyway. The beginning and the end of the painting are the most important times to have confidence (in my opinion). It is important to show your work, even if it's only to a group like ours. Showing your work helps develop confidence. Everyone should keep going and keep painting because you’ll get better and better. It’s wise to do the same scene more than one time. (That absolutely builds confidence).

I used to spend a year on one project (in a different medium). So, now painting, (especially Alla Prima or Plein air) is a challenge. I’m embracing it, though, and now I paint in three-hour sessions. I believe personal work is important (work done with heart and for a specific reason). Sometimes people say things to me that I don't care for. I hate to admit it, but things like that can get to me. Despite this, I am sure that sticking with practice and meditation will see me through.

I get shattered a lot, but then I remember that every time I step up to my canvas I am painting me. I'm painting the sum total of my experiences and also painting other people I've met into the painting as well. I’m serious about all this and it is what I am all about. Recently someone said something to me (just as I was about to start painting) that was insulting. It bothered me and I had to paint next to that person for the rest of the day. Later, on that same day, someone else was just wonderful to me, lifting me up and encouraging me.  I'm going to make sure that I spend more time with those types of people. 

I want to echo what everyone else has said. People are sometimes joyous and people are sometimes a pain in the butt. A Buddhist monk once came up to my painting while I was painting to tell me that I was doing it "all wrong"! During that same session some young children came up and, of course, they were completely sweet and genuine... It heartened me.

It all boils down to fearful thoughts. Whenever I think all of prima or plein air I become somewhat afraid. That is not my usual territory. I sometimes say to myself while I'm painting I don't know what to do. That is a fearful thought and it freezes me up. When I was a child I loved drawing outside. I wasn't afraid at all until I grew up. I’m pleased to report that I do tend to overlook these feelings and attack fear, jumping in no matter what. Making mistakes is how I learn how to do things.

I have been teaching some classes. I have a renewed interest in what is called "beginners mind".  Through my students I realize that my contribution is not always my own work, but in helping others with painting. Of course, I want to be the best painter I can be, but I also recognize that a valid contribution can come in different forms. 

I have been reluctant to show my work. I have been gratified with compliments from this group and from others but, truthfully, I haven’t liked my own work. I have worked hard and I have ability and know-how. But!...I want to do more and express myself better. Recently I have been taking classes with someone who has helped me a lot. I know that I am making inroads in making a solid statement with my art.

Confidence is like a yo-yo. It goes up it goes down, it goes sideways. Practice and knowing what you're you are doing will give you confidence. Confidence is really the opposite of fear. Children splash paint all over and smile because they are happy.  I get scattered. I always want to become familiar with the subject.  

I used to paint in a different part of the country. The colors are much different here. It took me a while to work my way through this difference in colors. 

Confidence absolutely oscillates. It goes north and south and east and west. The best place to be lost is in the zone. The best thing to do is to not worry about it and not let your ego get in the way. What is ideal is what I would call present-minded absent-mindedness.

Announcements.. Find out about our Invitational at this link:

Oregon Art beat has an upcoming reception:

Oregon Society of artists has many opportunities check their website about classes, shows  and demonstrations.

Chris Lally has been taking a free Jack Canfield seminar/workshop. 
She reports that it is very good. She recommends it: 

Here is a link to the canvas carrier that Tedd showed us today: 

Revised (New) Prospectus for 2014 Pacific NW Plein Air Competition and Exhibit: 

Nice article about Lake Oswego Plein Air (you'll see some familiar faces): oswego/index.ssf/2014/05/artists_set_up_easles_outdoors.html 

(& congratulations to Tedd Chilless, for selling a painting right off the easel at Luscher Farms)

Thank you for coming today and sharing your ideas and your paintings. Next meeting Thursday, 9 AM, may 22nd. 

Suggested table topic: simultaneous contrast....what do you know about it? Let's Discuss!

May 22 Meeting Notes:

At todays meeting Loretta, Peggie, Eunice, Tedd, Anna, Tim, Brenda, Dave, Char, Jeanne, Kristina, Diane H, Jim, Marty, Stephanie, Lisa, Diane M, Victoria Shepard, Claudia, Bonnie, Za, and me (Celeste).

Today's suggested table topic: Simultaneous Contrast, what do you know about it?

Celeste: Simultaneous contrast (apparently) changes/ heightens your perception of colors.  So, if red is next to green both have a vibration that they would not normally have if they were by themselves. I brought the Gruppe on Color book and three paintings where I felt that there was simultaneous contrast.

Marty: I think simultaneous contrast has to do with seeing a third color somehow after seeing two other colors. This third color is a complement to one of the other colors. I don't really understand it, I’m not sure I’ve seen it!
I brought in a copy I did of a John Singer Sargent painting. Whenever you copy a master painting you learn a lot! This weekend I'm going to Za's workshop.

Dave: I have been participating in the Lake Oswego paint out. I brought in three paintings from the paint out and one studio painting.

Jim: I have been taking classes with Craig Srebnik. We have been working on ballerinas. Today I brought in a painting that I did of a nude.

Diane H: What I know about simultaneous contrast is sometimes it exists and sometimes doesn't. It has something to do with the complements together. I know also that your color can look very vibrant when it is placed next to a neutral.

Kristina: Before the topic came up for discussion today I have never heard of the term simultaneous contrast. I looked it up on the Internet and found things out about it. I went to Blue Lake and painted with Peggie. I brought in two paintings.

Za: This has to do with the rods and cones in your eyes. Your eye wants to see all three colors even when they are not all there. So, when you see yellow and blue your eye will also perceive red ...even though it is not there. (Your eye “fills it in”). The important thing to know is that these things are an optical illusion, it all happens in your eye and brain.
I brought in a painting that I did in Lake Oswego.

Brenda: I did not know about simultaneous contrast until someone else pointed it out to me. Pastel artists are particularly aware of simultaneous contrast.  We may use an orange as our base and may put a blue over the in order to create a vibration and glow. It is deliberate.  I brought in an example of this.

Jeanne: I didn't know what the term means.  I did look it up but I do not have anything substantive to add to the discussion! I brought in a painting that I did at Sauvie Island. It was about to rain.

Char brought in an abstract painting.

Tim: I had to look up the term. I didn't know what it meant. So let me agree with what Za said. (haha!)
I brought in a studio painting.

Tedd: I had a wonderful time painting in the Lake Oswego event. The spot where I was was ideal and I am very satisfied with my painting. I brought in my Lake Oswego painting as well as a portrait that was commissioned.

Peggie: I painted at Crystal Springs and painted the same subject several times. You are all invited to come paint with me this weekend. I will paint Saturday and Sunday for sure and possibly Monday if it does not rain. Hope to see you there (at Schreiners Iris Garden).

Anna: I had a mentor who explained to me that there are several “contrasting” things that every painting should have. These things are things like light against dark soft against hard ...things like that. Multiple contrasts will make a painting interesting. I brought in a painting from a recent workshop as well as a painting from Cathedral Park.

Eunice: I have been working on paintings (but I didn’t bring any this time!)

Loretta:  I know that simultaneous contrast brings great energy to a painting.

Bonnie: Here is a painting that employs yellow and purple. I am conscious of making favorable color decisions. 

Welcome to new participant Victoria Shepard.

ClaudiaI did not know much about simultaneous contest, but I learned about it today.

DianeI respect plein air painters Amiee Erickson, Brenda Boylan and Kat Sowa. They seem to have color in their DNA. I brought in 2 recent paintings that I did.

Lisa: I learned about simultaneous contrast in college. I know that I should be thinking of these things as I'm painting and pursue things like this with more awareness. 

Stephanie: I learned about Josef Albers in college. He taught that everyone's eye is different and that how colors affect one another is invaluable information. I brought in a painting from Crystal Springs.


 Are you in the Alla Prima Invitational Show? Please bring your work (2 paintings) NEXT Tuesday, May 27 to Art Factors between 10 and 11am. You may also want to attend our optional breakfast at Buffalo Gap right next-door beginning at 9 AM. (Please let Stephanie know if you're attending breakfast...the restaurant would like a count).  
Let Stephanie know all your label information prior to May 27.

(You will get an emailed contract, fill out 2 copies, one for yourself and one for Art Factors). 

Tim Young brought in some oil paint (as a donation) today. Thanks Tim for your generosity. Many of us got to sort through and take home some new/old paints.
Much appreciated!

Claudia: Gene Constanza has studied with Scott Christiansen and Matt Smith. He has a workshop June 21 and 22nd at Sequoia Gallery:

Eric Jacobsen and Mike Orwick June coast workshop: 

Ongoing classes and workshops with Craig Srebnik 

Thomas Kitts workshops (July and August) information in side bar here:

Peggie will be painting at Schreiner's on Saturday and Sunday maybe Monday. You are welcome to join her:

Jim Lamb is at the Concordia College with a reception June 1. It is free.

Tuesday Friends with Easels: (The Gorge) 

Tuesday Plein Air Painters (St Johns) 

Our Alla Prima Portland page:

Congratulations to Aimee Erickson, Gretha Lindwood, James McGrew and Brenda Boylan for your outstanding showing at the Carmel Plein Air Event. Did I miss anyone? We are all very proud of you.

Congratulations to all involved in the Lake Oswego Event. Tedd Chilless made the print news!  

Editor’s note:  I am sorry I probably missed a lot of what was said today. It was so noisy! Not an ideal situation, but thank you for your cooperation in speaking up and with putting up with the noise. Thank you also for bringing your ideas and paintings today!

Next meeting Thursday, May 29, suggested table topic:  Give yourself a grade for overlapping shapes. How do you think you're doing (good, medium or poor)?

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May 29, 2014:

At today's meeting Emily, Nancy, Mark, Don, Za, Claudia, Quinn, Loretta, James, Tim, Paula, Jean, Anna, Susan, Lisa, Diane, Diane, Stephanie, Eunice, Jean, and me (Celeste).

Today's suggested table topic: Overlapping shapes (or moving things back within space in your paintings) how are you doing with it?

I (Celeste) brought in three paintings that show varying amounts of overlap in the landscape. I believe I am doing an average job of overlapping shapes. 

Emily: I have taken recent workshops with Amiee Erickson and Eric Jacobson. Eric Jacobson pointed out to me that I was marbling colors on my canvas. (Marbling colors is when you have two or three colors on your brush and they provide an “unexpected” result on the canvas). I wasn’t aware at first that I had done that...(but now that I am aware of it, I’ll do more of it). I am showing a painting that I did in Eric’s still life workshop. I am going to France this year. My overlap in this painting was good!

Diane HI have not been thinking much about overlapping shapes. I like a book by Ian Roberts about composition. I painted a plein air painting at Whitaker Pond.

Anna: I also painted at Whitaker Pond. I made some changes to it when I got it home. Eric Jacobson keeps a checklist right on his easel about things that he looks to do in a painting. I sometimes still struggle with values. I think I did a pretty good job of overlapping in this painting.

Susan: I took Za Vue's portrait workshop recently and I brought in a value study from a photograph. I don't have enough experience to think too much about overlapping just yet. The San Juan Islands would be good practice for overlapping shapes in the landscape.

Lisa: I brought in a painting that I did (a still life) that shows quite a bit of deliberate overlapping. For the most part I understand and appreciate overlapping ....and I do try to incorporate it in my paintings. 

Diane: I have a graphic design background. I can overlap shapes, without question. It is turning the form that I find challenging. I am working on it. I brought in two paintings and a drawing.

Loretta: I know that during the Renaissance painters used to set up veils in their emulate distance. They would observe and paint the effects that they saw through the veils. (I think about that and try to imagine veils that show the atmosphere in varying degrees when I paint from memory).

James: I am always thinking about things that will bring things forward or push things back in a painting. I think about things like texture and color, more contrast.. less contrast. I brought in several paintings that show good examples and poor examples of overlapping shapes. I painted at Whitaker Pond too.

Tim: I brought in a painting that I did in St. John's. I called the painting "lemonade" because I made lemonade out of lemons. It was a challenge for me to paint in downtown St. John's.... nothing spoke to me. I did what I could (and wound up satisfied with the result).

(New) PaulaI am a pastel artist. This is my first time to a meeting. I hope to come back and visit with you again. I enjoyed being here. (Welcome, Paula)

JeanneI seem to worry more about color than about overlapping shapes. My overlapping shapes seem to just happen because of what I'm looking at while painting. I recently painted at George Rogers Park. I want to warn you that when you're there and it starts raining to make sure of your footing! (I slipped and fell and got hurt). Be careful when it rains!

Nancy: I painted a start of my neighbor’s roses. I also painted the St. John's Bridge. I used three colors to achieve the green of the St. John's Bridge.

Stephanie: I don't think about overlapping shapes. I do think about aerial perspective. I believe that is the same type of thing. I have brought in two paintings that show a good sense of overlapping and aerial perspective. I have a teacher once who asked me to grade myself. He asked, “What do you think you deserve for a grade?” I always found this a difficult a question because I (of course) wanted a good grade. I think it is good to think about where you really stand. If you need to work on something it.

ZaI am showing some paintings that I painted in my recent workshop. (Just exercises to show the students what I was explaining). I had to paint these practically in the dark. Not an ideal situation! I had to make an adjustment to my painting because of the darkness in the room.  You have to make adjustments in your paintings whenever you perceive problems. You have to have foresight and think and see the painting in your minds eye. You need to know your media and know how it will react. I had to paint it in a higher value key because of the dark room. I am also going to show you a painting that I feel is good for this discussion. This is a painting that I painted in Astoria. In order to make things look interesting I had to push things. Once again..I had to make adjustments...Here I made things grayer than they were in order to make color stand out. These are intentional things that I do. You have the power to change things that are there to make it to your desire.

DonI have been away... but now I am back. (Welcome back, Don!) I have been painting cityscapes. I brought in two cityscapes for you to see. I remember this saying: "try to say something, not everything". That is what I am trying to do in my current work ...simplify and make a clear statement.

QuinI have been painting a lot outside. I didn't bring anything to show today. I am looking forward to painting later today!

MarkI brought in a painting from Rooster Rock. I believe it is a good example of overlapping shapes. I must tell you, however, I did not think about it when I did it. I have just come back from Europe. I did not see any museums when I was in Europe. Paris is very different from what it was 25 years ago. (Not as nice). We went to a flea market where there was a lot of art. No, it wasn't in a museum but the art  was just as wonderful as anything you would see in a museum! It reminded me very much of our art. The painters of Paris..... are a lot like us!


Claudia told us about the Gene Constanza workshop. It will take place through Sequoia Gallery June 21 and 22.  (He has studied with ttop painters and is featured in Southwest Art Magazine)

The Alla Prima Portland First Annual Invitational Group Show will host an artist reception on June 5 from 6 to 9 PM at Art Factors:

OSA has lots of opportunities (including the Rose show) demos, classes, etal: find out at their website: 

Next Meeting: June 5, Starting a Painting....(white canvas, toned canvas? line? mass?) what is your usual way?

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