And today’s meeting Loretta, Peggie, Tim, Annie, Jeanne, Joanne T, Ward, Jeanie, Mike, Tedd, Eunice, Mary, Stephanie, Paula and me Celeste.
Today’s suggested table topic warming and cooling colors what have you learned?
Celeste: A long time ago I was in a workshop and the instructor talked about how the blue sky influences everything. That statement confused many of us and we started putting blue in “everything”. He then pointed out the car in the parking lot and showed us how the top of the car had a distinct blue cast (from the sky). I’ve been studying transitions like warm-cool-warm in portraits. Sometimes you don’t actually see this, but you need to consider it in order to make the form read properly. I am showing recent paintings.
Mike: I had an ”aha” moment when Thomas Kitts gave us a impromptu warm and cool lecture at the Portland Art Museum. We were looking at John Singer Sargent's chess players. Kitts pointed out the great transitions of warm and cool and how it all made everything sparkle. I watched James gurney's DVD and have been painting in opaque colors lately. It’s best if there’s some color in the shadows. (I don’t use black in shadows anymore)! I am showing my recent series of note card size watercolors. I love the size -- you can’t put too much detail in this size. With this size you are forced to select the clearest shapes and values.
Jeanie: I talked about this once before ---I wrote “W” and “C” directly on tubes of my paints in order to identify which was warm and cool. Sometimes it is so confusing. I took classes with someone who put raw umber in the clouds and sky. I tried that…but it didn’t work for me.
Ward: I had a real aha moment the first time I made my own blacks and darks. I saw how the combined colors were so much more lively than that dead black out of a tube of black! I want to be irreverent with some my colors and values. Watercolor colors in particular can just be magic! I loften ike to put in unexpected colors and take off with imagination. I’m showing two recent paintings-- in this one you can clearly see that I did not use any black for the blacks!
Stephanie: Well, of course, everything depends upon your light source! We were talking earlier how a white shirt in the sunshine will definitely show blue from the sky. And I have read and heard that there are cool highlights and warm shadows in all landscape. The impressionists used broken color --warm and cool next to each other to make a painting lively. Sometimes you can just put it there it doesn’t need to make real sense. You just do it and you’ll see that it will make sense after you do it! I’ll look at older paintings and go into them to improve them… and generally this always has something to do with temperature. In this painting the values are close in the foreground. I was in Los Angeles recently and I went to the Norton Simon Museum and I saw a bunch of van Gogh paintings!
https://www.nortonsimon.org
Joanne: I am back from Scottsdale Art School. I got to take two workshops there! The first one was with Tim Horn. I recommend anyone to go to the Scottsdale Art School! We were well represented there, because Thomas Kitts was there when I was there and so was Laurel Bushman. We went to Gallery Russia. There is an artist there named Dimitri Volkov. People were buying his paintings without frames. Tim Horn was a great teacher --he had a lot of one-liners and was very fun to learn from. First off we painted fruit on plates out in the sunshine. We studied translucence. We also painted an airstream trailer (a typical Tim Horn subject). My second workshop was with Linda Glover. She help me on this painting that I did from Tim Young’s photograph (thanks, Tim). Horn and Glover are very different teachers. He is into notan and he uses three values… very simple. For his dark it is often alizarin Crimson, ultramarine and sap green. He sometimes takes out the sap green. Glover’s dark was transparent red oxide and ultramarine blue. She taught color harmony throughout the whole class. She mixes up a neutral with blue cad red and yellow and she uses it throughout the entire painting for harmony. I am showing paintings from my two workshop experiences.
http://www.galleryrussia.com
http://scottsdaleartschool.org
http://scottsdaleartschool.org/instructor/linda-glover-gooch/
http://scottsdaleartschool.org/course/capturing-the-light/
Jeanne: I have been on a birding adventure! I did not paint during that time. Now, however, I am back to painting in another life painting class at PCC. This time the teacher is Phyllis Trowbridge. Recently, to begin a painting she had us tone our canvas with a blue. I’m a landscape painter and I thought it first “blue”??? but I toned it as instructed and we painted a figure. The lesson I took away from this was that it is a good idea to open your mind to new ways of doing things. There was a time when I used transparent red oxide in all my underpainitngs. Once I lined the paintings all up against a wall and I realized I have too much transparent red oxide in my life (laughter)! Variety keeps us more aware.
Mary: I am here because this topic has always eluded me. But I have heard things today already that has helped me!
Annie: I don’t know warm cool warm cool! (Laughter)! Everyone says it’s important to know these things. I’ve had issues understanding how to paint it. Recently I had some titanium buff paint and I mixed two versions –one warm one cool. I probably cooled it with cobalt and warmed it with naples yellow. I had these two versions of paint on my palette and I painted this. It was a helpful exercise and I felt I “got it” about the best that I ever have.
Tim: Sap green next to blue is warm --everything is relative to what it is next to. I painted this painting where I had to remember the light on the trees. (Because the light on the trees was only there for like 10 minutes and I was there for two hours)! (Laughter)! I am also showing a paintingt that I have done from my series of fruit people laughter!
I wanted to share with you I sometimes do watercolor and this paint is a real game changer for me. This is American journey paint it it is kind of sticky. It has a high gum content I enjoyed working with it much more than other watercolors.
http://www.cheapjoes.com/american-journey-artists-watercolor.html
Peggie: I want to thank Ward for recommending the book “Blowing Zen”. I bought the book and I really enjoyed it. It was insightful! I am showing a painting that has everything to do with warm and cool! This is my most recent painting in a series of a cat on a Persian rug. Some years ago I had a painting similar to this at the Portland Art Museum. It was my first cat and Persian rug. The painting caught the eye of an art director for a movie.. it was used in a movie called “Extraordinary Measures.” I was excited that they used it and when I watched the movie I expected to see it in a perifial manner. Instead they actually zoomed in on my painting and made it part of the story! Harrison Ford said “my ex-wife likes cats”! (Laughter)! I am thinking about doing a 12 series of 12 cats for a calendar. (I actually almost ditched this recent painting a couple of times, the cat’s face was so hard---but I stayed with it, I didn’t give up)!
Loretta: I don’t have much to add to the conversation. When I put out my pallette I don’t generally reach for anything else-- I use the paint that I put out. I try to pay attention to warm and cool.
Eunice: I took a class recently online where the teacher recommended that you take a black-and-white simple photograph of a sky and mountain to paint three times. Paint it once with a yellow sky and ta purple mountain and then an orange sky and a blue Mountain and finally a red sky and green mountain…you do this and you will find out more than you want to know about color temperature!
Tedd: I have gone back to drawing and painting on paper recently. I paint the paper with a gray latex and then I will draw directly on it with charcoal. Then I will add paint on top of that.
Paula: It is different with pastel. All of your values and temperatures are separated in your palette. If you want the results to be life like you have to use the full spectrum palette. I’m showing a painting that I did in Marla Baggetta’s online class and another one recently of a flower field.
Announcements:
OSA classes and workshops
http://www.oregonsocietyofartists.com/classes-and-workshops/workshops
Max Ginsburg workshop April 24-28
http://allaprimaportland.blogspot.com/2017/02/max-ginsburg-american-master-teaches.html
Life painting on Fridays uninstructed (This Friday arrive early and go in through side door in parking lot)
https://www.facebook.com/groups/1695576667380902/
Congratulations, Eric Bowman (featured in Art of the West Magazine)
http://ericbowmanartist.blogspot.com/2017/02/magazine-feature.html
Art on the Blvd: Michael Lindstrom http://www.artontheboulevard.org
Call to artists Gresham:
https://racc.org/resources/listings/16th-annual-gresham-arts-festival/
Lake Oswego
https://racc.org/resources/listings/call-open-show-exhibit-lake-owego-festival-arts/
Peggie Moje Reception Feb 28 Gresham City Hall
https://greshamoregon.gov/Events/2017/Arts-and-Culture/Gresham-Art-Committee-presents-the-Red-Show/
Friday Feb 24 5-9pm Reception Boylan, Kollman and Johnson:
Next meeting
March 2 Suggested table topic: Brushes and palette knives---What is your current favorite brush and why ? favorite brands, least favorite brands ---anything that you want to tell us about brushes and knives!
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