Meeting Notes, March 22, 2018

At todays meeting: Loretta, Za, Jim, Elo, Tim, Brenda, Ken, Vicki, Susan, Leslie, Thomas, Joanne T, Jeanie, Raphael, Lisa, Diane, Mike,Anna, Yong and me, Celeste

Suggested topic: "Everything is coming together"! Have you experienced a time when a painting really came together just as you wanted? Did you understand something better than you had before? Did you have an aha moment? What accounted for your clearer understanding?

Celeste: Some years ago I painted at the coast. I bent down and came up and cracked my head on a guard rail! The blood poured down my face and a nurse came out of the parking lot to administer first aid. She said "you need to go get stitches at the hospital" and I said: "but can I paint my painting first"? Laughter! (She sort of said, well, sure, whatever)! I painted my painting fast and I really "got" warm and cool, I realized that warm and cool was making the rocks look really dimensional and "right". Beyond that, whenever I "get" things, Za seems somehow involved. (Laughter)! She encourages people and I often feel encouraged here too. I am showing two recent paintings.

Loretta: I have noticed that speed matters. If I paint too fast it can be a problem, if I paint too slow that can also be a problem. A deliberate steady pace is ideal.

Za: I was painting in Lake Oswego in an event. I was at the waterfront by a restaurant. My painting was boring, it was a piece of poop! (Laughter)! I was so fed up I took a brush in each hand and just slashed away at it like this (slash slash slash!!) Well, all of a sudden the painting looked really GOOD! (laughter)! I put it in a frame and that painting was one of the first to sell at a show I had soon afterwards. That experience was a changing moment for me.  I realized I had been trying to exert too much mantra is now "let it go" (paint with some abandon!). If you have trouble with too much control I suggest you set a time for yourself and don't go over it. Don't think too much..paint fast! I am showing paintings that are recent. I painted this one at dusk at Sauvie Island...I love the midtones!

Jim: I can't paint well if I am not relaxed! I have been taking an online class. We are working on value studies. I brought in my recent efforts. Also, I painted an "assignment" for our Facebook challenge page Art Studio Inspiration (a floral with lost and found edges). I am also showing a plein air from Cooper Mountain. While I was there....I ran into Mike Porter!

Elo: I have been thinking a lot about ambient light. I had an aha moment when I realized how the color of ambient light is very important (especially in shadow). When the effects of light are presented correctly there is a richness that the painting couldn't have otherwise! I am showing two recent paintings. 

Tim: A long time ago I took a workshop with Thomas Kitts.  He presented the idea that we could change the colors of what we saw ....and this was staggering news to me! (Laughter)! Do you mean that I don't have to "match" what I see???  (Laughter)! I often do this (change colors). It is liberating. I am showing a painting I did for Art Studio Inspiration and a recent studio painting (using the color I *wanted*).

Brenda: I was a presenter at last years plein air convention. I did a "dry run" presentation at OSA to prepare for it. I did a demo for it of an urban scene (and I am showing it today). I was under a time constraint and I worked FAST! I "finished" it later...just adding a few things, but the majority of the painting was done under pressure. Maybe working fast is a consideration...! I've noticed I work well with a "deadline". 

Ken: The less I think the better! I will work on something and only "notice" things later. I often leave it just as I did it. I painted this with water soluble paint. I may or may not make some changes to it.
(I may have insights much later; I like to remain open to the possibilities).

Vicki: I like to think about this question and how it might pertain to someone like Picasso. Don't you think he had many "aha" moments! (His entire career seemed like aha moments).  For myself...when I paint over a bad painting completely (to eradicate it) THAT is a real ahhhhh moment. (Vicki shows an all white canvas)---(Laughter)! I have discovered Steigerwald Wildlife refuge in Washington. It is wonderful with beautiful scenery everywhere you look. These paintings are from an outing there.

Susan: I didn't really want to come today--but I did, I'm here! ....and I am laughing, so I guess that is good! (applause)!

Leslie: A lot of my portraits come out looking like me...! I know that is a common problem that can be associated with "painting by rote" (painting just like the last painting you painted, instead of observing carefully). I was at Fine Art Friday and I squinted way down for the major shapes and I got a better result. It was kind of "aha"! (Laughter)! I am also showing a painting I did for the book I am doing that will be published in June. This summer I want to paint from the model more. If anyone wants to share the cost of a model with me over the summer --contact me).

Thomas: I am now free to talk about my DVD project that I did with Streamline video. (I've had to stay quiet about it until we got it all completed). The DVD is about painting like Sorolla! You can imagine what pressure I was under...who paints like Sorolla...except Sorolla! (Well, no one!) But, I had to give it my best shot and I did. I did these two paintings in preparation of painting the painting for the DVD. Sorolla is quoted as saying "If I couldn't paint fast I couldn't paint at all". My "Aha" moment was realizing that my outdoor speed and in my indoor speed can be different from one another. There are times when painting fast is called for and times when slow deliberation is called for. I know, it sounds like a contradiction...but you know and are "aware" of these times the more you paint. I agree with Za, that if you have any troubles a great cure is to time yourself. The video experience has taught me three things: a. Painting outdoors is mandatory (for me) b. I don't have to do what I don't *want* to do c: but, things that scare will be rewarded.

Joanne T: I had an aha moment when I asked Thomas about a painting I had trouble resolving.  He said: "Put this one aside and paint another one" (WHAT!??) (Laughter)! It sounds weird to say, but up until then that hadn't occurred to me. (Laughter)! During Za's recent class I said to her: "I'm just playing here" and she said: "Ok, play, but don't muddy"! (Laughter)! I loved Yong's demo and how he always stresses the 3 values. I painted this painting during the class and I think I did "get" the three values. I am realizing that we don't have to "blend" everything (and it is better not to)! I'm also showing a painting I acquired by Keith Bond. I got to watch him paint and learned a lot from him.

Jeanie: I'm waiting for my aha moment! (Laughter)! I am aware that things that we do "too carefully" become "too precious" --I understand (and I try for a relaxed concentration). 

Raphael: I was at the beach and painting this coastal scene on a sunny day. That painting was good, full color and very satisfying...but I am showing the painting I did the next day that was a different day. It was "socked in" and the atmosphere was heavy. I much prefer this version of the painting...because it was so much more interesting and I think I captured the weather. It really came together, despite the fact that it has no contrast.

Lisa: I painted this painting of a cup..and I was happy with it all, except when I originally painted it I gave it a dull yellow ochre background. It was so static, it seemed to "kill" the great things about the painting. I had just seen "Loving Vincent" and I thought: "I know, I'm going to "van Gogh that background" and I did (I added some swirls and gradations). I am also showing this was the same in the beginning (static) and again, I gave it a van Gogh type treatment and I felt it totally improved it. 

Diane: The paintings or drawings I do from life just have that certain "something" that is better. That "something" is life! I can see the difference between the efforts from reference and the paintings from life, it's clear. I am showing some recent portraits. I gessoed the wrong side of this canvas (in error) and took it to a life session. I suffered and struggled through the whole thing, my brush just dragging across the surface! (Despite all that, it's from life, so it has that "something" that I prefer).

Mike: If you work in watercolor, you know when it works and you know when it doesn't (Laughter)! There was a good book on this subject called: "Flow". The book was all about being in the zone and finding good ways to be able to count on "flow". Sometimes as we work we can become self aware and demanding and that can be a problem. It is always best to just experience the moment.  If you feel yourself thinking too much what pulls you back can be your connection to the world! 

Anna: My aha moments just come and go! I am taking classes to fill some gaps in my training. Recently Za told me to stop and slow down --and she took my brush and blocked in a whole section of light. It was a great "aha" moment! Aimee Erickson recently suggested that I get rid of an entire background that was competing with the main subject. As soon as I did it, I saw how much better everything looked. I am also drawing more these days; I recently went to the drawing session at OSA.  

Yong: I have had many aha moments at different stages in my artistic life. Of course, as you know, the three values that I learned at Disney are most important to me. Disney pushed that so much that it has become so 2nd nature--I don't have to think about it, it is always "there". If you ever feel lost, I recommend that you always think about the fundamentals. Think about big shapes, the three values, the "main" things that you have been taught. Take a look at your painting and make sure those things are there. I am showing a painting I started plein air and finished in the studio.


Brenda Boylan workshop June 1-3

Yong Hong Zhong two upcoming watercolor workshops (May and Sept)
(Thanks Yong, for the demo you gave at Noble Woods Park on Tuesday. Facebook photos

email Za Vue to learn about her weekly class and two upcoming workshops (one with a model outdoors and one plein air): she will put you on the list! (Workshops especially fill up very fast):

Lavender Festival (sign up, address corrected):

Paint the figure Friday ("Fine Art Friday") at OSA March 23 1-4pm  with Joanne Radmilovich Kollman. The model is TONY
$20 drop ins are welcome.

Come paint with 
FRESH FLOWER SATURDAY (and/or open studio, paint from your own reference) Every Saturday, Next one: March 24 1:30-4:30 pmwith artist Joanne Radmilovich Kollman $25
Questions? If you need assistance, instruction or help with supplies don't hesitate to ask, contact Joanne Kollman Email or phone RSVP is helpful but Drop-ins are welcome. 503.752.3708

Aimee Erickson classes and workshops:

Susan Kuznitsky classes and workshops:

Thomas Kitts: online mentoring:

Jennifer Diehl new classes and workshops:
May4-6 Color workshop
(starting in April/8 weeks in duration):
Morning class 9-12(floral)
afternoon 12:30- 3:30 glass and chrome
(above at Brush and Palette in Oregon City)

Edmond WA workshop:
figure in the landscape
April 20-22
Email Jennifer:

Michael Lindstrom Upcoming Workshops
Michael Lindstrom
Announcing my 2018 Plein Air Workshop schedule!
Spring, Summer, and Fall.
4/28 Sauvie Island, OR
8/25-8/26 Jane Weber Arboretum, Vancouver,WA
10/13 Fort Vancouver National Historic Site, Vancouver,WA
See my website for more details:
contact me with questions or registration

The Hiatus Drawing Club

Mike Porter: I am taking orders for wood turned brush holders as a fundraiser for OSA. The brush holders are $30.00 (see photos below). I also can take orders for pepper grinders and coffee scoops. Please order to support OSA. ALL proceeds go to them.

Artist Opportunities:

(You are encouraged to paint at the same locations with accepted artists):
Pacific NW Plein Air 2018 (+ Workshop with Randall Sexton)

Southern Oregon Plein Air 2018 (+ Workshop with Aimee Erickson):

Portland Open Studios:

Plein Air Lake Oswego:
RE: Lake Oswego Plein Air 2018
• email to add your name to the list of artists interested in participating in this year's event. Doing so ensures you will receive updates about Plein Air.

The Arts Council of Lake Oswego is excited to welcome back Plein Air Lake Oswego for the 2018 exhibition season! Please mark your calendars for the Paint Out June 8-10 and the Opening Reception July 6 from 5-7 p.m. The exhibition will be held at our 510 Museum & ARTspace June 22 through August 4. 

We hope you will come paint with us and be a part of this beautiful local art showcase!
Paint Out: June 8-10, 2018 I All Day Opening Reception: July 6, 2018 I 5-7 p.m. Exhibition Dates: June 22 - August 4, 2018
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Next Meeting Thursday, March 29, Suggested table topic: Positive shapes / negative shapes! How much thought do you give positive and negative shapes? Do you have some examples of when you went positive and when you went negative? Tell us anything you want on the subject of positive and negative shapes...Lets discuss!

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