Loretta Susan Wendy Chris Donna
Dianne Annie Bhavani Becky Tom M Stephanie Elo Tracie Tim Tedd Dotty
Vicki Geri Eunice Za Greg Joanne and me Celeste
Topic: Accents and
Highlights...(tell us what you know)
Celeste: I took a workshop
with Randy Sexton about figure in landscape. He had us do studies in one color
and then we “subtracted” areas to indicate light (and highlight). I found this
older acrylic painting where the highlights seemed to work well. I’m also showing
a floral painting I painted outdoors yesterday at Cathedral Park.
Loretta: If I get there
…..then I know it! (Laughter)! I am showing a painting
that I just finished.
Ken: I’ve had teachers say 5
colors are best…but then, maybe that color you want will be missing. So, (in my
view) you can break the “rules”. I do feel that it is important to integrate
any kind of “accent” color…..it has to be somewhere else in the painting in
order to make sense. I am showing a recent painting.
Susan: I don’t think too much
about accents/highlights..I do whatever the painting needs. It is easy for
people who are new to painting to put in a passage that is too light (and then
a highlight won’t work there). I am from Chicago and The Art Institute is where
I got my art education. I used to model at the school and at Palette and Chisel
during the 70’s. Recently I uncovered this this drawing that was made of me by
one of the instructors! I wish I could remember his name. He was a very good
teacher and an illustrator as well. Of course, I really love how pretty he made
me!
Wendy: I took a workshop from
Albert Handel. In every painting he will do 2 or 3 “surprise” splashes of
color! I watch his demos and when he does do this I’d always think “WHAT?” I
mean, how does he decide to do that? How does he know that will look so good?
(Laughter)!
Chris: I love the
accents…wooohooo! (Laughter)! I am celebrating when I put them in. I have to be
careful not to put them in too soon. I am back from a wonderful vacation to
Mexico with my family. I painted in watercolor. I am showing you paintings from
the trip. It was so great that the children got to just play and play outside
with each other all day (like we all did as children)! Here, also, is a
painting one of my grandchildren did alongside me one day.
Donna: I have found accents
and highlights to be something of a struggle! Sometimes, while painting plein
air, I’ll get things too light (then I can’t put anything on top of that
value!) Here is a painting I did recently.
Dianna: Being an
“impressionist” I want to be all about the light, of course! I’ve been taught
that a good way to keep values correct is that you begin by putting the
lightest light and the darkest dark in right away. I confess, I do not always
remember to do it that way. If the “bones” of your painting is right, the
accents and highlights will be easy. I strive for that in my work, to always
work toward a good foundation! One thing that has worked for me (working in
acrylic) is to put a clear sheet (acetate) over the painting and then paint
whatever correction onto the clear sheet. You’ll see right away if the change
is would be an improvement or not! I’ve learned it really is a good thing to go
for it—be bold, maybe drive it off a cliff! (laughter)! I am showing two recent
paintings.
Annie: I pass
Bhavani: I think it is
like dessert…you have to wait—and highlights do not have to be white! You have
to look at the color of the light and the color of the object. (Bhavani added
later...highlights depend also on the angle of the viewer)I am showing recent
plein air paintings.
Becky: I have trouble putting
in highlights when the painting is wet! Sometimes I will wait to put in the
highlights when the painting is some dry. I am showing a recent
painting.
Tom M: (new, welcome)! I paint
sometimes on Fridays at OSA—that is where I painted this portrait. You know
sometimes you spent 3 hours on a figure and you look at it the next day and say
…”ehh” (Laughter)! I did work on this portrait quite a lot beyond the 3
hours, putting accents and highlights in at the end. For
me, the highlights are the “icing on the cake”!
Stephanie: In my former career
I was a lighting specialist…so when I first saw this topic I thought about
“accent” lighting….(lights that are strategically placed). When you
are in control of the lighting you put light where you want it and that this so
much different from plein air where you have no control! When you put a
painting on facebook isn’t it funny how you can see the flaws? (Laughter)! I
like to look at my plein air painters later and make proper “accent”
adjustments. I am showing recent paintings.
Elo: I took classes with
Jennifer Diehl. She is famous for waiting to the very very end to put in any
type of highlight….but I think we should be able to put in the highlights and
accents first! (Laughter)! Really, though, especially with plein air,
if your memory isn’t great you can easily forget to put in that very important
thing! I am showing a painting of a beach scene. The people in the background
are important to totality of the painting! I am also showing a plein air that I
did at Cathedral Park. It was the sort of day that didn’t excite me all that
much (overcast) but then I saw a fast moving area of interest in the sky and I
thought…ok! I am going to remember that and put that in!
Tracie: In college I learned
about things we still pay attention to…like dominance, sub dominance, and
accents. I remember learning something from an instructor who taught interior
design. In painting we have to think about where we want emphasis and what small
things might contribute. I did a commission for a friend and she told me she
wanted me to do another…of course I said sure, but then she said “I want it to be of an octopus”! (Laughter)! I think it is a good idea to have to paint
something that you hate (like this)! It forces you to really have to set your
mind to design –how will I make this subject look good!?
Tim: Here is a Potato chip
bag...it has sparkling highlights! (Laughter)! (The best way to handle accents
and highlights is to observe them)! I am showing new paintings. Two from photos
from my hikes and one plein air.
Tedd: One of the best things
you can do is put an "x" on a spot on your canvas where you want to
remember to put something important. You just go over the (light)
"x" and even if the light is changing you'll get the important thing
in! I was asked by a family member for a painting of Irises --so I painted
this!
Dotty: I know we are supposed
to wait to put in accents/highlights...but, it's true... I can get ahead of
myself and put them in too soon. Then I will spend the rest of the time
fighting with my painting! I did this painting at Sauvie Island.
Vicki: I am showing two
examples of "unexpected" color by van Gogh and Matisse. I painted
this at Cathedral park. It seemed to really improve when I exaggerated the red
of this tree.
Geri: I know that we are
supposed to put our darkest dark and our lightest light in early. I've
challenged myself to go big! (Laughter)! (see photos)
Eunice: I have put saran wrap
over a painting and painted on top of the clear wrap to see if the change would
work! It is a very effective way to see how the painting would improve (or
not).
Za: The terms highlight and
accent are different from one another. As it pertains to Highlight...be aware
of where the highlight originates from and also look at the form to determine where it turns. Where it turns is where there would be a highlight. I am
sort of a "pattern" painter so I am someone who likes to indicate the
light emanating and bouncing around. I think a lot about shape vs. form. I
highly recommend looking for "bounced" light. Make some opportunities
for yourself to paint outdoors! I am showing a painting I did in Bhavani's
Wednesday figure session (that was outside).
Greg: In photography
"overexposure" makes things too white. The same can happen in a
painting..too much indication of light can result in a drab washed-out
look. Painting is a balancing act.
Joanne: I am showing a
painting I did outside...I changed the faraway hills to be less saturated.
Things that are painted outside can look so different when you bring them
inside. I actually like to paint in my driveway...where I might make changes in
outdoor light--it's better! A highlight doesn't have to be white, it is usually
better if it is not. I am also showing a painting of my son Tony (who often
models for us at OSA).
Announcements
Come paint with us next Monday
April 29...meet host Vicki Zimmerman at the Cracker
Barrel store on Sauvie Island at 9am (purchase a parking permit
there).
Lake Owsego Lake Area
Artists May 3 4 and 5 (Za Vue is the juror) https://lakeareaartists.com/Events.html
For something fun and different
meet Tracie, Geri and Jeff for the live music this Sunday evening
at Clydes Prime
Rib
Bhavani Krishnan at Lela's
Bistro https://www.lelasbistro.com/#lelas
Spring show Portland Rental Gallery
(Yong Hong Zhong, Don Bishop, Cathleen Rehfeld, Peggie Moje' and others):
April 26 Friday https://rentalsalesgallery.com
Whidby Island workshops: https://www.whidbeyislandfas.com/events-calendar
Vicki Zimmerman at the NE Community Center lobby
Elo Wobig has 7 paintings at
the Museum of the Oregon Territory 211
Tumwater Dr Oregon City (and the Museum purchased one of Elo's paintings for
their permanent collection).
Joanne Radmilovich Kollman portrait
class at Elisabeth Jones beginning May 4 https://www.elisabethjones.art/portraits-in-oil.html
Red e Cafe "Reflecting
the Journey" Joanne Radmilovich Kollman 1006 N. Killingsworth
Friday April 12, 7-10pm
"Four Seasons" - A group
show from four artists who all work in different mediums focusing on the Four
Seasons; Romona Youngquist, Tracy Leagjeld, Steve Hill and Yong
Hong Zhong.
Za Vue weekly classes
continue (Tuesdays and Wednesdays at Colours in Hillsboro) email for
details studioza@me.com
Wednesday Figure Sessions facilitated by Bhavani Krishnan Wednesdays (2:30- 5:30) email Bhavani for location (outdoors when weather permits): bhavani.krishnan@gmail.com
Life Drawing am and Figure
Session facitlitated by Joanne Radmilovich Kollman
1:15-4:00 OSA
Expressive painting Saturday/and or
Plein Air Saturdays OSA>Joanne Radmilovich Kollman
joradarts@gmail.com (check via
email and RSVP)
Thomas Kitts workshops: https://thokitts.wixsite.com/pleinaireverywhere?fbclid=IwAR2lnUsUFaKS11c_lGAriGm1G1tYBU200_xnaYzbQB_Mj2zFVUoFZQz1DZo
Yong Hong Zhong one day workshop
at Elizabeth Jones May 13 $75 register here:
Call to Artists: Elisabeth
Jones Gallery: https://www.elisabethjones.art/call-for-artists.html
OSA classes: Susan Kuznitsky and
others Thursdays and Saturdays (Susan is planning a outdoor figure
workshop...email her for details)
Hiatus Drawing club meets
after the Alla Prima Meeting at French Quarter
April 26 reception at RJ Gallery (Joanne
Thorpe, Sharon Furze, Kristina Sellers) http://therjartgallery.com
Next Meeting Thursday May 2
"Unrealized subject matter"---what subject have you wanted to paint
but you have not yet painted !? (What are the reasons and what would it take
for you to actually do it?)----Let's Discuss!
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