At todays meeting Loretta L, Geri, Tim, Susan, Mike, Jeanne,
Jeanie, Kristina, Kathy, Ward, Carolynn (new), Genie, Dave, Sharon, Jim,
Eunice, Loretta U, Kristina, Christine, Tom, Anna, John, Paula, and me Celeste.
Today’s suggested table topic: how do you describe light in paint? How do you “capture” the light? Do you have specific tips?
Celeste: I read an
article about the Boston School of Painting, specifically notes from Frank
Benson. He said that if you have trouble in your painting go back and revisit the light and shadow. The problem often comes from painting objects instead of
painting how the light falls upon the object. I’m showing recent paintings. (I
like to paint these small paintings, it makes daily painting manageable).
Mike: Watercolorists know that this is the light! (Mike holds up a white paper) (laughter)! In
watercolor we have to be mindful to reserve the light in the paper. I took a
workshop with Eric Wiegart he recommended Carlson's Guide to Landscape
Painting. It's really great book that spells out light on various planes (sky,
flat, slanted, upright, etc.).
Jeanne: This is a painting I did after the artist
Vuillard. I really love how he handled the light here. It is really worthwhile
to paint some of the master paintings! I'm also showing an oil sketch from
life. I have been taking a class with Phyllis Trowbridge. I’m also showing a
book about Matisse and Diebenkorn. This shows their work side by side. This has
to do with the show that is in San Francisco (SFMOMA). I encourage everyone to
go and see the show there-- it is actually doable in one day! (I’ve gone to
other shows in SF—and done it in just one day). The show is up until May 29:
Kathy: I paint with watercolors, but I have more of an
acrylic way about my painting. (I often take more of an opaque approach). I
don’t leave a lot of the whites on the paper in the traditional watercolor
manner. In this painting I concentrated on the lights in the eyes.
Kristina: light is my main motivation. Jennifer Diehl tells
her students that light is not “contained” by edges. Light goes beyond the
edges! I am showing a recent painting from Italy and also I am showing this
book by James Gurney, (Color and Light).
I was especially impressed by his painting where he shows the light of the sky on this yellow shirt! In a similar manner… on my painting
you can see the top of the tree is a blue green (to indicate the color of the
sky).
Loretta L: In my classes I have been told, “value does all the work, but color gets all the credit”! The mid-tones really define the light. I am
showing you a plein air that I did in acrylic and a value study in black and
white.
Tom: I pass on this topic
Tim: I looked out
from my studio to see that the light was both stormy and light at the same
time. I jumped up and tried feverishly to capture the look of it! Here’s the
result. I really liked doing this -- I was forced into it with no time to
think. I’m also showing a recent portrait (of my granddaughter).
Geri: I am a big fan of lost and found edges...where the
light comes together with the background…I will emphasize that (erasing big
areas—like in this drawing). It lends mystery. I am showing a drawing that I
did at the Portland Art Museum –it is from a photograph by Richard Avedon.
John: I have just recently returned from a trip to Arizona. I
took thousands of photographs! (Laughter)! We went to the Phoenix Art Museum
and we also visited Carefree. I saw a lot of art there. I always enjoy coming
to this meeting to learn things! Thank you!
Anna: A long time ago Jennifer Diehl recommended that I read
a book by Ian Roberts on composition. I didn't do it at that time, but I've
since gotten the book and now I’ve been doing value studies. I wish I done this
when she told me to do it (Laughter)! What I have learned is that my mid tones
have not been dark enough. You have to have your mid-tones dark enough to be
able to indicate light highlights. I love the new challenge that we’re doing on
Facebook. It is making me think about composition. I watched the Bryan Mark
Taylor DVD (the section about light and shadow). I am showing recent still life painting.
I bought some of these objects at Goodwill.
Loretta U: Middle tone is a new concept for me! (Laughter)!
I will think about it! I am showing a painting I did recently.
Susan: This topic
comes up a lot in the class I teach. If one of my students is having trouble
I’ll tell them to take a picture of what they are painting and to convert it to
black-and-white. Then you can see right away what the problem might be. I
recently decided that I wanted to paint this photograph… It’s from a trip
decades ago. It is for a show called “Under a vast sky”.
Ward: As a teenager I was really interested in photography.
I read a lot about Ansel Adams and it is cemented in my soul. When you complete
an image you know if you did great—you just feel it and know it. You also know
if you missed the mark. Trust yourself. You can fix it. I am showing a painting
that I did recently. The section here got damaged—the paper got damaged….but I
found a product that could fix it! Watercolor
is really not as unforgiving as we have been led to believe. You can fix
anything! Oh--I am going to be
purchasing a new drum and I can’t wait to bring it in and play it for everyone!
Paula: I have been taking an online class with Marla Baggetta.
I have been working on capturing the light! These studies are done on toned
paper. The underpainting always makes such a positive difference. You can see
in these two paintings that they are different in temperature.
Jeanie: I am working on a very large painting. It is 3.5 x 4.5 –
and I don't mean inches (Laughter)! It is the biggest canvas I've ever worked
on. The subject is water and sky with rays of light from the sky. I have to
keep working on it --because right now it looks like an alien spaceship (laughter)!
Carolynn: I’m new (Welcome, Carolynn)! I am from Scappoose.
I had a wonderful high school art teacher --he taught us about oil. Watercolor and
acrylic seemed foreign to me., but I’ve tried it. I did this copy from a book and also this copy
of a Tom Browning painting. I painted this teddy bear-- it was originally white
and I changed the color of it
Christine: When I was a graphic artist I did a press check with
a client. He stood next to the printing press with and asked me…”could we get
the paper whiter”? (Uh no!) (Laughter)! Of course it was not only a matter of
what type of paper we were printing ---but also what colors were next to the
white of the paper. You have to have something really dark next to the white in
order to make it appear the “brightest white”! I am showing a recent painting.
Eugenia (Genie): I did this painting in the Colley Whisson workshop. His
work emanates light! My husband made these blocks for me because I was reading about these color blocks and how valuable it is to paint them. I read that in
this book, Impressionist Landscapes. I’m going to do more studies with these blocks. I remember what Za
said about having fun! I like an artist named Erin Gregory and I did this
painting along the lines of her type of work.
Dave: What attracts me is high contrast. I have found that
putting down small color notes directly on your canvas is so helpful…just put a
small indication of what color goes where—it reminds you of your plan. I am showing a
painting of the ocean and also another recent painting (of an area near where
Sharon is from).
Sharon: I am so impressed by everyone’s work! Glad to be
here. J
Jim: I wish I had the painting that I'd like to show you. It
was sold. It was a real lesson in lights and darks together. I have been
remodeling my house. It has been a very big challenge to do daily paintings on
the Facebook challenge throughout this time, but I have done it. I left my wife
in the laundry room and went outside to paint this stormy sky. I'm also
showing the result and also a painting I
did of a toy that I had when I was a child.
Eunice: I will be doing more value studies the future. I
have been taking an online class with Dennis Perrin. I’m showing a painting
that I did recently -- a rose and also painting I did of some tulips from a
photo reference.
Announcements:
Max Ginsberg demonstration and lecture April 23 Sunday 1 to
4pm, $50 (There will be a limit and it is already ½ full sign up now if you are
interested)!
Joanne Kollman drop-in
class Friday setting out your palette warm and cool
https://www.facebook.com/groups/1695576667380902/
https://www.facebook.com/groups/1695576667380902/
Classes with Ward, Brenda, Susan, Joanne, Michael Orwick,
Steve and others:
Art Extravaganza with
Susan Kuznitsky and Ward Stroud Saturday April 22
Susan Kuznitsky featured by Informed Collector:
Susan Kuznitsky will be
teaching a class called Plein Air in the Garden July 21-23 (see info below)
Jeanne Chamberlain is
having her first solo show at the Multnomah art center you are all cordially
invited to her reception-- it is on Cinco de Mayo day. (also see info below)
May 5, 7-9pm
Mike Porter makes
fabulous wood-turned brush holders and /or coffee scoops –he donates the
proceeds to charity. Contact Mike Porter
<tmikeporter@gmail.com>
Elizabeth Ganji is At Art on the Boulevard
Next Meeting: Thursday April 20 Suggested table topic:
More on Medium(s)! What is your current favorite medium? (i.e.: Galkyd light, Slow dry, Solvent Gel---etc)! Let’s discuss
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