Meeting Notes, Thursday OCTOBER/NOV 2013


At today’s meeting, Eunice, Stephanie, Loretta, Diane, Tim, Joanne, Brenda, Kristina, Jim Jeanne, Vicki, Marty, Dave, Char, Kim Kay, Tedd, Donna, Claudia and me (Celeste)

Suggested topic: A painting that ‘spellbound’ you! Describe!

I (Celeste) went to MoMA in NYC in the mid 80’s. I didn’t know there was a van Gogh exhibit there and I rounded a corner to see ‘Irises’ (which floored me!) The colors are more beautiful than you can imagine!


Tedd didn’t have a spellbinding painting during the meeting.... but he emailed me his vote later in the day. Here it is: http://paintingperceptions.com/interviews/interview-with-jeffrey-reed
(Scroll down to the painting called “Low Sky”)

Char loves all the California Impressionists.

Dave showed us a book of Richard Schmid paintings...and one waterfall painting in particular that had beguiled Dave (in person). http://www.richardschmid.com/

Marty loved all the Fechin paintings...and especially loved one painting of Fechin's wife and another of an Indian woman. http://fryemuseum.org/exhibition/4652/

Vicki was very struck by Diebennkorn’s Ocean Park Series. She also loves Rembrandt.

Jeanne is just back from a trip where she went to the Legion of Honor Museum in SF to see the show “Impressionists on Water”. She bought the book and showed us the painting that was super-special to her. (The Boatman Edouard Vuillard). Jeanne also mentioned she has ‘renewed her commitment to go to exhibits that interest her. When you find a show you want to see.... go see it (even if it is a long drive. It’s worth it)

http://impressionists.famsf.org/

http://www.art.com/products/p18863515032-sa-i7089267/edouard-vuillard-the-boatman-le-passeur-1897.htm

Brenda saw a painting at the Portland Art Museum (that just sticks in her head)...she doesn’t know the artist. It was during an exhibit about Dutch Masters. The painting featured a glass goblet that left her speechless.

Kristina seconded Fechin for intoxicating paintings.

Kim talked about how she felt captivated by the painting process and fell deeply into a specific painting.  She won’t sell that particular painting because she remembers how extremely confident and positive she felt when she painted it.

Kay saw a Sargent painting in Madrid. She easily stood in front of it for over an hour.

Jim King mentioned the Absinthe Drinkers (by Degas) ...but even more so he won’t forget Sargent’s Daughters of Boit that he saw in Boston. He said, “it seems clear Sargent placed the daughters according to personality”. Jim has been drawing lots in his studio...both with red chalk and black.

http://en.wikipedia.org/wiki/The_Daughters_of_Edward_Darley_Boit

Joanne is a Richard Schmid fan too—but if she has to just mention one painting she’s going to mention a Rembrandt self portraits she saw at the Seattle Art Museum. “It has it all, she said, including a remarkable simplicity".

http://www.seattleartmuseum.org/exhibit/exhibitDetail.asp?eventID=23200

Tim showed us the painting (on his ipad) that blew him away most.... an enormous breathtaking Thomas Moran at the Portland Art Museum.

http://en.wikipedia.org/wiki/Thomas_Moran

Tim also showed us his newest ‘wild oat’ t-shirt design and a handy gadget called an Easel Butler. We all want one).



Diane went in a museum in San Antonio Texas, expecting normal things (it was a house). But she was met with a big collection of very important paintings and no ropes to keep her from coming right up to the works. She saw an El Greco there that remains burned in her memory. She also talked about taking Brenda’s workshop and watching a painting come together. She said, “not to overstate it, but watching work appear can be a spiritual experience”

http://www.mcnayart.org/

Loretta will never forget a gigantic Pollock that she saw at the Guggenheim. She said that MOST paintings move her.
Stephanie saw van Gogh’s potato eaters and it in unlike most of his paintings. It is memorable for how “nearly disturbing” it is—but it is also beautiful and dignified.

http://www.vangoghgallery.com/painting/potatoindex.html

Eunice saw the end of Brother Bear and saw Za’s name in the credits!! (This made us applaud). She said it is definitely worth seeing (for the scenery). Eunice tells us that Alla Prima II by Richard Schmid is out and one of Eunice’s ‘picks’ for simply stop in the tracks great is anything by Maxfield Parrish.

http://en.wikipedia.org/wiki/Maxfield_Parrish

Claudia loves all paintings by Romona Younquist because they remind her of ‘home’.


Donna likes Gerard Richter. He and Edward Hopper are favorites of Donna.

Announcements:

The West Linn Library has put out a call to Artists


Sat big anniversary at Art on Broadway

http://www.artonbroadway.net/

Portland Rental Gallery reception, October 18 5-8pm

http://www.portlandartmuseum.org/rsg


Portland Design Festival all over city

http://www.designweekportland.com/

Portland Open Studios:

http://www.portlandopenstudios.com/

We have to find a new place for our Thursday meeting October 17 because O'Connors is closed for remodeling October 14-22. To be announced!

Za Vue WON the President's Award at the American Impresssionist's Society Show! Congratulations, Za!

Message from Stephanie:

There is a schedule for this weekend's events in Oregon City at www.willamettefallsfestival.com,

I'll be at End of the Oregon Trail Interpretive Center on Saturday afternoon.  Others artists include
Karen Lewis, Brenda Boylan, Thomas Kitts, William Stanton.

thanks all for coming and sharing your paintings and ideas--!

Next meeting October 10 Suggested table topic: Showing your work...what do you aspire to, what is ideal?  Let's discuss

Return to front page HERE

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Meeting Notes 10/10/13:


At today’s meeting, Thomas, Joanne, Dave, Loretta, Za, Tim, Hilarie, Quin, Pam, Nancy, Jeanne, Vicki, Eunice, Marty, Peggie, Dave, Char, Lisa, Diane, Tedd and me (Celeste)

Suggested Table Topic: Showing your work. Are you happy with your current status? Do you care about showing your work?

(This topic is falls into the "personal" category.....so the following responses are in random order and anonymous).
Additional specific meeting notes (with names) follow below.

My website is not very good, so that has dampened some of my enthusiasm for approaching galleries.
I’ve heard that 30 pieces (15 with 15 more “in reserve”) is good to have done and framed, so that the Gallery would be confident that you have “product”.

My goal, more than finding places to show, is to learn to paint.

I joined a co-op at one point and found out that is not for me! People sometimes ask me where they can see more of my work and I can’t direct them to a website, because I haven’t done a website! I intend to address that issue...but my first priority is to become a better painter.

I have discovered that I REALLY like plein air. My emphasis is on painting more and I will address the Gallery situation in the future.

“You don’t know what you don’t know” and that is how I feel. I devote most of my time to the process of painting.

I am in one Gallery and hope to get into another.

I would like to have one show somewhere.

I want to strengthen my style.

I am working on producing more paintings. I show work as a by-product of making them. I’d make them, even if there were no place to show them.

Because of certain circumstances I found myself in the presence of someone who once rejected my work...but now they want me! (Understand that things can and do change!)

I’ve submitted to an online competition.

I am showing in a couple galleries and hope to find more in a town I like to visit.

Any day now someone will show up at my door and want to exhibit my work (joke).

I haven’t had eagerness to exhibit, even though I know my work is a good quality. I’ve held back for a variety of important reasons.

I’ve shown my work in the Intercontinental Hotel in Geneva, Switzerland.

It easier to get into a gallery.... if you know someone who shows at the gallery.

 Don’t forget YOU are interviewing THEM. It isn’t a one-way street. You have the option to say no.

Further notes:

Tedd showed us a painting from Skagit Valley.

Diane showed us her new post card paintings.

Lisa showed us two paintings, one in her old style and one in her new.

Dave (and Char) brought pears (real ones to eat).... (Thanks, McBrides!)
As well as two paintings

Peggie showed us a new floral

Marty showed us a large self-portrait drawing and told us he is working on a painting entitled “Ollie May”.

Eunice shared Richard Schmid’s new book Alla Prima II with us. She showed us a portrait she did of Merv Griffith (who she knew when she lived in Calif!). She’s been working on a series of Wyoming paintings.

Vicki brought in a painting from Laurelhurst Park.

Jeanne showed us an atmospheric coast scene. She pointed out that there is useful information for people new to exhibiting at the West Linn Library website:


Nancy shared show announcements with us (listed below) and also 3 pochade boxes that she made (with accompanying paintings)
Nancy recommends vistaprint for post cards

Quin has been painting a lot recently.

Hilarie showed us a self-portrait in pastel.

Tim has purchased a lot of Frederix panels to do studies on. He showed us his new extra-long handled paintbrushes.


Thomas has been DRAWING these days with an eye on giving a workshop on portraiture in the future. He is doing large charcoal drawings at Hipbones Tues night “extended pose”:


Joanne showed us a humorous painting based on Luncheon on the Grass. Her studio is open for Portland Open Studios. 

Za gave us a complete report on her experience at the American Impressionist Society show in Charleston SC. Za won top honors The President’s Award for her painting ‘Daydreaming’:

Za's Report:

Out of 1400 entries, 162 were chosen. Others representing the Pacific NW: Eric Bowman, Thomas Kitts, Eric Jacobsen and Mitch Baird.

Za told us that the show and Charleston are beautiful...there are streets and streets of galleries. She showed us the show catalog and cards of some of the artists who she especially admired.  Za was way in the back of the crowd when her name was announced for the award. She had to fight her way through a crush of people to the front and let them know...yes! She was there! On top of all this...the painting was sold too!

Yer Za Vue (in center) receiving The President's Award. Kenn Backhaus on left and Debra Joy Groesser on right

To see Za’s winning painting go here (and scroll down):

(Za unveiled her painting 'Daydreaming' to us last July.... all of us who had eyes in our head knew it would fetch a prize). 
Watch slideshow at bottom of this
post:
(Thanks for the report Za! ..........and Congratulations!!!!)

Announcements:

Thomas Kitts leaves for Laguna Beach tomorrow. 

Hillsboro plein air:

Portland Rental Gallery

Portland Open Studios

Important notice: Meet next week at Marco’s (around the corner from O’Connor’s,
Because O’Connor’s is being remodeled):

7910 SW 35th Ave  Portland, OR 97219

Next Meeting, Thursday, October 17, 9am, Suggested table topic: Your Favorite Artist Quote

Thanks all for sharing your art and ideas!

Return to front page HERE: http://allaprimaportland.blogspot.com/

(Thanks for today's photos to David Burbach).

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Meeting Notes: 10/17/13:


At today’s meeting: Marty, Loretta, Tedd, Joanne, Jeanne, Kay, Dave, Char, Tim, Diane, Diane H and me (Celeste).

Suggested table topic: Artist’s quotes

(Today we met at Marco’s and it was harder than usual to hear...so if I missed something important, I’m sorry)!

We'll be back at O'Connors next week (they were closed this week for re-modeling). 

I (Celeste) offered a quote that is attributed to Manet: “If I can not see it, I can not paint it”. (This has to do with how I have tried to add something into a painting (that is not there) only to have it go wrong---Manet had this same issue!)

Marty was once told by someone “Don’t quit your day job!” (We laughed). He didn’t really have a real artist’s quote for us. He showed us his new version of his large painting, Ollie May.

Loretta brought in these quotes:

Color first; subject last ---Sergei Bongart

Painting language is mood and atmosphere.
Move from rendering to poetic statement ---Kenn Backhaus

The more colors that are mixed, the deader the painting.
The light the touch, the more personality is in the painting.
A painting is a poem, not a police report! ----David Dunlop

Da Vinci said:  Soft edges give more volume. Simplicity is the ultimate sophistication.

Tedd told us a workshop teacher once said to him “this is a 40 footer” (meaning...his painting looked best at 40 feet).... (More laughter).

(Tedd also shared this wonderful link about a pair of Russian brothers who painted together (on the same paintings!) ...thanks, Tedd! check it out:


Joanne read a quote from the book “The Gist of Art”. (Sorry, I couldn’t hear it all...but I did hear “Know what you want to do.



Joanne also showed us some work that she did recently with young people. 

Come see Joanne next weekend....Portland Open Studio:


Jeanne brought in some Diebenkorn quotes. Here are a couple:

Attempt what is not certain.
Tolerate chaos. Be careful, but only in a perverse way

Jeanne brought in a plein air painting on a Ray Mar panel that is a really nice size.... 12x20.


Diane (Holland) told us she took the recent Thomas Kitts workshop. She is really looking at the actual colors of things.... instead of colors she "automatically" sees!

Diane Marks told us that one of her favorite quotes is:

I’m always doing what I cannot do in order that I may learn. ----Picasso

This weekend Diane went to Portland Open Studios and visited Joanne Kollman. She also liked visiting Shannon Playford.


Diane told us she is talking with Kat Sowa about the return of Studio 30 in November. It has to be determined what the fee will be (it has to go up, because of an increase in expenses). If you have thoughts about the correct fee amount ...contact Diane. It is all being decided.

pentimentostudio@gmail.com (Diane Marks-Bestor)

Kay has started classes in color theory with Aimee Erickson. Highly recommended! 


Kay brought in two paintings, one before Aimee’s class...and one after. Kay shared the Gurney Color and Light book with us (and told us if you have it and you haven’t read it...you should!). She read this quote to us:

I can paint you the skin of Venus with mud, provided you let me surround it as I will. -----Eugene Delacroix

David McBride quotes Richard Schmid: “Don’t forget to squint”.

Dave just finished a commissioned painting and it all went well.

Char brought in a watercolor.

Tim quotes Matisse: “I always regret that I did not paint like everyone else”.

Announcements: Portland Open Studios continue next weekend:

http://www.portlandopenstudios.com/

Rental Sales Gallery:
FALL SHOW
Friday October 18 – 5-8 p.m.
New work by gallery artist members. View some 200+ new works and meet the artists. Refreshments served!

Next Meeting: Thursday, October 24, (Back to O'Connors)
Topic: Your painitng "nemesis" ....do you have one?? (and/or do you have one that you overcame?)

Return to the front page.....HERE

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Meeting notes 10/24/13:


At today’s meeting: Loretta, Chris, Tim, Tim Y, Thomas, Kay, Stephanie. Donna, Dave, Char, Jeanne, Marty, Kristina, Eunice, Claudia and me (Celeste).

Suggested table topic: “Your painting Nemesis. Do you have one? Have you overcome one?” (The answers below are offered anonymously and in random order). Additional art news (with names) is included below.

Water has been my nemesis.... except with perservence I did improve and I learned not to “stare” at the water. Glancing pays off and makes you realize that once again you are just dealing with big shapes.

Rocks have been a challenge for me...I am working on it!

Plein air landscape has been my nemesis...but I won’t give up.

I have no trouble starting a painting...but I don’t seem to complete anything. Additionally, I don’t plan ahead and because of that...the overall composition suffers.

Water has been my “issue”.

Drawing instead of painting is something I deal with. .... Also, I have a tendency to want to add too much detail.

Painting itself is my nemesis! I don’t have a problem drawing...it is when I go to add the paint that I can “lose it”!

My nemesis is composition. On site scenery overwhelms me and I’ll forge ahead without a good plan.

Green is challenging...as well as finding a block of time for painting.

 My nemesis is “ME”! I seem to make painting more difficult than it needs to be. I overwork paintings and I can’t seem to stick with a style.

I render (or draw) too much.

I used to drive around endlessly to find the “perfect” scene. I’ve since stopped doing that and now take a much more immediate approach.  I realized that I needed to slow down and not feel overly anxious about finding something absolutely “perfect” to paint.

I’m often interrupted by things that have nothing to do with painting! It’s a problem!

“Discouragement” can be my nemesis...except I DO continually return to painting even when things don’t go as planned. I’m aware I can’t ever let discouragement get the best of me.

My nemesis is my art studio! It can be chaotic. I’d rather paint than clean it up.
  

Chris Lally is participating in the OSA 12x12 show.

Tim Young modified his thumbox so that it accommodates small paintings.

Thomas Kitts won Artist’s Choice and the Randy Higbee award in Laguna Beach. (Congratulations, Thomas!) He is working on a book of 100 paintings. He will be offering 2 new workshops (one plein air and one studio). (Check his blog for updates).


Kay is going to begin classes with Phil Sylvester. She shared something from his blog about how “even Cezanne couldn’t draw like Cezanne Most of  the Time”


Kay also quoted Degas who said  "Painting is easy when you don’t know how to do it...and hard when you do”.

She shared a book from the Stephen Hayes show at Lewis and Clark (Hoffman Gallery).


Stephanie is working on a painting for the Audubon show. She shared a newspaper article with us about van Gogh and how he often painted the same subject several times.


David McBride enjoyed Portland Open studios this year...he thought it was the best year so far. He has had success recently with sales at Portland Rental studio and some new commissions.
He painted one of the paintings he showed us today with his non-dominant hand as an exercise to loosen up.

Jeanne tells us there will be a show of Zorn’s work at the Legion of Honor in SF Nov 9-Feb 2.  (Let’s go!)


Eunice is working on several paintings (at once) of Jackson Hole, WY.


Claudia has a new studio at Sequoia Gallery.

Sequoia Gallery offers many opportunities.


Art on Broadway features Gretha Lindwood...reception Nov 9
Check their website for call to artists.


Steve Kleier did an instructional youtube video (very good!) check it out here:
(An informative tutorial whether or not you are a watercolorist)


Kat Sowa will likely reopen Studio 30 for weekly sessions beginning mid Nov. Let’s make sure we support her studio! More info to come.


Thanks all, for coming and sharing your ideas and paintings.

Next meeting: October 31, 9am suggested topic ......STYLE, what is it?

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Meeting notes 10/31/13:


At today’s meeting: Loretta, Chris, Tim, Brenda, Steve, Peggie, Jeanne, Sameer, Dave, Char, Stephanie, Diane, Thomas, Diane H, Lisa, Tim L, Eunice, Nancy, Kay and me (Celeste)

Suggested Table Topic: What is Style? (Option: include ideas on what you think about your own style)

Celeste: I’m very uncertain about what “my” style is, but I presume that it is something (marks or color, for example) that repeats often enough in an individual’s work to become identified with that person.

Eunice thinks of herself (perhaps) as a “realist verging on the impressionist”. She showed us a Southwest Art Magazine that includes paintings by Michael Orwick and Ramona Youngquist.

Tim L said: “ I have a gnawing feeling that style could also be described as rut”. It’s important to keep moving, keep growing and experimenting.

Lisa: I believe style can be likened to your signature. You can change, even intentionally change your how you paint, but like your signature.... how you make marks will still be there.

Diane: It seems important to me to resist going into a mold. The role of an artist is learning and exploring.

Thomas: My background includes illustration and I remember how some of the best illustrators chased a certain style. It was to their detriment. It’s the same with today’s painters—it’s a mistake to emulate the most popular styles in order to gain sales and position. Too many artists painting in the same way can be compared to how popular breeds of dogs are over-bred. Paint-paint-paint-paint-paint and your style will emerge.

Thomas has put together a book of 100 of his paintings and showed it to us on his ipad.

Diane H. said: “The concept of “style” is both useful and useless. One’s life is a conglomeration of experiences. Every person has a creative gift to share (in a myriad of ways) and it is truly a precious thing.

Stephanie: I think of style as a process, not a goal. Perhaps it is clearer when we think about commercial art versus fine art. Often commercial art is produced with a clear goal of monetary profit. Fine art is less easily defined.

Char showed us her botanical watercolor that she framed.

Dave makes the analogy between painting and singing. Tony Bennett will not sound like Janis Joplin. Some Boy bands failed when trying to copy Justin Timberlake. If you are yourself you will have “a” style.

Sameer spoke about Mondrian and how his work changed extensively throughout years. In Sameer’s view if you paint subconsciously all your memories and experiences will lead you to paint authentically.

Nancy told us why she has an affinity for Frida Kahlo. It wasn’t always so, when she was young she didn’t like Kahlo’s work, but circumstances led to Nancy studying Kahlo’s work and (later) she grew to appreciate her. Nancy copied a Kahlo painting and told us “adhering to a style (even if it is not yours), has value in the short term". (Editor’s note: Nancy came dressed as Frida Kahlo and will stay in character later when she goes ice skating at Lloyd Center after the meeting! You can’t make this stuff up!)

Kay brought a quote from Phil Sylvester. The gist: style is unveiled rather than invented.
She also brought in a quote about optimism and a book of narrative paintings.

Jeanne told us that our table topic discussions “percolate” for her over the course of a week. Last week’s discussion stayed with her to some extent and she showed us a painting that was a direct result of facing the challenge of painting a bare aspen tree.
She also stated that style seems to be a matter of staying the course and painting a LOT. Style is a by-product.

Peggie showed us a painting that she painted “live” at a wedding. She chose a composition that included the wedding bouquet and decoration on the table.
She agrees with others...painting many paintings will automatically provide your style.

Steve tells us that when he thinks of artists that he likes he knows that he is associating that with “style”. He doesn’t think of style as any sort of derogatory thing, as a matter of fact, he thinks of it as a good thing... the mark of a mature artist. Artists can be classified as virtuosos or composers...a virtuoso is seeking perfection...a composer is more interested in describing all the notes that comprise the music.

Brenda believes that your own rhythm and cadence provides your style. She doesn’t know exactly what her own style is.... but she knows that she is driven by ideas she wants to share. 
She painted a painting with Kathleen Dunphy’s palette.

Tim Y knows that he is most comfortable when he paints whimsical things. He brought in an example. He also came in costume.... check the photos for his Pirate/Officer/Military “style”.

Chris brought in two paintings from her imagination. One was painted while she thought of where she’d like to live. Looking at it later.... she realized that it was/is Oregon.

Loretta quoted someone (sorry...didn’t hear who it was): “When you stop a word in mid air it will take revenge”. Style is the essence of who you are.

Announcements:

Town Storage Open House, Nov 2, 6 pm until 10.
(Nancy Smith Klos, Hilarie Couture, Lisa Callabero, Don Bishop and others)

The Towne Storage Open House is a festive event with some really good BBQ that was on the TV show "Eat Streets", and also Snow Cones by Kona.
The manager will take you up to the 5th floor in the freight elevator, and then you work your way down the building.

(17 SE Third Ave, just south of the Burnside Bridge in Portland).
There will be a $1.00 charge at the door that goes to the Humane Society.


Dave McBride has work in the 3rd Annual Urban Dreams a Juried Art Exhibit and Sale. Located at Re/Max Equity Group 237 NE Broadway, Portland, Oregon. See work there 1-4 on Saturday, Nov 2.

Walters Cultural plein air show continues (first Tuesday reception, Nov 5, 6-8)

Oregon Society of Art Reception Friday Nov 8th  6-9

Scott Gellatly at Brian Marki, First Friday, Nov 1,  5-8 pm

Studio 30 starts again November 15. Info to come.

Diane Marks Bestor Open House Nov 2,  4-8 (email her for address) pentimentostudio@gmail.com

Joanne Kollman

Meet The Artist, Sunday, November 3, 2013 1-3pm.
Northwest Neighbors: Who are We?

The North Portland Library
512 North Killingsworth Street. Portland, OR 97217

Art on the Boulevard First Friday Eric Jacobsen and Ramona Youngquist

Gila Lane First Friday

Thanks all for coming and sharing your news, paintings and ideas. Next Meeting, Thursday, November 7. Suggested table topic: Atmosphere! (how do your rate your ability to describe distance?)

Return to the front page here: http://allaprimaportland.blogspot.com/

November:


At today’s meeting: Loretta, Chris, Tim Y, Marty, Brenda, Jim, Donna, Dave, Char, Diane, Za, Jeanne, Tim, Peggie, Eunice, Nancy and me (Celeste)

Today’s suggested table topic: Atmosphere (describing both distance and other types of atmosphere...are you successful?)

I (Celeste) was very late this morning because of the terrible traffic—thanks for waiting for me! I talked about the Carlson Landscape book and how much I like the chapter about how distance can be envisioned as a series of “curtains” with successive degrees of “particles or mist”. Emile Gruppe suggests curtailing your use of yellow in the distance (but, of course, rules can be broken!)


Peggie wanted to share with us that her mentor-friend Richard Wiley passed away. She told us what a wonderful influence he was on her.... and how he really cared about her artistic growth. (The support she should have enjoyed from others close to her was not there.. when he was!) Thank you, Richard Wiley!!!


Donna feels that she paints in a designerly fashion ...so she seldom devotes thought to atmosphere (such as a plein air painter would). She showed us a painting that she changed (and everyone agreed, that it employed a great sense of foreground, middle ground and background).

David showed us two paintings, one recent plein air and another that showcased “atmosphere”. (Dave reminds us that OSA’s reception is this Friday).

Char isn’t concerned with atmosphere...because she is painting mostly abstract these days. She shared a new painting with us.

Diane loves the exploration involved in painting plein air. She likes looking at the “layers” in the landscape and figuring out how to describe it in paint.

Za Vue says that there are 4 things that she pays attention to each and every time she paints.
1. Color (things are cooler as they move back in space as a general rule)
2. Value (things are lighter as they move back with distance)
3. Saturations (things are less colorful/saturated as they move back)
4. Edges (things are softer edge-wise the farther they are in the distance)

Of course, there are other things to consider too—such as foreground, middle ground and background and paying attention to relationships between everything throughout. She likes to exaggerate things. She says “at the end of the day it is important to see the painting as “a whole”. Ask yourself.... what is your goal? Give these things some thought!

(Za showed us two paintings and showed how things cool as they move back even in a figure painting).

Jeanne told us that Atmosphere has multiple meanings. Atmosphere describes more than just distance, it also means something more amorphous (without a clearly defined shape or form). Atmosphere doesn’t necessarily have to be linked to a special analysis. She likes to slow down and look to the visual cues that exist in the field.

Tim Y thinks that it is important to provide a way for the viewer “to want to be there” (in the painting). That type of “atmosphere” has more to do with emotion than technique.
He has been working on (practicing) close values.

Eunice bought the new Anders Zorn book. She didn’t bring it today, but will bring it another time. She says it is great. She is going to be working on achieving atmosphere in still life.

Loretta showed us an atmospheric painting that she did inspired by David Dunlop and John Kensett:


Chris admires Randall David Tipton and thinks he employs atmosphere in a unique way.
She also mentioned “our” David McBride as an artist who paints atmosphere successfully.


Tim Y tells us that when he stands in front of an easel, somehow the rules “go away” (ha-ha). He showed us a fabulous huge painting that he just completed that will be installed outside (picture on his ipad). (He painted it using...wait for it......Rustoleum!)

Brenda makes it her business to “make good transitions” in order to describe foreground, middle ground and background. She showed us a painting from the field and one she did from a photo.

Marty had to leave the meeting early—so we’ll let him tell us what he thinks next time!

Jim recently visited Port Angeles. When he got back he was anxious to paint and showed us studies and larger paintings. “I don’t know what kind of grade to give myself for atmosphere”, he said. (We gave him an “A” and a round of applause).

Nancy showed us a large painting that she did years ago. She also did the same design in a tapestry. She thinks about changing the large painting.... but after discussion, maybe she’ll let it stand and do another same size painting, making the changes she envisions.
Announcements:

Studio 30 begins next week:

OSA reception Friday Nov 8, 6-9

Hood River sketch club (should we do something similar? Let’s think about it!)


Michael Lindstrom and others Clark County open studios


Art on Broadway reception with Gretha Lindwood and Guest show Saturday 11-9, 6 to 9


Za will give two workshops next year. One will be at Sequoia, one in Eugene. She’ll teach (probably) one figure workshop and one plein air workshop.  Stay tuned!

(BTW I found these great photos from the Hillsboro plein air event...Za won first place figurative):


Brenda is teaching two workshops in the near future too! One is about values...”sure fire ways to see value and get it down right!" Feb 8 at Sequoia (for ALL mediums!) and another workshop takes place in Eugene in March.


Next Meeting:
November 14, 9am O’Connor’s...Notan! Let’s talk about it.

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Nov 14 Meeting Notes:


At today’s meeting: Joanne Mehl, Diane H, Jennifer, Kristina, Za, Loretta, Chris, Tim Y, Diane M, Jeanne, Marty, Brenda, Nancy, Stephanie, Vicki, Tedd, Dave, Char, Dave B, Joanne, Jim, Steve, Tim, Eunice and me (Celeste)

Table topic: Notan (and/or linking black and white big shapes for painting planning)

I (Celeste) talked about how I had learned about Notan (a Japanese concept of light and dark) as a graphic designer and I showed an old advertising logo book. I showed my sketchbook where I thought through some designs for painting.

Joanne (Mehl) talked about how she had learned “value pattern” in school. “Strong value pattern is fundamental”, she said. She showed some paintings done plein air in Hawaii. (Welcome, Joanne!)

Diane (Holland) feels that she needs to work on looking at shapes! She brought in pastels on “strips” of paper that were done in 10-minute increments.

Jennifer (Diehl) said that she teaches the concept of “light and shadow” ....(a slightly different concept from Notan). (Welcome Jennifer!)

Kristina thinks of Notan as an exercise for studies and something you do before painting. She is the next person up at NECC and she brought in a painting that will be a part of that show.

Za said, “It is very important to cluster all your values. Train your brain to simplify! At the end of the day...the design is the goal”. She showed a figure painting.

Loretta didn’t know about Notan until she looked it up. She likes the idea of Feng Shui, harmony and Yin and Yang...so she approves of the idea.

Chris brought in “posterizations” that she did on picmonkey.com (that clearly illustrate the idea of Notan).


Tim Y heard of Notan in Thomas Kitts’ workshop. He brought in a line drawing (sorry! didn’t photograph!) and also showed (on his ipad) the new outdoor painting he recently finished. (This is the “back-side” of the painting he showed us last week. All painted in Rustoleum).

Diane (Marks) is also a former graphic designer. She often worked in black and white during those days and knows the importance of seeing big design shapes.

Jeanne has never heard of Notan! She brought in a recent plein air painting.

Marty showed us the app on his phone called Value Viewer. Sometimes he finishes a painting and uses his value app to learn he painted too much of the same (middle) value.

Brenda was a graphic designer and learned to always do thumbnails for all her projects. What she does today is very similar...she plans her paintings. She starts with darks and lights.... and establishes the mid tones last. She showed us her sketchbook.

Nancy has just completed a project called East meets West.  She recommends Mel’s Framing. She showed us some sumi brush paintings.

Stephanie has only learned of Notan recently. She understands it, but doesn’t necessarily want to plan with it... she said “color has it’s own power”.  She showed us some landscapes.

Tedd just came back from the mid west. He took a workshop with Kim English. (He will give us a recap next time). He showed us a figure painting. He likes Dan McCaw’s book and he also took a workshop from Mitch Albala (who provides a nice explanation of notan here:


Vicki thinks of Notan as “underlying energies that drive the composition”. She showed us a recent plein air from the Arboretum.

Dave said everyone has already said what he would about Notan. He recently sanded down a painting he didn’t like and painted over it...(and showed us the results).

Joanne said that Dan McCaw advises that 2-3 “holding” shapes are best! Squint and respond. She doesn’t really over-plan her paintings. She sometimes does thumbnails “in reverse”. “If a painting fails, I do a couple of thumbnails (in retrospect) to determine the reasons why it failed”.


Jim says “Squint and find what you like.... make a light and dark composition with no more than 3 values. Find what you like and then try like hell to keep it!”

Steve loves black and white. He especially likes block prints. As a watercolorist he does value studies. It gives a painter confidence, he says, to later paint the same scene in color.
He is drawn to dynamic value contrast and showed us what he meant in the paintings that he brought in.

Tim Lally doesn’t believe in rules...he thinks “strict rules screw you up”. It’s a bad idea to follow anyone else’s idea too slavishly! (we agree!)

Eunice has been painting still life at home. She has enjoyed working on 8x10’s. She will bring some to show us next week.

Donna never heard of the term Notan.... but she believes that she and others probably engage in Notan designing without having recognized it as such. She brought in a painting “in honor of her daughter’s birthday”.

Announcements:
Congratulations OSA winners! (Joanne, Dave McBride, Chris Lally and others!)

Studio 30 begins tomorrow.

Art on Broadway Gretha Lindwood pastel demo Nov 17 1-3


Brenda Boylan value workshop:


(Local) Oil painters of America winners Ramona Younquist, Mitch Baird and David Riedel

(thanks, Eunice)

Tomorrow (Nov 15) Muse Art Supply, Nancy Klos Smith 
 (“Know your materials”) 2-4pm


Shall we plan a caravan trip to see the Zorn show? Ideas for dates?

Thanks all for sharing your ideas and paintings...(record participation today!)

Thanks to David Burbach for the photographs for today's slideshow :)


Next meeting: Nov 21 Suggested table topic: Drawing or painting from memory or imagination.... Is it valuable? How and why?

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November 21 Meeting Notes


At today’s meeting: Loretta, Joanne, Jim, Tim Y, Thomas, Za, Seamus Kennedy, Nancy, Carolyn, Claudia, Steve, Jeanne, Diane, Tim L, Chris, Diane, Eunice, Stephanie and me (Celeste)

Suggested table topic: Painting from memory or imagination.... do you do it and have you found it valuable?

I (Celeste) brought in a book called: Drawing with imagination and showed a painting done from a childhood memory.

Eunice has been painting a still life series...and they are finally dry so she could bring them in. (All great!)

Stephanie says in order to paint from imagination you have to have something in your head. Imagination and observation go hand in hand.

Diane used to feel guilty about painting on a plein air painting when she wasn’t in front of the subject...until she took a workshop with Scott Gellatly. He often keys off of the landscape...but adds and subtracts paint later in the studio. She connects to his ideas.

Chris remembers painting as a young person and just pushing the paint around. “The more I paint..The more I learn”. She brought in two “from imagination” paintings.

Tim L says he thinks he often paints what he “thinks” he sees...instead of what he sees! As a representational painter...he does want to focus on what is really there.

Dave likes to add color to shadows. These colors may or may not “really” be there...but he does it for the sake of the painting...to lend interest.

Jeanne tells us that when she painted a long time ago.... she always painted “out of her head” (instead of plein air, like she does now). She showed us a magazine print of an early painting of hers (that was completely “made up”).

Claudia told us about a painting that she did many years ago. She looked at it recently and realized that the perspective is off (and she realized that back when she painted it she drew from her imagination to get the whole idea across). She said she thinks that it is easier to put your imagination into your work.... instead of what you see.

Carolyn is visiting from having moved to Washington DC. She is close to family and lives very near the Smithsonian! She often uses imagination in her work and recently did a series of labyrinth paintings that were “made up”. She is close to lots of art things in Washington...art classes and life drawing just ½ block away!

Nancy has learned a lot from trading workshops with Cindy Lomasson. She believes contour drawing and sumi brush painting can lend itself to “painting from the heart”.

Seamus (new—welcome) is an advocate for painting “ideas” and showed us a painting that depicts the “Red Nile”.

Brenda told us that when she was very young she painted exclusively from her memory and imagination. She brought in a painting she did as a teenager and a more current one from last week.

Za said this is a subject that is close to her heart. She learned as a student of illustration that yes, you have to understand how to paint in a representational way...but then you must also learn how to “say what you want to say”.  It is not enough to just paint.... you must tap into emotion and exaggerate to help get your idea across (this is true in fine art painting as well as illustration). “Anything new is hard”.... Use both sides of your brain, ground things in reality.... and use your creativity to make art”.

Thomas was also a student of illustration. When was younger he embraced the narrative and “make believe”. Now, as an oil painter, he is more inclined toward painting what is really in front of him... but that often means making changes to make the painting more interesting. He showed us a landscape he painted with the Zorn palette (plus a tiny bit of cobalt).

Tim Y showed us the Zorn book he recently got. He said that he learns the most from what is in front of him.... but he enjoys painting from imagination most.

Jim showed us three paintings that he did from imagination (on his ipad). He used to work a lot from imagination (and uses what he learned from it in his current work).

Joanne told us that the Miriam Webster definition of imagination is:
"the ability to imagine things that are not real: the ability to form a picture in your mind of something that you have not seen or experienced". She brought in 4 paintings from imagination.

Loretta paints often from imagination...it’s her favorite way! She brought in a painting that she did from memory/imagination.

Steve told us that he doesn’t like competitions that seem to continually reward artists that slavishly paint from photos. What about soul and expression...(he asks!) When he worked for an outfit called “2nd story cinema” he did everything there...including the movie posters. He brought one in..... that he designed from nothing more than the title of the movie.
In Steve’s view...everything you paint should have “spark”...otherwise.... what is the point?

Announcements: Thomas’ book goes live next Monday.
Thomas has two Alla Prima Workshops coming up (next one in Jan). Don’t delay signing up...they will both be filled before you know it:

Thomas and Brenda have articles in Outdoor Painter.

Thomas has an article in next issue of (print version) Plein Air magazine.

Brenda’s workshop info

Nancy Klos workshop info

Studio 30 WILL meet the day after thanksgiving

Kat Sowa new classes info

Chas martin open house (in Multnomah Village) this weekend

Diane Marks: Little Things at Guardino Gallery (reception Nov 29)

NO MEETING next Thursday (Thanksgiving)

Next meeting Dec 5 Topic BLUE!


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1 comment:

  1. Thanks, Celeste, for all these great notes and links! I thoroughly enjoyed seeing who everyone else was in awe of and hearing the latest news on art in Portland.

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