Meeting Notes, February 25, 2016

At today’s meeting Loretta, Joanne, Diane, Tim, Marty, Annie, Jeanne, Kristina, Charlie, Betsy, Dotty, Jeanie, Jerry, Dave, Tedd, Eunice, John, Za, Sandy (new), and me Celeste

Today’s suggested table topic: lost and found edges …what can you tell us about what you know about lost and found edges?

Celeste: It is said that nothing makes a painting look more amateur than “all over hard edges”.  In a workshop with Eric Jacobsen he drug his thumb through something I had painted to make it look more like light was bouncing around. Our eyes don’t see in the same way that a camera does. I brought in a painting that I did at the recent “Fine Art Saturday” session.

Dotty: it is a challenge to stop staring at objects while we’re painting them! I have been painting indoors recently. A friend suggested that I paint these two glass balls. I thought “what in the world am I going to do with this”?! I added some other things for interest.

Jeanie: I am a studio painter and I do landscapes. Most of my paintings are blurry. Intentionally blurry! I like almost all my edges to be soft. I brought in two recent small paintings.

Jerry: I was thinking when did I first learn about lost and found edges? Well, I think it was in life drawing class. One of my instructors told me “You need to lose some of these edges!” I like what Eric Jacobsen shows when he paints he is all about lost and found edges. He will paint a horizon line that looks like Morse code! It’s a long line followed by some dashes followed by another long line. I like what Paul Klee said “Drawing is like taking a line for a walk”. I am going to be taking a trip to the Mohave desert. I will see you all when I get back!

Dave: When I first started I did a lot of pencil drawings and if we were to look at them now we would probably be looking at all hard edges. I didn't know what I was doing then! I am a Richard Schmid disciple. He is great at explaining how the eye sees and how to think about that when designing your painting.  Also another person who is good at showing you how to mix up your edges is Craig Srebnik He will break up some of his edges with a paper towel. Very effective. I am showing two recent paintings. I have started writing on the back of my paintings …details about what the paintings are about.

Tedd: I think about edges throughout the entire painting process. I am showing you a painting I did of a female model.

Eunice: An effective way to unify is to connect the shadows. You have to soften shadows. I am showing two recent paintings.

Diane: Last weekend I took Joanne Kollman’s one-day workshop about limited palette. It was a real revelation for me! I am showing you the chart that I did there. It was so helpful to learn about combinations and how to cool and warm flesh tones. I also brought in a picture a recent drawing of my grandchild. I am going to be doing a painting of her and this is my start for that. (I used Marty’s calipers to measure for accuracy)!

Tim: I am showing this painting…the distance shows softer edges, the foreground shows harder edges. I used a photo reference of a model at Ft. Vancouver.

Marty: “Lost and found edges” imply that you have a plan! (Laughter)! One time when I was painting along side Za I scraped my entire painting down. She turned and said to me:  “Marty, stop!  look at that paining it’s perfect!” (Laughter)! Celeste recently told me “Marty, you’ve become a Fauvist”. I looked up what it is to be a Fauvist… and I think maybe I am one! I got this book about Fauvism, and it is true, these paintings speak to me. I am showing some recent paintings . My grandchild wasn’t crazy about her portrait…maybe she doesn’t understand Fauvism?! (Laughter)!


Annie: I like the Gurney Journey blog. He wrote that where colors meet there is an intense color in between. I know when I am looking at certain rhododendrons I see a halo type of bright color around the flower. (I observe that…and paint it with my mind’s eye).

 Jeanne: I have been taking a life painting class. Recently we have been studying Fairfield Porter paintings. This painting is one I have done “after” him. I like how all the neutrals bring out the bright yellow.

Kristina: One time when I was painting with Jennifer Diehl –I asked her, what is going on with this painting? She smeared this part of the teacup and that very simple thing improved it immediately! I really needed to see that to understand. I am also showing a painting I’ve done with a palette knife. I was examining it to see if there are any lost edges-- I don’t think there are, but, in fact, this painting is different….it really didn’t call for lost edges.

 Sandy: I have heard about this group and this is my first time here (welcome Sandy)! I am a watercolorist. I like to work on rice paper. I am showing a few of my paintings. I am happy to hear this discussion!

John: I am also new: I learned so much last week I am back again! I didn’t bring a painting this time but I will next time!

 Charlie: I remember meeting a cartoonist who used to talk about “line intensity”. It is the mind that connects everything up… not the eye.

 Betsy: I will think about this subject …! I think I know instinctively to strengthen some things and to soften and downplay others. I brought in two watercolors.

Joanne: The more you are aware of lost and found edges the more it makes sense to you! With me, with landscape it is a constant thought process about what is where. Sometimes when you see your painting later you will agree that it “needs” something here or it needs something “taken out” there. I brought in two paintings from two recent life sessions.

Za: I just love the topic of lost and found. It was when I was in college that I first learned about lost and found. I didn't realize until the last couple of years how super important all of that is. I find painting to be a playful endeavor as well as a purposeful thing! I am showing you a painting  of a truck. The trees in the background don’t matter much….but I will suggest the trees and put in patterns and patchwork to support the main subject of the painting. It’s for the sake of design. This painting is not about the tree in the background. I like to lose the line (of the truck) and come back and grab it again!

 Announcements:

Fine Art Saturdays at Studio One-Eleven at the Troy...find information on our Facebook page:

Joanne Kollman Color mixing one day workshops:

Joanne is in an exhibit an the Cannon Beach Gallery
The exhibition will open with a reception on Saturday, February 27, 5pm – 7pm, and there will be a Sunday Morning light breakfast, with mimosas, the following day, at which Juror Henk Pander has kindly agreed to discuss his work and take questions.
Address:
1064 S. Hemlock
Cannon Beach, OR 97110

Za’s  figure workshop is filled up …but she has another one in May at Sequoia:

Za is participating in the Florida Lighthouse plein air event. Others are going too-- Gretha Lindwood, Ned Mueller and others:

Jeanne Chamberlain is participating in the southeast art walk March 5 and 6. She will be at filling the blank. She would love to see you come out to her location (Fernie Brae)! She will have 15 landscapes in this venue.
4035 SE Hawthorne Blvd Portland, OR 97214   

The “new” Sellwood Bridge is having a grand opening this weekend. If it is nice perhaps some will paint there:

 Kristina still has work at the L Cena restaurant and she sold a painting there (applause)!

Eunice told us that Brenda Boylan has an article about her trip to Cuba in Outdoor Painter ( but I couldn’t find it). Send me the link if you see it!

 Charlie tells us that the March issue of Portland Monthly has articles in it about art. (About spaces for art and interviews with the people involved.)

Congratulations Joanne Kollman, for winning the commission to paint the 2015 Rose Festival Queen.
Reception/Unveiling March 6 1:30 at OSA
(If you want to submit to paint the next Rose Festival Queen, Contact OSA)

Here is a message from Melody Sears: Dear Alla Prima Portland,
Below please find information regarding the call for artists to enter the Santa Fe Plein Air Festival. Entries will be accepted from January 3 until February 28. We'd be most grateful if you can help spread the word about this opportunity to your local artists.
Thank you!
Melody Sears
Communications Volunteer, PAPNM
Plein Air Artists: plan on joining us at the Santa Fe Plein Air Festival June 3-10, 2016. We had $20,000 in art sales at last year's Festival! We'll award over $17,000 in cash and merchandise this year!
The Call for Entries for the Santa Fe Plein Air Festival, sponsored by Plein Air Painters of New Mexico, begins January 3 and remains open until February 28, 2016. Entries must be submitted online through CaFÉ (www.callforentry.org), where an event prospectus and full calendar are available for viewing. Registration is available to all plein air artists, although PAPNM membership will be required for artists juried into the paint-outs and exhibitions.
For more information see www.papnm.org.

Stay tuned about the Pacific NW Plein Air 2016 competition and exhibit --it is "in the works".

We sketched at Medley Tea, like we do on Thursdays after the meeting. Direct Link here: https://picasaweb.google.com/103423620849168017992/TheThursdayDrawingClubFebruary252016?authuser=0&feat=directlink

That is it for today! thank you for coming and sharing your ideas and your paintings! Next meeting March 3 --- suggested table topic: SERIES ….have you done a “series”? Tell us about it...and if you haven't yet done a series...what might the subject matter be (of a series) if you did do one?

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