Meeting Notes, Feb 5, 2015

At today's meeting Loretta, Annie, Tim, Stephanie, Bill, Charlie, Khanh, Leslie, Joanne, Marty, Diane, Lisa, Mike, Dave, Kristina, Eunice, Suzanne, Judy Shaw (new!), Barbara, and me Celeste.

 Today's suggested table topic: Why does this painting work? Bring a painting and describe why it is successful. 

Celeste: I brought a painting that I did in a workshop a long time ago. Although the application of paint is too thin, I have always liked it. Even though the oranges are the same size somehow or another it seems to still work, maybe because one orange goes "off the page". I like the complementary colors and how the spindly twigs seem to be in contrast with the big weighty oranges and jug. 

Lisa: I brought in a painting I did of a dog. I like how the face of this dog is off to one side. It is not put in the center of the canvas. I like the dynamic values. I didn't go into too much detail... just enough detail. I like the colors that are used. I also brought in a “daily" painting of a pepper. 

Mike: I brought him what I call a Whitney diagram. Whitney is a fine watercolorist who described all manner of compositions and design elements for painting. In order to learn this more closely, I made this diagram. I have shrunk it down into a size where I can carry it with me when I do paint outside. It is just an extra reminder of all the basics. If you want a copy of my Whitney diagram I would be happy to send it to you. 

Dave: I brought in a painting that I've always liked of mine that employs a great deal of dark and light. I like the color changes I used to throughout to bring this figure out. It is a dramatic painting and I like the contrast.

Kristina: I saw this painting in Italy. It read beautifully from many feet away. No was a Michelangelo! I photographed it. It made me realize that big abstract shapes that can be seen from a distance are the key to success in a painting. I brought in a new "vista" painting (that is on the O'Connor's wall).

Eunice: I was inspired by a daily painter named Julie Ford Oliver. I liked the painting that she did that was of some radishes recently. I went out and bought the same things in her painting. I painted this from life.  I also brought in a painting of some sunflowers. 

(this practice painting was done after contemporary artist Julie Ford Oliver, it is not for sale)

Loretta: It is important to have color harmony in a painting. I brought in a painting that is hanging on the wall…it has subltle color shifts and the colors are analgolous. 

Annie: I brought in two studies. I like how I used the green and orange in this painting. I also like how it has a moody (emotional) quality. 

Tim: This painting that I painted outdoors has a circular motion to it. It bring it brings you back into the painting. 

Stephanie: I brought in this book that has some Edgar Payne compositions in it.  He was pretty much the king of composition… and his work is worth studying. I like extreme contrast. I like large shapes and dramatic sizes and values. I brought in a painting (now on the wall) of crimson clover. It was hard to push the contrast in that painting. 

Bill: I believe I accidentally had a good result with this self-portrait. I think it works because the face peeks out at you. I also brought in a painting I did in Hipbone Studio.
Charlie: I take a pass this time!

Suzanne: I went to Pendleton and photographed there. I have been taking Anton's classes. He advises to do preliminary studies before your painting. I painted this on paper. It is from those photos that I took in Pendleton. I like this so well, I plan on framing it.  (The energetic brushwork makes it work).

Judy (New! Welcome!): This is my first time here. I have been a lurker. (laughter!) I brought in two paintings. One is of a landscape. One is landscape with figures in it. I like the contrast. 

Barbara: I am late today because I had to pull over to the side of the road because I saw Clydesdale horses in a field! Also I saw for about 40 elk! I took pictures of all that. It was really impressive. My biggest inspiration has always been Mary Cassatt. Here's a picture that Edgar D├ęgas did of Mary Cassatt. I think that it has it all. I brought in two paintings.  Anton is a wonderful teacher. I highly recommend him. One painting is from his class.  I also brought in some quotes from van Gogh. If you have a look at this you will see how many times he speaks of drawing. (I brought in a copy for each one of you). …(Thanks, Barbara!)

Khanh:  I brought in a large painting that I did of a still life. It is from a smaller study that I did. It is working because of the dark transparent paint the background. I also brought in a series of figures that I have done from a stock photo website. I have been working diligently a lot on these! I am learning how to paint the figure proficiently. I did video about my methods. I continue to work out problems and new strategies with each one of these small figure paintings.

Leslie: I like this painting that I brought of a portrait. I believe it is successful,  because I actually made it look like the person who posed! Some great advice I got from someone was to make sure that you go abstract to make things look real. I look for color harmony and whether or not something has a complement. 

Joanne: I brought in this little painting of flowers. I like how I didn't repeat the same color it throughout the painting. There's a great deal of variety here. What is really important is that you always look for lost and found edges. An amateur painting looks amateur because it has too many hard edges. I have been doing these big paintings that are actually big drawings. This painting has nice calligraphy throughout and I work from smaller to larger. I brought a painting of my son. It doesn't look like him (particularly) but I will not go back into this …..I will do another one. 

Marty: I don't have anything to say but I am listening!

Diane: I count this painting among my successful ones. I like the accurate shapes and the dramatic dark and light. It breaks some rules…but seems successful anyway. I am honing my drawing skills. I brought in a painting that I did from a drawing last week. I am learning how to make proper transitions. 


Bill: I will have paintings at the East Portland Community Center. 

The Pittock Mansion reception was very nice... there is a show there with a theme of rivers. It was a lovely evening. Several Alla Prima Portland artists are participating. 

Studio 30 is canceled for Friday, but will resume next Friday for the long pose. Please make your reservations at 

Tuesday, February 10 is our field trip to the movies. We will be meeting at Cinema 21 at 3:30. From there we will go to have a bite to eat at Elephants deli to discuss the movie.

Suzanne says there will be a Sunday reception for the OSA members  showing at Concordia College from 2 to 4 in the library. This is on the first second and third floors. 

Information on Au Naturel in Astoria:

Kristina and others will have work in the Peoples Art Gallery this month. The theme is for the love of Portland. The reception will be the 21st.

Dave: I am having some people out from the Portland Art Museum Rental Gallery who are going to help me hang my art in my new home. I am going to do a demonstration for them. It’s a “work” party…and I want to recommend if you can do something similar (give a demo) for your helpful friends…you should. (I let you know how it all goes)! 

Joanne Kollman has work in the Beaverton City Hall. She won a prize in the torrid gray (Gamblin) competition. (Congratulations, Joanne!)

Today's Thursday Drawing club was scheduled to meet at the yogurt shop across the street but the yogurt shop does not open until noon! doh! So we returned to Medley tea and found out from the owner that she wouldn't mind having a small show of our work there. We’ll work on that!
Next week we will be going to the food cart place on Multnomah Boulevard. There is seating there and lots of things to draw (indoors). 

Thank you all for coming out today to share your ideas and paintings. 

Next Thursday suggested table topic: TEXTURE in painting…do you go for it? In what way? How do you accomplish texture in your paintings?

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