Meeting Notes, JANUARY/FEB 2014


Jan 2, 2014:

At today’s meeting Loretta, Eunice, Tim, Christina, Stephanie, Za, Melinda (Za's niece), Donna, Thomas, Diane, Marty, and me (Celeste).

Today's suggested table topic: GREEN.

I (Celeste) talked about how I was introduced to viridian in a workshop with Thomas Kitts. Up until then I was sort of afraid of it for some reason. In the workshop Thomas showed us how viridian is often a nice change from blue. He counseled us to use it judiciously! I also mentioned reading about Kevin McPherson's addition of Windsor Green to his limited palette. (MacPherson also suggests caution when using such a strong color).

Marty showed us a book called Blue and Yellow Don't make Green. (A color theory book). Marty learned a lot from the Quiller wheel. He's been taking recent classes with Kat and following her exercises in color.


Diane says that green is her favorite color. As a watercolor artist she learned that using Thalo green and Dioz purple together make a beautiful blue. She likes green-based black (Aliz crimson and Thalo). She has been painting on Friday afternoons at Studio 30. Her New Year's resolution is to clean her at home studio...so that it's more useful for her.

Thomas told us about how he was once told by a gallery owner that "Green doesn't sell“ This is a myth, as far as Thomas is concerned, because he has seen many green painting sell! He likes Stapleton Kearns’ suggestion to “smuggle red” into a painting that has a lot of green. Thomas recommends that you look carefully at what (in nature) will suggest a temperature change. “Check the planes that face away from you”. (Usually cool!)

Thomas also talked about how we need to be aware of if we are mixing a cool yellow with a warm blue and visa versa. (Becky Joy has a good instructional video that covers this):


Donna is back from a trip from Paris. She did some watercolors there and showed them to us. She also told us about a book entitled The Yellow House (about van Gogh). Donna loves green and she has no problem painting with Green. She mixes all of her greens.

http://www.amazon.com/The-Yellow-House-Turbulent-Provence/dp/B003E7ETGW

Za says every painting must employ the shifts of warm and cool.. Green and violet can go to either warm or cool.... "that’s why they can be useful as neutrals in your painting". Za says:  “Always paint with intention and purpose”.  (Every stroke must have a reason).

When Stephanie first started oil painting she painted one entire picture (predominately) with Thalo green. She still has that painting...but has never used Thalo since! Stephanie loves green and recognizes that reds and oranges enhance green in the landscape. She likes using Payne’s gray and yellow to make green.

Christina brought a book by William Reese. She read from his book The Painter's Process. Essentially what Reese says is that “there is a battle with green, but we cannot avoid it.... we have to master it”. Reese said that greens can be "poisonous" if created with only yellow and blue.


Tim told us that historically copperplates used to be so soaked in wine to create oxides that were green for pigments! He showed us a painting that he did from memory (painted on Christmas Day).

Eunice uses many greens like chrome oxide, Windsor green, yellow green... endless greens. Green is her favorite color. She mixes into green or out of green all the time.

Loretta loves green. Her instructor put Viridian on her palette a long time ago and she has never changed that.

Announcements: Studios 30 intends to have some model setups that will last for two weeks. (The recent “Matisse” model set up was very popular and brought about this idea). On a weekly basis Diane helps set up the model with interesting settings/clothing. Find out about joining up at Studio 30 here:


Za is preparing for a new upcoming show (Still life) in Hood River.

Stephanie was the December artist and Christina Sellers is beginning a month-long show (Jan) at an NECC.


Thomas Kitts has another upcoming Plein Air Magazine article in the works! Here is his most recent article about river rafting/plein air painting:


Thomas is still working on his instructional book and is thinking of making it available in segments. He has four spots in his January workshop (Jan 31- Feb 3 at Kat's Studio 30):



Thanks for sharing your ideas and paintings! Happy New Year!

Next Meeting: Thursday, Jan 9. Suggested topic Favorite Art Books (fiction or non fiction).

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1/9/2014 Meeting notes:

At today's meeting: Diane, Eunice, Tim, Brenda, Thomas, Kristina, Char, Dave, Stephaine, Za, Hilarie, Kay, Mary L., Joanne, Claudia and me (Loretta)

Diane is a buff of non-fiction biography and brought Roxana Robinson's book on Georgia O'Keefe. She likes O'Keefe's personality and finds her enigmatic, which resonates with Diane who also likes spending time alone. (Diane sold one-half of "The Little Things" at Gardino's. Congratulations!)


Eunice has lots of books but didn't bring any this time. She's working on two paintings.

Thomas brought two books: John Gage's, Color and Culture, which is a history book on color as seen through different ages and cultures; and Principles of Harmony and Contrast of Colors by M.E. Chevreul. He invented dyes for textiles and noticed that two colors placed close together created magical things.

Char's favorite book is The Painterly Approach by Bob Rohm, which highlights color.

Dave’s favorite book is Alla Prima by Richard Schmid. He also has some of his videos. Dave is presently cleaning out his studio. He brought two paintings, one of which was painted at the ranch where Renita keeps her horse—and, by the way, artists are welcome there.

Kay's recent acquisition is Thrift Store Paintings, edited by Jim Shaw. She finds the titles to the paintings hilarious. She brought a painting framed in a large black frame, à la the Steven Hayes' show. (She sold two paintings. Congratulations!)

Hilarie has many books but didn't bring any, though she mentioned she likes Schmid's Alla Prima book and James Guerney's book on color. She brought two paintings. She also mentioned that she saw her dog watching a Bob Ross show on TV. (ha ha!)

Za brought Becky Koenig's book, 2nd ed., Color Workshop, which deals with color and color principles, a book which she learned a lot from. She suggests we read as much as we can about color and hue. The painting she brought will be exhibited next month at Columbia Art Gallery in Hood River.

Mary didn't bring a book or painting this time, but suggests we go see the Francis Bacon exhibit at the Portland Art Museum.

http://portlandartmuseum.org/francisbacon-triptych

Joanne continually pulls books off her shelves. This time, she brought a book of John Singer Sargent's painitng of children, entitled Great Expectations. She's interested in a limited palette.
She brought three still life paintings.

http://www.amazon.com/Great-Expectations-Sargent-Painting-Children/dp/0821261681

Stephanie brought a brochure of the Samurai exhibit and found that she was more impressed than she previously thought of the art and design. She found the work very expressive. She also likes The Artists' Way, by Julia Cameron.

Kristina brought in a book that's famous for its mood and paintings of Russian itinerants.

Tim mentioned that he likes Edgar Payne’s Sketch Book, but didn't bring any books today. He brought two paintings, one done with palette knife.

Brenda said that she likes Vermeer's artwork and the book about him, The Girl With the Pearl Earring. She brought a painting.

http://www.amazon.com/Girl-Pearl-Earring-A-Novel/dp/B0085RZK5A

I (Loretta) brought a book by Lionello Venturi, entitled Impressionists and Symbolists, a short critique of the lives and work of the Impressionists and Symbolists.


Upcoming events:

Portland Art Museum: Thomas suggests a trip there to see the Sorolla life-size painting, "Maria in the Garden," which will be there for 60 days.

Sequoia Gallery: Brenda's show will be February 8th. Steve Kleier will be doing a demo Tuesday evening ($10); next week Eric Jacobson will be doing a demo at 4:30 p.m. ($10). Claudia has a new website.

Thanks to all for bringing your art and ideas....Next meeting: Jan 16. The suggested topic...friends and family, supportive or not? And does it matter ?

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Jan 16th Meeting notes:

At today’s meeting: Dave, Loretta, Tedd, Eunice, Tim, Susan (new), Marty, Diane, Kristina, Joanne, Jim, Peggie, Gretha, Za and me (Celeste).

Today's suggested topic:  Your current friends and family, do they understand your devotion to painting? Does it matter?

(Today's topic is “personal”, so summaries are offered below in random and anonymous order).

I have friends that are artists and friends who are non-artists. Both supportive in their own way. All my art friends, of course, understand my devotion to painting. My non-artist friends often seem clueless. Strangely, one of my non-artist friends has been a good barometer, however.  If I have to explain something in the painting to him...I realize that I’ve failed. (What is that? Is that a truck? Is that a fence?)

My first support came from my instructor in another country. Many of my friends simply walk past my paintings without a word. However, I have other friends who are very encouraging and will point out the painting that they like “the best”.

My family doesn't understand my devotion to painting at all! I do, however, have a Great Niece that loves to come over and visit my studio. She's interested!

My friends and family have alluded to something along the lines of ...."haven't you painted enough yet?" (The answer is....no).

I have a diverse group of friends. Sometimes I'll be jumping around excited about something I've done and my friends will look at me and say, ”Would you like to go to the gun show?”

When I was growing up I was always the one doing the dishes! When I got older I took up art. On occasion I have taken a chance and given some of my work to my family. They seem to like it.

 I have also given friends and family my paintings. Later I notice that some paintings I gave don’t make it to a wall! (But that’s ok... it doesn’t bother me at all. I love the process!)

My husband is my biggest support. He goes everywhere with me and helps me set up and take down things for shows. He's kind of my Sherpa! I couldn't do the things I do today without his help and encouragement.

I spent years looking for an arts community. I used to commute to another town to spend time with an organized group of artists. I'm grateful to a friend who told me about this group in Portland. My husband is a great support. Some of my friends/family have said “she's talented, but not making any money." I regard this group as my “new family" (and I don’t have to drive for hours to get here).

I have a very supportive husband and son. I'm lucky because my son likes to hang out when I paint. He reads books while I work. Conversely, some of my other family won't talk about my art at all! It's strange; it's like a taboo subject! Recently, my husband bought me a special easel.

My immediate family is supportive of my work. My children, however...no. Recently, I had an issue with a friend who felt I should give her a painting that I had loaned her. I’ve given her other paintings and had to have this one back for a particular reason. I felt bad, but I held firm. Our friendship may be changed over this situation.

I have been interested in art my entire life since early childhood. I was discouraged constantly by my family (particularly my father) who knew nothing about art. I was only able to really start painting after I retired. My father had forbid me from being an artist! My daughters have no interest in what I do.  A lot of my friends and family question me about the commerce involved in painting and whether or not I'm doing a good job of making money! I appreciate this group...you ‘understand’ me!

It is fun to spend time with like-minded people (like this group). Sometimes coming here feels a little bit like getting a hug! It is a challenge to deal with friends and family who don't understand.

My family came from a different country. In that country there was "no such thing” as art. My support came chiefly from my high school teachers. When I decided what school to go to (art school) my family held a meeting in which they gave me measured sage advice...the pros and cons of going to art school. After the meeting I told them that I'd be needing a ride to art school (in a different state). They were so  surprised that they hadn't dissuaded me during the meeting! They thought they had! In the end they wound up supporting me completely. "That's family"!

Other news

Tedd, Jim and Gretha have all made trips to the Zorn exhibit in San Francisco. Each one gave huge high marks to the experience! Gretha went in one day. Jim talked about a painting where Zorn is holding his pallet of the famous four colors. Both Jim and Tedd talked about the special red that was in each of the Zorn paintings.  All the attendees of the exhibit agree that no printing process can possibly describe these paintings. However, the book is still worth it. The book for the Zorn exhibit is $35.


Tedd showed us a commission piece that he painted directly onto a silver tray!
Yowser! (beautiful and unusual!)

Eunice showed us new paintings from Eagle Lake and another painting just below Hidden Lake. She has ordered the new Ned Mueller DVD.

Tim showed us a painting from the Gorge (at Ruthton Point).

Susan Gorey is new. Welcome, Susan! She showed us some pastel paintings. She is hoping to move into oil in the future.

Marty has been taking classes with Kat. He showed us two new paintings from his classes with Kat Sowa (from life).


Kristina showed us a large commissioned landscape.

Joanne showed two paintings from life. One of Tim Young from the last studio 30 session. The other was of her partner (also from life). When she painted him she explained that he kept falling asleep."So I went with that. It's a little like painting outdoors. You have to go with what is happening. You have to be ready for what is happening and go from there”.

Jim King showed us a new painting from a series he is starting about “small businesses”. He wowed us with a 2nd painting...a portrait of Brenda Boylan's daughter (Nikki) that he did from a photograph of a previous studio 30 session.

I (Celeste) brought in an abbreviated painting. I didn’t use many strokes. “Less is more”!

Announcements: Studio 30 is trying to determine whether or not two days per week has interest and/or evening sessions. Call or write Kat...if you haven’t gone to Studio 30 yet...it is a great time to go check it out!


Peggie Moje’ is having an art studio moving sale on January 25 and 26. Say goodbye to the 'Phoebe' bunny mural painting on her studio wall that is certain to be painted over by the new owners! (Boo!)
Call Peggy for further information.  503-830-3595

Mike Orwick will be teaching at Oregon Society of Artists. Cool! It's drop-in!

Just two slots left in Thomas Kitts' Alla Prima workshop at
Studio 30. Three days, Jan 31-Feb 2  

Craig Srebnik free demo and classes:

Free Painting Demonstration: (Painting people)
Lake Oswego
Wednesday Morning n January 22 n 10:00 am – 12:00 pm
 Reservations appreciated.

Weekly classes resume in Feb


Thanks for coming and bringing your ideas and art! ...and thanks to David Burbach for the photos from today's meeting. 
Next Meeting Thursday, Jan 23: PRICING your paintings

Return to front page HERE


Meeting notes, Jan 23, 
At todays meeting: Loretta, Lisa, Diane, Tim, Thomas, Joanne, Za, Diane H, Kristina, Susan, Marty, Vicki, Dave, Char, Stephanie, Jim, Eunice, Claudia, Mary and me (Celeste).

Today's suggested topic, Pricing your work.

(Comments below are random in order and anonymous).

The subject is new to me even though I've been in business a long time. In business there are 'objective' costs. In art, however, there are subjective costs. There is a difference between cost and price. Cost reflects your education, your experience, supplies, frames, and other things. Price reflects what people will pay!  When I started taking commissions I knew I needed to have a solid plan. I put things down on paper to make my thought process clearer to myself and others.  My 11 x 14s go for around $400. That is my baseline and I increase up and down exponentially (with the 11x14s as my "baseline").



Pricing is not a problem for me because I sometimes pay people to take my paintings (just kidding! ha ha). I don't have much experience in this, so I'm listening to the discussion. 

I am very new to this so I don't really have any pricing ideas. I can't stand rejection so I don't try to sell my paintings!

I don't know about selling paintings. I do know that I don't want to under price my paintings so I will look at comparable paintings to make decisions about where to put my prices.

My pricing has been trial and error. I do try to make sense of my prices and I give myself a small raise every year. My 11 x 14s go for $350. My 8x10s go for $245. I make adjustments to the price based on whether or not it is sold with the frame. I'll add 10% to a custom order.

I also consider myself a newbie. I do aspire to not going too low. I pay attention to what other artists are charging. My 11 x 14 pastels go for $285.

I use a per inch pricing method. I am perfectly okay if someone doesn't buy my painting. (In other words, I have other sources of income!) I know exactly where I want to be price wise. My paintings sell for $5-$6 per inch. I know how much money I want from the effort and I will add the commission of the gallery on top. I don't vary from this. I WILL give my friends and family a discount. 

It is very important to be consistent with your pricing. If you are not it can get dicey! You need to have integrity when it comes to your pricing and not to change prices willy nilly. You need to use comparable pricing.
Having said all that.... I would sell a large scale oil sketch at a different price than a large very finished painting. I stay flexible within reason with pricing....but I am careful not to jump around with widely differing prices. Collectors and Galleries don't like that.


Pricing involves what someone will pay for your painting!  It is important to have a consistent rationale.  The convention is to price by the inch. It is not wise to use the "Ala Carte" method.
Think about the size painting that you sell the most often and use that as your starting point. Use a mathematical formula and decide based on that painting how much your other paintings should sell for. A gallery wants to know if there are solid reasons behind your pricing method. Most galleries want hedge room. Make prior arrangements with them so that they know how much latitude you might give to a collector who wants a discount. (I do this... but I ask the gallery to be the one to absorb the difference...and/or I MIGHT split it with them). Point is, this is something to go over with them in advance.

In a famous lawsuit the painter Whistler was accused of overpricing his work. He won the lawsuit, however, it bankrupted him. Cost and pricing is a very important issue for all artists  (in 1875 ....as well as now!)


I'm not selling any work so pricing is not a problem.

Pricing is hit and miss with me. I recently sold 10 small paintings at reasonable prices. The price seemed correct to me and I was happy with the outcome. I do not have much experience in selling art.

I think it is important to price your paintings not so low that they would be thought of as cheap, but also not so high as they would be thought of as out of reach.

I have trouble selling things even after 12 years of painting. To me they are sometimes very difficult to sell because I love my paintings. 

I sold in a co-op gallery where I lived before. I sold a lot of paintings. Then when I moved here and I realized quickly that it's a different atmosphere. Where I lived before people bought more paintings! It's not important to me whether I sell or not. But when I do sell I decide what is a fair price and I don't vary from that.

I will second the comment about how collectors want discounts. They actually almost demand discounts! I told my gallery that they could have 10%. A small painting of mine used to go for $450 and a large painting could go for $3-$4000. But each market is different and this was in California. I paint differently than I did back then.

I have no real system for pricing. It is just a wonderful surprise if people buy my paintings. My paintings are priced properly, I think.

My biggest problem is just trying to "keep my cool" if someone buys my painting! (I get very excited and happy..it's hard to conceal it).

My 8 x 8 paintings sell for $185. That is a very comfortable price because it is under $200 and people think of it as doable.  I have sold many paintings at this price and it's the base price I use when I go up or down in size.

More notes:

I (Celeste) brought in an "unfinished" painting....that I intend to leave unfinished.

Vicky brought in a persimmon painting.

Susan Gorrie brought in a painting for the Fin and Feathers show at OSA.

Kristina brought in a painting of a birthday cake. (It is her birthday on Saturday. Happy birthday Kristina!)

Diane brought in a painting from studio 30.

Thomas brought in a small painting that he is used to make into a larger painting. This process will be highlighted in a new article that will appear in Outdoor Painter online magazine. (You should subscribe to outdoor Painter online....put your email address in the box on right side...the newsletter is free). Here is the link:


Thomas recommends the William Reese book as a very good instructional plan air book.
(The Painter's Process):

Tim brought in a painting from Studio 30.

Lisa brought in a painting in the style of Edward Hopper. (She employed extreme light just as Hopper did in his paintings).

Diane Holland continues in her practice of painting pastels on narrow strips of paper. She showed us 4 new ones.

Eunice brought in a still life that was painted at Studio 30.

Dave McBride brought in two paintings. One of Tim Young from a photograph..another a landscape.

Jim King brought in two portraits. Both done from photographs. One of Tim Young. The other (a second portrait) of Nikki Boylan. 
Stephanie brought in two figure paintings.


Announcements.

Studio 30 meets on Thursday only next week because of the Thomas Kitts workshop.

Sequoia Gallery offers many opportunities to show and workshops. Workshop instructors include Steve Kleier, Brenda Boylan and Eric Jacobsen.


Check out Dave McBride's studio tour on YouTube:


Za Vue will be offering workshops soon. One will be a plein air workshop in Eugene. Za will also offer a portrait workshop at Sequoia Gallery in April. Check with Za about specifics and how and when to sign up. yvue@aii.edu

Columbia Art Gallery presents a still life show. The reception will be February 7 Friday. Artists include Za Vue, Cathleen Rehfeld, Bill Sharp Eric Jacobsen, Aimee Erickson and others.


Thomas Kitts has ONE spot left in his Alla Prima Painting workshop at Studio 30. Contact Thomas to secure this spot. thomas@thomaskitts.com

Thomas has been asked to paint a demo at the plein air convention:


The Portland Art Museum is going to host a plein air event in August 2014. There will be a jury process to determine participation. This is in tandem with the exhibit of paintings from the Louvre in Paris. More information to come!


Diane Holland tells us about an exciting opportunity to paint aboard a Princess Cruise ship. This is offered by the Painted Ladies of Alaska. It's going to involve travel to Juneau and Skagway in Alaska. Find out more here: 


Celeste Bergin and Mark Larsen are participating in the southeast Art walk in March.
More information to come!

Thanks for coming and sharing your ideas and paintings.

Next Meeting Jan 30 Thursday, Sketchbooks! Bring yours...(and do a sketch for fun)!

Go back to the front page HERE

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Jan 30 Meeting Notes:


At todays meeting Loretta, Peggie, Stephanie, Joanne, Thomas, Tim, Joanne M, Kay, Stan (New), Dave, Char, Marty, Jim, Kristina, Brenda, Za, and me, Celeste.

Today’s suggested table topic: sketchbooks. Do you use them? What for? What kind?

Celeste: I use lots of sketchbooks, but I know I don’t use them especially “productively”. I do plan paintings in them...and I like just sketching for fun. I like a toned sketchbook from Daley and I like Aqubee the best, because it accepts wet media.

Loretta: I do have one sketchbook. It has nothing in it. I don’t sketch very often. I brought three sketches today to share...(despite the fact that I paint more often than draw).

Peggie: I use sketchbooks, however, I generally rip the pages out.

Stephanie: I have always loved sketching. I am always doodling. I have stacks of sketchbooks. I like smaller ones so I can carry them wherever I go. My sketchbooks are a place to experiment. Recently I sketched at the Portland Art Museum (at the Samurai exhibit).

Joanne M: I enjoyed painting at studio 30 recently. I don’t use sketchbooks all that much anymore. I brought my finished painting of Elise together with the painting of Mimi from Studio 30.

Thomas: I suggest to everyone that they sketch and sketch and sketch. When you sketch a lot you can later refer to this data in your head. Sketching makes you intuitive. Generally if there’s anything wrong with your painting it’s most often your drawing. That is why you should use sketchbooks and you should sketch a lot. If I have trouble with a foreshortening.... I can’t fake it! I have to observe it and draw it to get it down.

Tim: I have a pile of watercolor pads. I always have four or five in the car. Here is my drawing that I did of a cuttlefish. (I actually drew this with "cuttlefish ink").

Joanne K: I use sketchbooks to determine values. I draw like I paint and I paint like I draw. It is all inter-related. Recently, I went painting with Za. We went to Hood River. Painting in the cold was exhilarating and I had to paint fast. It reminded me of what it is to be alive! I used to do very classical painting that was very controlled. My more recent efforts are with thick paint and all together more immediate.

Za: When I worked for Disney they taught us how to “turn anything in space”! While I worked there in animation I drew and drew and drew.
I usually idealize and exaggerate objects and scenes in my paintings. Sometimes I fuse the real world with exaggeration. My time at Disney taught me to see things in my head first before painting them. This is after many years of drawing. Utilizing a sketchbook will help your design to be more solid. I’ve been trained to see things in my minds eye. When I see a sketch in my head it has three values, it has the intended design and the composition I want. If that doesn’t happen on my canvas... I will wipe it out and start again.

Kay: I use my sketchbooks mostly like journals. I use them especially when I am traveling. I don’t always have time to paint, but I do have time to do sketches. I often like to use color in my sketchbooks because I can possibly translate my idea into a painting later. Sometimes I sketch from a photograph into my sketchbook.

Stan (Robinson) (New person...welcome!). I am a sculptor. I like to sketch. I didn’t bring anything today...but I will in the future.

Dave: I love to sketch but I don’t always find time to do it. Recently I went out to do some plein air painting at Renita’s farm. I’m sharing a painting from there and also a floral from Studio 30.

Char brought in an abstract painting. (Editor's note: So Sorry I missed photographing it).

Marty: I’m ready, shoot, aim kind of guy. I have bought a lot of sketching stuff.... but I go out in the backyard and I don’t know what I should sketching and why! I have been sketching to try to learn proportion for my painting. Recently, I’ve been taking classes with Kat and we have been working on a vegetable series. I brought the painting that I have been working on.

Jim: Sketching absolutely does improve your eye. I have a template that I put into an envelope that I keep permanently in the back cover of the sketchbook. I use the sketchbook to work out proportions. At home I have a drawing studio set aside JUST for drawing. I practice drawing all the time and I like drawing both from life and from photos. At my home studio I draw in sizes like 18 x 24. I also have another room set up for painting....it’s a small room.  I do several drawings in preparation of doing a painting. I brought in two oil sketches done from photographs of Nancy from the last Studio 30 session.

Kristina: I do draw in preparation of painting. I like to work out the values. I brought in a self-portrait. You will be able to use tell from looking at it----I am also a fan of Downton Abbey.

Brenda: I use sketchbooks. I didn’t bring one to show you, but I do use them. Recently at studio 30 I did this still life. I bring my own props and paint with strong light on the subject. I pay extra to stay a little bit longer to finish the painting as far as I can in one session.

Announcements:

Brenda Boylan Two openings....Attic Gallery /Rip Caswell Gallery. Please come! (It is so much more fun if you are there!)

http://brendaboylan.blogspot.com/

First Thursday, Feb 6, 2014

Caswell Gallery (Brenda Boylan)
First Friday, Feb 7


Joanne Kollman Mark Woolley Gallery February 5. 5-9 “Portraits2”


Columbia Art Gallery, First Friday Feb 7, 
Still Life (Za, Aimee, Bill Sharp, Cathleen Rehfeld and others)

Oregon Society or Artists:

First Thursday demo 
February 6th
 David McBride, 
Landscape Plein Air:
 Painting In Difficult Weather 
Doors open / Critique at 6 PM, 
Demo at 7 PM


Thursday February 13th
 Karen Whitworth, Still Life: Capturing Delicate Treasures 
In Oil
Doors open at 10 AM, 
Demo at 11 AM, 
buffet lunch at 12:15 PM


Thomas Kitts and Brenda Boylan are both demonstrating at the Plein Air Convention and Expo!

Thomas Kitts has an Alla Prima Studio workshop through Columbia Art Gallery in Hood River Feb 28-March 2.

Peggie has a Fletcher mat cutter for sale that is valued at $2000. Selling it for $500. In case anyone is interested. peggie@mojepaintings.com

Here is Za’s new website!:

Michael Orwick is teaching at OSA:

Thank you everyone for bringing in your sketchbooks paintings and ideas. Next meeting is February 6 subject photographing your art.

To return to the front page go HERE:
http://allaprimaportland.blogspot.com/

FEBRUARY 2014:


At todays meeting Eunice, Dave, Marty, Stan, Za, Jennifer, Susan, Kristina, Brenda, Jim, Tim, Diane, Loretta and me (Celeste).

Today's table topic subject: Orange.

Celeste says:  "I got off on the wrong foot with cadmium orange when I first started painting. I embraced an exercise in Charles Sovek’s instructional book.... I realized later that he didn’t mean for us to use orange as sunlight incessantly...it was just meant as an exercise only!  I use orange very judiciously now (after having used it too much in the beginning). I did learn the use of cad orange can be great to describe skin (but just a little)"

Eunice brought in a book, Perfect Color Choices for the Artist, by Michael Wilcox. She also showed us her “color wheel watch” (so fun!).  She brought value-finder hand outs for us all. (Thanks, Eunice!).
"Purchase the value finder at Blick, cut it in half, mount it on foam core and take it out into the field with you". Eunice also had hand-mirrors to share with us.
("Look into the mirror “backwards” at your painting...and you’ll see things you may need to correct"). 

Dave has learned to use orange sparingly. He uses orange often for tints in the background and lets the orange show through.

Marty has heard that orange is considered Gaudy. However, he loves orange and uses it often. He showed a new painting done in Kat’s classes. Marty endorses Kat’s classes completely! “She is the Best”! (She has new classes beginning Feb 26 at Studio 30).

Stan didn't bring anything to show this time...he knows that orange is a strong color that requires restraint. 

Jennifer says: “What is important about color is what is around it! I am showing a painting wherein the orange-y color of the dog was produced using burnt sienna and purple. When I teach my classes I stress color relationships. Orange when mixed with white can actually serve as a purple...that is, if you know what to put right next to it".

Za used to use a lot of orange but she paints with more grays, using strong colors in moderation. She says: “Of course you know, that orange is the warmest color on the color wheel. I do like to use orange in the shadows of a figure... it is beautiful when used to describe reflected light under the chin!"

Kristina says: “I did not use orange on my palate until I took Jennifer
Diehl’s class. She taught me something really great. I used to dull down my greens with red, but she taught me to dull down the greens with orange instead. This results in a warmer more beautiful green. I use orange quite a lot in underpainting”

Susan showed us two pastels with lovely orange passages.

Brenda explains:  “I use orange a lot in my underpaintings. I normally don't paint in orange (per se), however, in the spirit of the topic .... I've brought in a painting today that does employ (subtle) oranges”.

Jim said: “I brought in a painting of Nancy Klos from studio 30. The day that she posed the background was mostly red and oranges. It influenced her skin tones very much. I did another version of the same painting from memory” (editors note: sorry...I didn’t get a good photo of that painting). “I've also brought in a series of paintings that I did of Brenda Boylan's daughter Nikki”.

Tim showed us a card that a friend his made for him... the headline on the card reads orange is best. He also showed a wooden nesting set that he did with inks and shellac! Creative! He shared a recent painting that employed a lot of warm reds and oranges.

Diane said: “I think using orange takes guts and fearlessness”. She showed an old figure painting from 2012 and newer paintings that show her progress.  She shared an artist with us that she feels has an excellent command of orange. (Meadows)

Loretta says: "Orange (the fruit) is close to life because it resembles skin of a person".

Announcements:

Za and others at tonights reception, Columbia Art Gallery Hood River "A Moment in Time"


Dave McBride’s demonstration and lecture has been changed to April 10 at OSA.

Brenda Boylan reception at Caswell is March 7.


Eunice tells us that the Sorolla’s paintings have gone home to the Hispanic Society in New York City. Some of his works are really huge! (48 feet??)


Jennifer Diehl has lots of workshops coming up—she will email particulars!


Za Vue does have openings in her workshop at Sequoia


Brenda has upcoming workshops at Kat’s and Sequoia


CHECK THIS OUT!: Paint the Peninsula! (Port Angeles in Sept...and it does NOT conflict with Hood River!): http://www.paintthepeninsula.org/ Thanks all for sharing your ideas and paintings today. 

Next meeting: Feb 20, special guest speaker Janelle Baglien with Studio Art Direct
(and the table topic is Galleries you admire)

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(Notes from Feb 20):


At today's meeting: Eunice, Jim, Kay, JoAnne, Dave, Char, Tim, Stephanie, Donna, Kristina, Stan, Lisa, Nancy, Za,  Susan, Jennifer, and me (Loretta)

Our Speaker today: Jannelle Baglien of Studio Art Direct. She's interested in large original paintings for installations at hospitals, corporations, hotels, and government. She particularly likes abstract Plein Air paintings, though not overly abstract, as well as representational art, but it should be of nature. For instance, for the public area of Kaiser's new West Side hospital, she's looking for restful paintings of iconic Oregon scenes that might lower blood pressure; no reds, please. She's requesting very saturated colors without the canvas showing through. Reproductions will be considered for the interior rooms, such as exam rooms. She will buy original art at art dealer prices, and will mark them up sometimes but not beyond the art market. Send her your contact information, pdf images with your name, the title, size, medium of the artwork, including retail prices. (janelle@studioartdirect.com)

Today's Topic: Your favorite gallery and what stands out about it.

Eunice says she doesn't know because she doesn't have enough time go to galleries, but she likes them in general. Bridgeport Gallery is close to her residence but she hasn't been there yet.

Jim says he doesn't know about galleries, but that there are some very good ones in California. He also enjoys the Salishan Gallery at the Oregon coast as they have a good selection of representational to abstract art.

Kay doesn't go to galleries often, but likes one in Palm Desert. She told us that her new favorite color is Indanthrone blue, which she bought at the Muse shop.

JoAnn likes several galleries: Froelick for its moody figures; Laura Russo for large landscapes. Hank Pander and Marlene Bower both show there. She also likes the Augen Gallery for its clean- line in-house framing.

Stan says he's still too new to Portland to say which gallery he likes, but he's looking forward to visiting some of them soon.

Lisa likes the Brian Marki Gallery on NE Broadway, the Museum Rental Gallery, Laura Russo Gallery, and has been to the Frolick Gallery a few times.

Christine liked the Yoshida Gallery and all the galleries in Scottsdale AZ.

Nancy loves the galleries in Portland, particularly the Brian Marki Gallery for it's international expectations. She also likes the Augen Gallery.

Diane likes Art on Broadway, a little jewel in Beaverton; and she also likes Guardino's Gallery, which shows new work. She indicated that lots of art dealers go there. Another favorite is the Oregon Society of Artists, which she thinks is a classic and beautiful space. And, she also likes the Sequoia Gallery in Hillsboro because it has lovely studio space for artists.

Donna mentions her own gallery, Art on Broadway, as her favorite and feels that the gallery has created something positive in Beaverton. She also likes the Sequoia Gallery, with its artist studios above. Another favorite is Art Elements in Newberg.

Stephanie gets frustrated thinking that she's missing so much. She likes the Marki Gallery because it's small and intimate, well lit, friendly, and has beautiful art, plus there's a nice café nearby. Another really nice gallery is 903 in the Pearl District. They have a good variety of artwork.

Dave and Char like the galleries in Scottsdale AZ, Palm Desert, and Carmel in CA. Another favorite is the West Wind Gallery in Coeur d'Alene ID, which shows Richard Schmid's artwork.

Za thinks all galleries are cool, depending on what they're showing. Art should be viewed! There are amazing galleries in Charleston SC.

Susan likes the Portland Art Museum Rental Gallery. She has volunteered there and also bought paintings. She also likes the Sequoia Gallery, and mentioned a new gallery in the Washington County Library at Johnson Creek.

Jennifer doesn't believe in having a favorite gallery. She just judges the current show. She bought some paintings from Gallery Russian in Scottsdale.

Tim likes Guardino Gallery because of the whimsy factor.

I (Loretta) haven't gone to galleries recently. One favorite, though, is the Courtauld Gallery in London, small and full of Impressionist paintings.

Upcoming events:

Donna has space available if you want to teach.

Diane has an African America model with cool dreadlocks for today and tomorrow at Studio 30. Bring a new friend for free, but reserve the space via email.

Nancy has re-scheduled Dave's talk at OSA for April. She has a show at US Bank at 16th & Weidler, and a tapestry hung at Muse. She says Mel's Frame Shop on 10th & Morrison is a good one.

JoAnn has a few paintings at Mark Wooley's, 3rd floor, Pioneer Place.

Za says there's an International Portrait Competition, March 4th, and everyone should submit a painting. The competition is open to everyone. Check with the American Portrait Society.

 Next Meeting, Feb 27......Mentors...have you had one? who? Or do you want one?
see you there

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______________________
Meeting Notes Feb 27, 2014


At todays meeting Loretta, Za, Char, Dave, Tim, Jim, Susan, Diane, Lisa, Kristina, Stephanie, Thomas, Eunice, Donna and me (Celeste).

Today's suggested table topic subject: Mentors. Do you have one? Did you have one? Do you want one?

Celeste: "My mentor from long ago was my graphic design teacher, Robert Selby. I realize that if Robert Selby hadn't chosen me to be his intern a long time ago I might not be in the art business at all today. He taught me many things that I will always remember about good design. In general, he was a great influence on me".

Loretta: "My mentor was (and remains) Robert Tovey. It is because of him that I enjoy art to this very day. I studied with him in Geneva, Switzerland".

Za: "A mentor is awesome! Different mentors are useful for different things. For example, you may have one mentor for drawing and another mentor for values and/or composition. I mentor a couple of younger students".  Za’s own mentor is Yong Hong Zhong. Over the course of time Za has gone from painting very colorfully to painting in more neutrals. She showed us examples of this progression with 4 of her paintings.

Char learned to paint from her father. Her Dad was her best mentor.

Dave has no mentor, but wishes he did. He brought in a painting that he did at Crystal Springs. He will be painting today at Heron Lakes golf course beginning at 12:30 if anyone is interested in joining him. Rain or shine.

Tim worked with a muralist at one time and he supposes the muralist was a mentor to him. Right now he considers our group his mentor. He brought in a plein air that he recently painted.

Donna had mentors in her (previous) California group. She continues to learn from others here too. She brought in a painting from her recent trip to your Europe.

Jim says:  “One keeps running into walls and not understanding how to proceed!” He continues, "I have always been alone and recently realized the value of getting out and talking with other artists." He brought in two paintings of Rico from the last studio 30 session. He showed us that in one painting he painted everything he saw, but in the 2nd painting he made it all stronger...painting what he remembered about Rico's persona and attitude.

Susan has not had a mentor. She has always worked alone and realizes that that's not particularly good! She has no idea sometimes if what she has produced is good or not. She took a recent workshop from Lisa Callabero. Susan painted her first oil painting and showed it to us. (It's good! Bravo!)

Diane says,  "I can be happy sitting and painting alone, but I have a need for other people.” In school she felt lost, but she did have a Zen-type teacher a long time ago. She has been glazing a painting for the hip to be square exhibit. She uses this “whole group” as her mentor.

Lisa has learned a lot by going to workshops and attending Studio 30. Lisa moved a lot over the course of her life and has lived in many places. Sometimes she has wondered if that may have put her behind in her art pursuit (though there are certainly a lot to be said about experiencing such geographic "variety").  She recently painted a painting from a photo that she took with her iphone.

Kristina says she has no official mentor. However, she has taken classes with Jennifer Diehl** and she thinks of Jennifer as a mentor of sorts. Kristina says: “Jennifer is tough and she is generous and like many others here I like this group because it also serves as my mentor”.

Stephanie: “When I think about what it is to be a mentor I think of a master/apprentice situation. My husband is helpful, but art is a very individual thing and I don't want too much influence. In junior high I had an art teacher named Mr. Rueben. He inspired me as a person. His spirit was the thing! I wanted to be like him and live like him (and this was way before Women's Lib).
He was very inspiring”.

Thomas: “There is a children's book that is entitled “Are you my mother?”. The book is about a duck that goes from animal to animal asking, “Are you my mother?” This is a bit what it's like to go around wondering if you can or should have a mentor. When I was in my 20's I especially wished for a mentor.... but I had to figure things out for myself. The upside of figuring things out for yourself is that you learn in a very solid way and you are really yourself. A mentor can be a cheerleader (and I mean that in a positive way). A mentor knows you better than you do. If I were to choose a mentor at this stage I would want someone like Ned Mueller. Peer mentoring is good. Stay away from Gurus.” Thomas brought in a big painting that he did from small paintings.

Eunice: “I want you to know there is a new Michael Wilcox book out about glazing. 
I never had a mentor. However, I did mentor someone else! I knew an icon painter and I looked at her paintings and found a huge error (Jesus had 6 fingers instead of five).  She fixed it! I am getting ready for the OSA juried show".

Announcements: 

This weekend is the SE Artwalk. Celeste Bergin, Mark Larsen, Gila Lane and Anton Pavlenko and others are participating. March 1 & 2 10am-5pm 

Brenda Boylan is having a closing reception at the attic Gallery this Friday, Feb 28. Please come! 5-8:30pm

Za and Kat are thinking of a once-a-month event that will be called something like “Paint with Za” day. Stay tuned for more information. Please support studio 30!

Tim Young has a solo show at the U.S. Bank. The U.S. Bank is located at 16th and Wiedler in Portland. (This is Tim’s first public show...congratulations, Tim!)

Edie Jones (who works at the bookstore next to O’Connors) has asked for our support for a fundraiser at Sitton Elementary School. The event is called “Paint it Forward”. It involves donating a painting, but not for auction, but rather to be given to a child. During the event children create paintings and then get to choose a “real” painting (that’s where you come in) to have as their very own. More details to come. Looks like a lot of good fun:

**Editors note: Jennifer just won first place in the Boldbrush competition and information on her upcoming workshops are forthcoming.

There was a lot of discussion today about age. Remember that visual artists grow and improve and for whatever reason society DOES honor and appreciate the mature artist. (If they do good work). There is no reason to put down your brush. Matisse painted until the very end.

Thanks for coming and sharing your ideas and paintings.

Next Meeting: Thurs March 6. Plein air events...what do you think about them, do you participate, or not? (selection process, competition in general)?

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