Meeting Notes, May 30, 2019

Today's topic: Paint Quality, sometimes referred to as surface quality...what is the differences you've noticed between professional and amateur "paint quality"?

Celeste: Of course, we have regularly heard that we should use generous paint on quality surfaces...but I have also seen some stellar paintings that were painted (thinly) that hang in museums. I do have lots of old paintings that look starved for paint, ..but I tend to not go back into them. What's done is done! I am showing a recent painting (and two from my archives).

Geri: (siren in background) "I called the ambulance" (Laughter)! I aspire to paint something with a decisive stroke! I see paintings like that come around here at these meetings and I think..I'd like to do that! But my method is not "alla prima". I recall a painting I did recently of a woman who was smoking. I left the "smoke" for the last and I put it in...just right! It was exactly as I wanted it! I am showing a new painting. 

Ken: I thought the question was whether we considered ourselves amateur or professional. So, I googled that and discovered (from what I read) that I would be considered amateur but with strong leanings toward professional. I paint layers and layers on, but I don't use super expensive paint. (I can't see the difference between expensive and less expensive paint, so I'll keep using what I use). 

Chris: I have read this book by Robert Henri (The Art Spirit). He mentions paint quality a few times. He points out that one of the worst strokes that can be made is the "misery" stroke. Yong always says just put it down decisively (thank you, Yong)! I am showing the painting I did at the "Big" paint has a good quality of ----bugs----on the surface ! (Laughter)! I am also showing a recent commissioned portrait. 

Pam: I recently watched Yong's time lapse video...I felt so inspired to paint afterward and I did---but I threw it away! (Laughter)! My life has been such that I have not been able to do much painting lately. I am showing a drawing that I did that is extra-special to me (because of the subject matter). 

Marie: I love layers and layers of pastel. I enjoy the "unexpected" color that you will get in layers. I am showing a portrait.

Donna: I am showing a painting of a Zebra that was done with a reductive method. I am also showing a painting from Hwy 30, Rowena. I met a man named Duffy Sheridan; he told me a story about how he did not have any white paint, so he used toothpaste instead of white paint (and how that painting is in the British Museum)!  (Laughter)!

Joanne T: I do like thin and thick! I know that the lightest areas are the best to paint thick. I've been taking classes with Matt Smith. He says that thicker paint does show confidence. He says "if it looks right, it is right, and if it looks wrong, it is wrong!" (Laughter)! I feel confidence when I use a palette knife. I am showing a Matt Smith painting that I have added to my collection and a recent painting of mine.

Becky: I am showing an example of very thin paint! It is from a reference of a photo of old San Juan. There is graffiti everywhere there and I wanted to communicate that. The funny thing is I felt confident putting the graffiti in the painting....but I always have trouble with my own signature!

Tedd: I like thin paint (sarcasm) (Laughter)! I am showing the painting I did at the paint out on Memorial Day. I was taught don't buy super expensive paint...instead buy student grade and slather it on! 

Tom: I have painted "too" thin!  I am showing a recent painting.

Elo: If you like all over glazing (thin paint applied in layers) can't say that is "not professional"..Museums have plenty of paintings like that! It is just another option that is available to everyone. For myself, I like variety and my objective is to be more intentional with my paint application. I am showing a recent painting.

Dotty: To me, no matter is a sense of confidence that makes something look professional! You just see it and you know it. If the artist waffled around it comes across as muddled. I started as a watercolorist and I still like transparent paint. I like transparency and thicker paint together. I am showing a painting from near Sandy Or.

Vicki: I looked at some of my paintings because of this topic and I see that this is a problem for me! (Laughter)! I am showing two paintings, one from the Memorial Day Paint out.

Tim: I like thick and thin ---that is what makes a painting good to me. This was done completely in palette knife. This is near Bonnevelle Dam.

Annie: I had a friend who wanted his interior walls to be stucco...because he liked the idea of it. He said it would give him a sense of security. I had another friend who painted a snow scene and it was so good, I asked her "why did you decide to put so much paint here in the foreground"? and she replied "Because I had all this paint left-over" (Laughter)! I am showing recent paintings from my sketchbook. I do paintings like this for is so different if I have been asked to do something for an exhibit!

Kathy P: I was thinking that too many hard edges is a dead giveaway of a less-than-favorable painting. I guess it is a matter of knowing just where to put hard edges and soft edges. I have just come back from a trip where I saw Anders Zorn and Carl Larsson paintings. I got to get close to them and examine the paint application. It all looked precisely "right"! I am showing a painting I did yesterday and one I did in Bhavani's outdoor life model session.

Eunice: I pass

Dianna: I am a teacher and some of my (acrylic) students have asked..."how do I get my paint thicker?" I am not trying to be a smart aleck, but I tell them "well, don't put more water in it!" (Laughter)! The painting itself lets you know whatever it wants or needs. I am showing a painting that I did employing modeling paste to get this effect (crackled and thick). I painted acrylic over the paste. I am also showing a garden painting that is painted with a lot of paint.

Tracie: To me, it is like golf! You can't stand on the tee box and be thinking all sorts of thoughts like where is my weight? Is this right? I just look at the flag....and hit it (paint)! You do have to practice. I am showing this painting that I did as a commission. (Judith interjects: Q). "and didn't you tell us previously that the client specifically requested an octopus"?...Tracie: A). "Yes..... damn her"). 

Judith: I am going to give you the weekly update from the PCC art Dept. They are having an event called the "Scumble Rumble" June 5th 1-3 (see poster in the photos). I have been taking life drawing. We had an assignment and we were required to include hands and feet. I did my version like this...just to annoy everyone. I hope that you are annoyed too. (Laughter)! This is my friend Lane who came with me today. (She is a former producer of the show "Six Feet Under"

Yong: When I worked at Disney we were just brainwashed...there was no need for discussions about texture or "surface" they did not care at all--they only cared if the feeling from the scene was adequately represented! So, I still don't give thought to those all just comes down to, did you communicate what you meant?  I painted this floral during one of Za's outdoor painting sessions.

Thomas K:  I am all about paint handling! When I first painted I was nearly a photo realist. The mission of the photo real artist is to hide who "they" are...because it is the photo (not the artist) that is the key thing. I have explored all manner of paint application in oil. Variety is what compels us to look at a painting for awhile. Lately I have been experimenting with water media (watercolor and gouache). It is a challenge! You can get results that are flat, scratchy, transparent, opaque..just endless variations. I am showing the commission I am working on. I wanted to show you where it is now because you saw it last week. (Thomas drops the painting painting-side-down onto the floor and it picks up dirt) Oh well, I will handle this just like getting bugs in the paint out in the field, I'll let this dry and then knock off the dirt). (Editor's note: Thomas will send me a photo later). You know that expression "Paint like a Millionaire"? (It means use a lot of paint).  Well, I *have* actually painted alongside a couple of millionaires.... and they are stingy with their paint! (Laughter)!


Thanks to Don Bishop for hosting the BIG paint out at Sauvie Island on Memorial Day. We had a blast!

Congratulations to Joanne Thorpe, recent sales!

Tom Daniels will have a show at the First Presbyterian Church downtown Twelfth and Salmon Reception Sunday, June 2, 11:30-1pm

Oregon Society of Artists Rose Show Reception, Sunday June 2 1-4pm

Elo Wobig Lakewood Show, 11:00 am demo June 22

Eunice Sause Lakewood Show

Eric Jacobsen at Art on the Boulevard, First Friday

June 14 Paint out at Oakwood Gardens with host Joanne Thorpe more information to come.

Za Vue classes (write for details and/or to be put on wait list):

Tuesday Figure Sessions facilitated by Bhavani Krishnan Tuesdays 3-6pm email Bhavani for location (outdoors when weather permits):

Saturday paint along to Brenda Boylan (and other classes)

Thomas Kitts
 has two upcoming workshops in Portland (Drawing for Plein Air and Plein Air) First two weeks of September 2019  (just a few spots left)!

Dianna Shyne introduction to acrylics 9-12 in her Portland studio on Saturdays

Friday May 10 Life Drawing 10-1 am and Figure Session 1:15-4:00 (next time model is Jazzaniya) facitlitated by Joanne Radmilovich Kollman    OSA

Whidby Island workshops:

Kimberly Kent Art Brokerage Call to Artists:

Hiatus Drawing club meets after the Alla Prima Meeting at French Quarter
Next Meeting Thursday June 6 --Storing your paintings..share your method!  ---Let's Discuss!

No comments:

Post a Comment