At todays meeting Tedd, Jim, Thomas, Joanne T, Tim, Becky, Annie, Paula, Judith, Geri, Jeff, Ward, Tracie, Jeanie, Joanne K, Tom, Vicki, Dave, Eunice, Brenda and me, Celeste
Todays suggested table topic: Suggestion or implication in painting....do you think about this? Do you reduce emphasis in areas of your paintings?
Celeste: To me, someone who does this really well is Yong Hong Zhong. His paintings are designed. He throws things out of focus and/or reduces chroma in areas that make the entire painting more interesting. I brought some examples from my archives where I used implied things, like the fence here in this painting.
Tedd: I painted this in Hillsboro. It has an (unintended) implied chicken in these trees (Laughter)! I changed it later....no more chicken (Laughter)!
Jim: As landscape artists, we are always implying distance wherever we see it. Here is a painting I did at Cooper Mountain recently. I used a limited palette, two violets and two yellows. It is surprising how many colors you can get. Also I did a practice painting of this bottle.
Tim: First off, I wanted to show you my new acquisition...a Joshua Been palette. I just got it. I am also showing a painting I did on this gourd, a recent painting from one of my photos (of my friend the crow) and also a recent watercolor.
Annie: All work is suggestive..I think. I am working on a project that has to do with underground. I am using a variety of blacks and darks. On their own they may seem all dark/black, but together you can see there are differences. My thought is that things that are suggestive fall into the poetry section. I found this and it applies to this subject: 1. Observe 2. from observing..Understand 3. Tell the story 4. Poetry.
I took a graphic novel/storyboard class once and in it we had to tell a story with 12 boxes.. then we had to tell it again using 6, then with only 3 and some students even managed to tell it with one.
Geri: I started this painting from a photo reference and I envisioned it with a lot of detail...but when I got it to this stage I decided to leave it as it was, because I enjoyed the simplicity of the elements next to the figures.
Jeff: I'm just here as a fly on the wall (Laughter)!
Joanne T. When I first went outside I really wanted to paint every detail..and I still have issues with that and have to reign myself in from doing that. It is better to suggest leaves than to paint individual leaves! I am showing a painting with wildflowers and they are only indicated. I worked hard on this bridge painting and I'm not certain how I feel about it and I'm showing another recent studio painting.
Stephanie: I am reading a book about Georgia O'Keefe. The author describes how she kept taking away detail until she was left with the essence of things. I have a tendency to put everything that is there in..but then I realize the painting will be better with less and then sometimes correct. I got some paintings back from the Big 500 last year, and I've been correcting and adjusting those. It is enlightening to go back into an "old" painting.
Brenda: I didn't read the question right---I thought the question was about implying a theme. So, I'll go ahead and show this series that I did some years ago. I started with this rose and it came out so well --it was well received and I decided to do more. I painted this one 24x24 and named it "screaming yellow". During that time I was experiencing some screaming from my daughter --so the title seemed appropriate (Laughter)! As time went on and I painted more roses I put it together that roses are both beautiful and painful (they have thorns that can hurt you)! And a parallel can be drawn ...humans, everything has elements of both good and bad. I named all these rose paintings with names that had to do with what was going on in my life at the time. Things that could be both positive or negative.
Ward: I really like this discussion. It reminds me about how I once wrote a rap song and my friend wrote one too. The prompt was "puff" and my song had to do with puff the magic dragon and it was all sunny and friendly. That's because I am a naturally positive and happy person. My friend, however, wrote a dark song about puffing and addiction! (Laughter)! But it is true..we need both views and both views are valid. We need to have access to all because we need it all. Joseph Zbukvic says: " Don't state, indicate"...because our eyes like to be tricked. I am showing two paintings, one this whale and the other this bird. Look closely on the bird, the paint is iridescent.
Jeanie: I can't relate. All my paintings are in your face. (Laughter)! Everything is described. That's my way.
Tracie: What we are talking about (suggestion) reminds me of eating a great dish...and you wonder, "what is that flavor? What is that? Saffron? Tarragon?" and the dish tastes great and wouldn't be near as good if it didn't have that special flavor in it. If you hold your hand up just behind your eye you can sense it..but not necessarily see it. That's what we are talking about. What is left out can be so intriguing. I painted this in a life session. The model was very vacant...and I painted her that way. Later I changed the painting and got her to look at the viewer and I added a cat. I also did this copy of a painting by Cecilia Beaux.
Tom: I don't implicate, I explicate ! (Laughter)! I love that word! But we really know we can't put into the painting everything we see. We just can't! I am showing a recent plein air painting of an old mill.
Vicki: I am back from Italy! I had a wonderful time and I am showing some sketches from Italy and a painting of the fall colors (a local plein air)
Dave: I have at times watched a film and paused it so that I could look at a scene to consider what it would be like as a painting. I have painted from movie scenes, and there is no way I'd ever get in trouble for this, because the end result never looks much like the scene. I am showing one of those paintings. Of interest too--I had this aluminized ! (It is printed on aluminum). See Aluminize.com
Eunice: I have put a painting of the ocean up here at O'Connors today and this is a recent still life painting.
Judith: I am taking a class at PCC. The teacher has given me an assignment to get rid of hard edges. I will have to draw copies of some master art to train myself to consider different methods to describe.
Paula: I would agree that it is important to not put in too much detail! I went plein air painting recently. It was interesting, because I used this black paper. I was super cold, though and I stopped early. When I looked at the painting I thought--well, I'm not sure it needs anything else, so I am going to leave it here.
Becky: I got two done for the 200 show. They are both from reference. I think it is easy to overwork when you go back into things! Trees and leaves are best "implied".
Joanne K: I like to imply the entire painting if I can! I painting is life session painting and she did have a weary look. I always try to imply a background behind a figure instead of just paint in a flat field of color. I am showing other paintings where I mostly "suggested".
Thomas: I like a quote from The Little Prince:“Everything that can be removed has been removed". When we start out, many of us believe in striving to make the subject look just as it is. But, as time goes on for me, I am moving more and more toward abstraction. Recently I have been doing some Sorolla studies. I haven't done copies for a long time, but I am really getting something out of these....a deeper understanding why he painted the way he did with just 3 or 4 colors. I want to think more about shape, edges and color and less about what object I am painting. All planes must agree.
Anton Pavlenko is being featured on Oregon Art Beat and he is having a First Thursday reception in the Pearl. Reception 6-10 at MarkovCo Gallery. 625 NW Everett #111.
Za Vue and Yong Hong Zhong, First Friday Art on the Boulevard http://www.artontheboulevard.org
Fine Art Friday (uninstructed life model) with Joanne Radmilovich Kollman at OSA 1-4pm
drop ins welcome https://www.facebook.com/groups/1695576667380902/
Fresh Flower Saturday with Joanne Radmilovich Kollman at OSA 1:30-4:30
drop ins welcome https://www.facebook.com/groups/1695576667380902/
Ward Stroud is *in* the new Jerrys Artorama catalog---(representing the Brusho product) Congratulations, Ward
Ward is going to Seattle this weekend to cut a new album with his Hand Pan Drum
Tonight, Lommasson at OSA https://www.oregonsocietyofartists.com/classes-and-workshops/demonstrations
200 reception at OSA First Friday https://www.oregonsocietyofartists.com
Clark County Studio Tour (Tom Daniels, Michael Lindstrom and others) http://www.ccopenstudios.org
Brenda Boylan: New classes at OSA Fundamentals 7 weeks...begins Tuesday https://brendaboylan.com/workshops
Brenda Boylan is working with Richeson to design two pastel sets (Congratulations, Brenda)!
Next Meeting: Thursday Nov 9, Suggested table topic: Your big idea. Share with us an idea you've had (either recently or long ago) about a creative project (that you have not yet done). What made you want to do the project? Do you still plan to do it? Let's discuss!