Art 2015: A Look Back

So Much To Ponder...

I am proud of this likeness.

This has been a year of questions and reflections particularly as they relate to my art and making art (paintings in this post are from 2015). I have gotten several comments that my painting style has “changed.” I guess my style has changed but is that a good thing? I look back at where I was two years ago artistically and art-socially. Two years ago I was alone in making and pursuing art. Now I have art friends, art critique group, a painting group and several art associations all leading to more fulfillment but still there is a need to pursue more, to do more!

This was all about fabric!

My trademark graphic background

My two year ago paintings were simpler. Simple doesn’t mean bad - I think some of those simple works were very nice – less detail, no background but still beautiful. Today I struggle more—so much more. I have internal conflicts and analytical struggles: what I want to include in a work, how much detail I need, and how long I want to work on the painting. I have so much more to think about and the more I learn the more I question. I read an article recently and essentially the statement was that the struggle of the artist is to get the work from the brain through the arm and hand via the brush to the canvas. Getting paint from my brain to the canvas is much harder than it sounds. Often my hope and artistic vision does not match what I create on canvas. And that leads to questions as to what should I focus on, what isn’t working, what is working?

Fun with the beard!

Juicy landscape

Now I am starting to think about my 2016 art goals which may or may not be definitive. Last year I wanted to get into a few juried shows, wanted to work on drawing, wanted to progress with my painting getting likeness (features). I also wanted to dedicate more time to painting and making art<<< I am sure that will be on the list for 2016 too. I am proud that I did spend more of 2015 painting and honing my skills. As I travel these holidays I will think (analyze and make lists) of my new 2016 Art Goals. Are there any good resources that can assist with that? What are your Art 2016 Goals?

My first larger landscape

Happy Holidays!

Thanksgiving Thanks

This Year I have TWO Large ART Thankfuls: Kindred Spirits & Artistic Growth

Kindred Spirits: I am Thankful for my Art Friends

Plein Air with my Art Group

An Unfinished Look but I love it

I love admire and respect my art friends, many of whom have been making art years longer than I. If you are not or have not made art you may not realize how hard it is -- how hard it is to get motivated, how hard it is to build skills, how hard it is to sell. It is a dedication, often with little to no reward. I spend several hours a week with my fellow artists. They are great motivators and great sounding boards when I have questions. I can chat with them about classes, workshops, and even get instant critiques on my art. You my creative kindred spirits help me get through the tough weeks, I appreciate you.

Love the pink & got her attitude

Artistic Growth: 

My Favorite Model - Santa!

As I reflect back on the last few months, I want to focus on my growth as an artist. There is no one Aha Moment but I know and feel that I am bettering my art skills. And my style has evolved to be more fresh and expressive; this is a culmination of many things. I have been working with a mentor, I attend a monthly art critique group, take art classes, work on art at home and en plein air, and read art blogs and books. Whew! It has taken much work to get me where I am today and sometimes I feel I have art successes, lately now more than ever. I am excited about the future which does perhaps include my work in a few art shows.

Think Small:Defy the "Go Bigger" Movement

Four 2x2" works in the Northville ArtHouse Small Works Juried Show.

It is no secret, I don't use the largest canvases or the biggest brushes. I have friends who use full sheets (16x20") of water color paper to create lovely portraits or still lifes - those seem large to me. My works by comparison are much smaller. Lately my portraits range from 9 x 12 to 12x16 inches in size. I have been happy with many works that I have created in these sizes. I also want to emphasize that smaller canvas sizes do not necessarily mean spending less time on a painting. Small still means planning and often hours of hard work.

Recently I entered several of my Mini Still Lifes into a Small Works Show. I was thrilled when 4 of my small works were juried into the show-the show prerequisites being art that is less than 12x12" in size (framed). My mini paintings were done on 2 x2 inch canvases -very small. I had to think about how to best present those as they were not condusive to framing. So, I found some mini easels and noted in the entry form that the canvases would come with little easels and would need to display on a flat surface. While I was at the show opening two of my works got the red dot--sold! Very exciting.

Many artists encourage larger paintings - I have heard " You Need to Go Bigger" but lately I've found more success in thinking small. At this point, I say if you are creative there is no size limit but don't always go larger--how small can you go? What can you achieve with a 3"x3" or 2"x2"canvas?

These little wonders are studies in color and composition and yet they are wonderful little works of art. These little works took hours to create, took the same thought and skill only to a smaller scale. And, for some of my still lifes I think the 2x2 inch versions are more successful. Next time a painting isn't working for you or you want to try out a composition I'm suggesting that you think in reverse --perhaps you should try a mini painting. You may be pleasantly surprised!

Two Good Ones - The Takeaways!

Fall Is My Time

Finally, two successes in plein air painting!

Shore Colors 8x10

Recently I completed two plein air paintings which led me to feel as though I finally have made progress. I really concentrated on the composition, staying focused and limiting my painting time. Both paintings were completed outside in 2.5 hours (8x 10) in 15+ MPH winds. This was not an instant success, I have spent weeks plein air painting and reading and asking questions. Only now do I feel all that learning and thinking and frustration has led to a teeny bit of success. 

My key takeaways:

My wagon full of plein air stuff!

• Thumbnail sketch (most of my Instructors have told me this!)
• Red Value Viewer (helps me see lights and darks)
• Limited Palette (White, Cad Red, Ult Blue, Cad Yellow, Black, + Naples Yellow, +Yellow Ochre Light) I chose the additional yellows due to the yellow fall colors. (again Instructors like Limited Palettes)
• Talk to Art Friends: Talking to other artists is invaluable. They have encouraged me, suggested the red value viewer, shared plein air thoughts and expertise, shared notes from workshops -what wonderful resources! 
• Persistence (it is tough to go out and paint alone for hours) and while I have asked many art friends to go with me, it has not worked lately - I have gone out alone.
• Keep Looking for Spots to Paint Close to Home (I do not like to drive too far and have recently discovered a great new place a mile from my house!)
• Be ready on sunny days! (My Plein Air Kit is different from my studio kit - I take less paints, smaller palette, less brushes -anything to lighten load when painting outside). I watch the weather & if sunny and 60s70s, I will try to find time and go out!

Sometimes You Have a Moment

Sometimes you make great painting plans - packing paints and canvas and camera, gathering all your things together...Thinking, "Go Me, I have it all together!" And then the storms of life come along and rain on your parade.

Oakland Twins 8x10

I recently had a trunk of art stuff and was ready to go on a lovely sunny 60s October day (rare and wonderful). Paints, canvas, medium, brushes, bfast bar and viewfinder in backpack, camera, umbrella, clothing layers, sun hat and borrowed wagon -all in the trunk and ready to go! Needless to say, I was thwarted. Noooo! Oh the heartbreak! My day was ruined.

Determined to paint, I went out the next day, near my house, just a mile away. It was warm and the sun was out, but the winds were 20 MPH (a bit gusty). My hat blew off, I barely caught it and it went into the wagon under the backpack. With winds coming from the South I had to turn my easel so that the umbrella was behind me brunting the wind (and still would have lost umbrella if it hadn't been tied down).

Finally settled against the wind, after taping my canvas to the easel and taping my Gamsol jar to the palette, I was ready to paint! First I made a simple thumbnail sketch of darks lights and mids. Then I checked the scene with my red value viewer (this really helped me to see the lightest lights). Next I washed the canvas with Gamsol and a small amt of Gamsol Gel then wiped the canvas with a paper towel. Then I painted in some loose placeholders - the edge of the pond and the darks of the trees. Finally we get to my favorite part - the color! Yes! I spent about two hours in the open - braced against the wind, painting happily.

I was bedraggled when I got home, but I really like my work!  After weeks of struggling with plein air (painting outside alone  for hours), it finally came to fruition! I had my moment!

One thought that I had was that perhaps my success was due to the fall color. Maybe the color was the breakthrough, as I have struggled with my greens...I took a ton of fall inspiration photos--maybe I can still paint "fall colors" in the studio this winter.

Sadly, I see leaves already falling from trees! No! I need to go get more pictures! Stat!

Enjoy The Moment

Hey! Hey! Say The Geese

Indian Summer Rocks I  8x10

The last few weeks have been gorgeous, sunny blue skies with temps in the 70s. Ohh how wonderful! Each week I have been taking a morning and plein air painting. The beautiful weather has helped me attain a meditative and positive mindset. And piqued my curiosity about Landscape Painting.

When I plein air paint, I give myself permission to paint without a purpose. I enjoy the time outside and often have to pause and reflect on nature's beauty. I find that I do not need music as the breeze in the trees and the geese honking creates a soundtrack. Each time I go to the farm there is one goose who flies by, lands on the pond all the while honking out to his fellow geese "Hey Hey Follow Me!" Silly Goose!

Indian Summer Rocks II  8x10

Plein Air painting is freeing. I enjoy finding shapes and laying down expressive brushwork.

Only once home to I allow myself to deal with my questions about plein air painting. I note the questions and try to research them via Google. I also ask my experienced art friends my questions. Recently I have purchased my new favorite book - Oil Painting With Light & Color by Kevin Macpherson - a fantastic resource! I know in time I will develop and become better En Plein Air.

Some questions I have asked:

How do I paint the light?
What greens do I use for sunlight verses cloudy day?
What greens do I use?
How do I paint sunlight?
How should I start a painting?
Lay in shapes? Lay in darks then lights?

Hey! Hey!

Ode to Permanent Rose

A Much Needed Palette Color!

Blooming Rose
Permanent Rose used for hat, rose, cheeks & pillow

Every painter has a preferred color palette. There are simple palettes and there are complex palettes. Most artists will agree that you can mix many colors from the primary colors and white, you don't need tubes and tubes of colors. For example, many delicious greens can be mixed with blue, yellow and a touch of red. Additionally, yellow mixed with red makes gorgeous oranges. There are so many color possibilities that when painting I rarely use a tubes of green OR orange. 

However, getting a lovely pink hue is another story. Adding red to white paint does not result in a beautiful pink! Typically it results in a washed out red-ish (because most whites lean toward blue, the red color gets dulled down). So, I asked my artist friends what color they choose for luscious pinks! From oil painters I got two answers: Quincidrone Rose and Permanent Rose. Very specifically, Windsor & Newton Permanent Rose was strongly suggested. 

I do need to point out that Alizarin Crimson is part of my color palette. However, it also is does not mix with white for a perfect pink. Alizarin Crimson is a dark hue that some artists call "dirty". I love it and mix it often with my darks, but when you add white (which has a lot of blue) it remains dull, lacking vibrancy.

I went out and found the Windsor & Newton Permanent Rose (typically for me it is cheaper to buy paint online but if I need just one tube I take a coupon to Hobby Lobby or Michaels). Once I purchased the Permanent Rose I began to use it often! I hadn't realized how much I needed this color in my palette. In addition to using this color more, it has brought me luck as 2 recent paintings (in which I used Permanent Rose) were juried into art shows! 

The Dude  9x12

Tell Mama 12x16

Ahh Pink, a necessary color when painting portraits and my new color love! Permanent Rose background mouth and cheeks for The Dude painting. Permanent Rose for Tell Mama headband and shirt (a bit in the skin tone too)! 

And It Poured!

Welcome to En Plein Air!
#GOTCHA #RAINONU #NATURESURPRISE #RUNSARARUN #WEATHERTRIFECTA

4 Canoes On A Cloudy Day, 8x10

I check the weather religiously, and today the weather was sunny with cloud mix and afternoon storms. Looked like a good morning to paint so I checked the radar and I headed out.

Once I arrived the weather was grey and overcast, but not stormy, no rain. The heavy clouds made the trees and lake very dark in color (ohh I liked this, very different from last week's full sun). Thirty minutes later I was sweating and spraying on Sunscreen - the sun is so hot! The bright sun washed out the colors which was less exciting. Lastly, it got cloudy again (15 minutes before I was going to pack up) but it didn't look like rain. SPLAT! SPlat Kersplat! The downpour came fast and soaked me and my art! Surprise-ACk!

I am a prepared girl, but my garbage bag was under my backpack (to prevent dirt from getting into my things) instead of covering my backpack...My Camera bag was out, my paints (on paper palette) and brushes got soaked, my painting got wet, my easel filled with water. I had an umbrella in my bag,but by the time I got to it I was soaked and my stuff was soaked.

My clothes were soaked, my backpack was drenched. It took me wayyy to long to pack up - you cannot hold an umbrella and unscrew the legs of a french easel at the same time! The wet pack up was THE worst! Everything was soaked! Once home I had to toss my clothes in the laundry and then unpack and dry all my art stuff. I left my painting and paints palette on the counter to dry (both had beads of water on top). I emptied my wet backpack, hanging it to dry in laundry room. I wiped my wet sad easel down with paper towels. Oh wet mess!

This was only my third independent (on my own) plein air session. In the last few weeks I have come to better appreciate the plein air experience - for me it was about finding the right painting location. I have finally found a place that is full of paint inspiration.

Ultimately everything's fine, I just had to stop painting before I was ready. I'm now inducted into plein air painting!  

I bet every artist has a plein air story....

Back in the Groove

Gotta Gotta Get back in My Art Groove

Just a small part of my inspiration photo!

Sometimes you just need someone to talk to about inspiration and motivation. Sometimes you just have to get out of the house!

I went to see a mentor friend and asked her about art motivation, I was in a slump! She was great and we sat down for ten minutes to just talk about it. It was so great to hear that I am not alone, lack of motivation happens to all of us!

Toward the end of my "Blah, not inspired", I found something that sparked my interest. At the studio one day I fell in love with a set up - a model with an old washing machine. My thoughts immediately went to - "Hmm I need a bigger canvas." I took photos from every angle because while I liked my angle I knew there could be other better or more interesting angles to paint later. Also, I wanted to see how the light hit.

I was able to talk to my mentor about my inspiration piece and showed her my photographs, and it really helped. I was able to get advice and formulate a plan, starting with ordering a larger canvas (I like 12x 16 and decided to move up to 16 x 20). My next steps include: thumbnail sketches, color studies, and even an underpainting (burnt sienna). Much to do! Additionally and very importantly, I took my top three photo selections and we reviewed them, selecting one and deciding on a vertical canvas. Now I am better equipped to get started on my inspiration piece!

Let's Hear it for the Boys

Painters love to paint and every week I am thrilled just to have a model to paint. Our models are all ages, shapes and sizes -which we love; however, most of our models are ladies. In the last few weeks we have had the luck of being able to paint young men, a change and challenge that we all enjoyed.

 One of our college-age female models brought her friend Colin to a studio session. Young and handsome, costumed in a renaissance shirt, he was straight out of an Austen novel, I loved it. We painted outside that day and I used a small canvas to capture his image (unfinished). I was happy with the results which I felt captured his features (I am really focusing on  feature likenesses lately). I hope that we book him for another session.

For Colin the sun was up and to the viewer's right. I need more contrast in the light and shadow, so will have to lighten the sunny side. Also Colin's eyes are narrowed because the sun was bright. I really just want to go back in and add more contrast, other than that the feature sizes and placements are fairly accurate.

Today our model did not show up (this happens sometimes). Luckily, a fellow artist had her grandson in town. At sixteen he still has a young sweet face with full cheeks (he would dislike that description but it's true). He was a great model, and again I thought I captured him. In real life he looked younger and somehow I made him a little more grown up, but even his Grandmother said that I got his likeness--Yes!

Look at all that hair, reminds me of a retro style --all long on top and shaggy on bottom. His eyes are light and bright and the light was hitting his face beautifully. I just want to say "Ahhh youth."

I've always worried about painting men and have thought about how to get their head proportions down correctly. I feel that my Figure Drawing classes and Portrait Workshops have really helped me to "See" so that I can get the correct widths and features down.

A Study of the Face

I See Tris in You

Only once the painting was complete did I see the resemblance to Tris of Insurgent. In reality our model is the same age and has similar coloring;however, I believe the bright light led to the parallels to Tris.

I am very happy with this painting as I have been studying portrait drawing and features. I do not want to create generic faces or features. An artist mentor recently said that eyebrows and asymmetry ("the little things") do make a difference. That thought was in my mind as I studied our model's eyebrows, curve of nose and corner of mouth.

Intentionally, I chose a smaller canvas (9x12) so that I would not be distracted by extraneous information. My model time is limited to a few hours and I really had to focus.

The model's hair is tied up and goes off the top of the canvas, the front pieces reflected the blue light brilliantly. Dark brown hair was being hit with direct light and it glowed almost white the way the light hit.

"What can I leave out?" I've learned is a question that is as important as "what do I put in?" Here I only imply the eyes as all I could see was the dark downcast lashes - no eyeball, no whites of eyes. Still, the viewer knows the eyes are downcast...

I have also been working on jawline. The darkness under the chin and the curve up toward the ear are important and width and curve matter. I feel that I captured the size and width accurately.

Note the light hitting the top of eyebrow, the eyelid, the nose, the lower lip and the chin. Such bright blueish light on the face meant that the shadow side was warm and deep. Much of her right cheek (facing her) is in shadow as is her top lip and part of chin.

I have captured something here and am pleased with the outcome of this face study.

Finding the GOOD in your ART

TODAY the Light

I dedicate 3 days a week to art. One day is a figure drawing class, two days are painting (models). All days are ARTporunities - art opportunities in which to learn and improve.

Sara with Summer Light Hair

I am happy with the way this portrait painting turned out. I really loved the light on the face and the way the light created a shadow on the right side of the face (facing model). And, I loved the light hitting the hair, turning it beyond blonde. The hair is a bit "whoa" but yes it is full and with the light hitting it, it was that blonde. The model usually has more caramel and red-ish hair on top (still darker on bottom), but due to summer, her hair has lightened.

The features aren't quite perfect but I like the light hitting the nose and the lower lip. Also I am pleased with the shadow on the neck as it reads shadow but it isn't too strong.

The eyes are imperfect as painted; in a future painting I would spend more time perfecting the right eye, maybe even making the shadows darker...

While I didn't start out saying "I am going to focus on this today," I do see that I was studying the light. The warm yellowish light was above left (facing the model).

In the future (and I do work with artists who do this) it would be a good idea to tell myself, "I will focus on "X" today." A very smart way to focus one's art.

DIA: Diego and Frida Special Exhibit

Rivera Murals

Perspective-TALL murals in Rivera Court

Right now there is a special Diego and Frida exhibit at the DIA which I highly recommend and which would be less meaningful in another museum as Diego and Frida spent a year in Detroit. After attending the exhibit we walked downstairs to view the DIA's Rivera murals - we are lucky as most of his murals are in Mexico.

Unfortunately I could not take photos of the special exhibit, so the pictures below are of Detroit Industry, the Rivera Court murals which focus on factory and industry.

These mural shows factory workers whom Rivera studied at the Ford Rouge River plant in the 1930s.

Having only seen Rivera's DIA murals (a must if you visit Detroit), I was excited to see his additional paintings and studies. I enjoyed the bright colors and the simple forms and compositions of Rivera's paintings of his Mexican people (everyday working). I wish I had a picture I coudl share, I noticed and loved that Rivera painted feet as rectangles with circle toes! Simplistic but somehow lovely.

I'd seen Kahlo's work before and not understood/appreciated it. Frankly it took this exhibit for me to understand her and to "get" that she transitioned her pain into her art. Her miscarriage at Henry Ford Hospital led to her famous hospital bed painting, an ugly but truthful painting, which some say was a catalyst to her art career. Her paintings were tiny as compared to Diego's large murals -the hospital painting maybe a little larger than 11x 14? The miscarriage also led to a change in the DIA Rivera murals as well. Instead of an Agricultural mural (we saw Rivera's agriculture sketch for that mural in the exhibit), Diego painted a baby in a womb. I had wondered why there was a baby amongst the industry and factory murals.

Additionally, I loved seeing Rivera's preliminary sketches - one of which filled an entire wall. I would guess the image was 10 feet tall by 30 feet long (where does one get such large paper)? The image of the man lying on his side was HUGE, covering the fulll length of the 30 foot paper! The actual image on the mural is very high up so you would not ever know how large the image is in real life. The dark figure in the top right is the one from the sketch, but you cannot tell how big that figure is, can you?

How extraordinary that Diego Rivera created the murals 83 years ago in a mere 11 months! The murals are incredibly large and complex. Today I would assume that an artist would command more time to paint this grand room. The exhibit also showed photos of the Court walls pre-mural - boring! Now, with the murals, the walls are huge historic works of art that are interesting and unique.

If you go to the special Diego and Frida Exhibit, be sure to buy tickets in advance (it was crowded), also be sure to plan time to go downstairs to Rivera Court afterwards! Go soon, the special exhibit ends in early July.

52:75!

52 Weeks of Art: 75 Paintings!

May 20th will be an Art Celebration for me as it marks one year of being a part of an inspiring and supportive art group! I appreciate my fellow artists who are professional, encouraging, award-winning artists! Thank you!

1.Started with the Ballerina.

Twice a week for 52 weeks (give or take) I have painted at studio (live model) sessions, creating 75 paintings. Some paintings are failures, some are successes, some have been wiped out (wipe outs were not part of the 75 count), all were valuable to my learning.

2. Plein Air Model Session

On May 20th, 2014 I started with a ballerina (left). I struggled and she remains incomplete to this day. The ballerina model was 6 feet tall, so her body and limbs were long! And, I have learned that beautiful people are harder to paint! I keep many of my paintings even those I don't love because I like to look back and review my art improvements.

The second painting (Plein Air Model session) was a challenge as well. I had to paint quickly outside in bright light. I needed but did not have an umbrella , so I had alot of reflection on my paints and canvas. I struggled to paint the sunlight on her face that came through the hat. Also, once home, I realized that I made the dress much too big!

Renoir-ISH plein air.

I actually love the next few paintings. The model on the stool (left) I consider a nice "study." The next painting was another plein air model session. And, I liked the Renoir-ish look of her. I was happy with how this one turned out.

Fresh loose painting, a favorite!

A top favorite is the next painting, it was loose and fresh and not overworked. I felt that captured the model and her features. And I was thrilled that this was not a struggle, it was a rare success, one that I did not have to continue to work on at home.





I wish there were an easier way to share my paintings here (for this blog I struggled with inserting and placing images). I would love to show all images across in rows but am unable to do that, please scroll through. I am posting many images below, a blog gallery of some of my work  (in order) from the last year..