Art Talk and Images

On "How Long Did it Take to Paint That?"

2011-11-19T22:54:00.000-05:00

Artist's are frequently asked "how long did it take you to paint that painting"? It's a question I always hated as I felt it shortchanged my efforts and experience. I've often been tempted to glibly respond, as I once heard another artist remark, "50 years and an hour". While this is not exactly accurate, it does at least suggest the years of training and experience that hones the diverse skills required to create a painting of merit.

It seems to me though that when a prospective collector asks this question what they really want to know is if the price I'm asking is a fair price? A much more accurate and better answer would be "three months plus my X years of experience".

So, you ask, how did I come up the the idea of three months?

Actually, my husband Paul came up with the idea and I thought it was a great way to deal with this situation. He suggested that I average out the amount of time it takes me to show a painting from the time of inception through developing the idea, creating the painting, framing and marketing. As I considered this criteria, I realized that there have been a number of paintings that have taken several years and of course those that are created en plein air in an hour or two and may never be made into a studio work. It took a bit of doing but, as best I could, I averaged these factors out and realized that my paintings over the past five years, all things considered, generally average about 3 to 3.5 months. So now, my answer to the age old question of "how long did it take you to do it" is, "three months plus my 50 years of experience".

This response is so much more realistic than simply saying X hours of painting time and it satisfies most inquiries. The price of the painting is immediately seen as a good deal instead of being pricey and is fair to me as an artist for the amount of hours I've worked on it in my thinking, planning, and marketing, as well as in the doing.

I hope this helps you as much as it has helped me deal with an awkward situation. If you have another way of answering this question I'd sure love to hear it. Remember you can always contact me below through this blog or via my website at www.SGTarr.com.

My studio on wheels.

On Getting Started Again

2011-11-13T18:02:00.000-05:00

Sketchbook: pen and ink over a watercolor wash

Old Barn at Cedar Creek, Barry County,Michigan

Wow!

It's been ages since I last updated my blog…. (I really do have excuses!)

Last May Paul severely injured his back which was followed by one thing leading to another and then again to another requiring my focus on him and his situation(s). I’m delighted to say that six months later we are gratefully arriving at the end of a long dark tunnel and he is doing just great now. So…….! It’s time for this artist to begin getting her artistic life back in order. I’m counting on 2012 being a renaissance year.

Obviously, during these past months I’ve not been able to paint much but I’ve given a lot of thought to where I’m at and where I’m going with my work. The result is I am in transition. Not particularly satisfied with where I’ve been and still not completely sure of where I’m going but getting closer every day. If you're an artist, you probably know what I mean.

The one thing I’m completely sure of is that I am back in touch with my love of shallow water and the environment. I still love landscapes more than any other genre and plan on exploring more shallow water subjects as they relate to the land. The photo below is one such scene taken at a recent artist’s retreat where I spent a goodly amount of time sketching and photographing my favorite subjects while doing a lot of serious thinking. This was so good for the soul...I came back refreshed and energized.

Cedar Creek, Barry County, MI

NEW NEWSLETTER:

If you haven’t as yet signed up for my website newsletter you might want to do that so you can keep abreast of new paintings fresh from the easel and events as they are announced. If you’re like me you hate to miss out on anything fun or exciting….you just never know! Click here www.SGTarr.com then click on "Newsletter" in the main menu and fill in your address.

Arizona and Back Again

2011-04-26T14:18:00.000-04:00

I just returned from a short week in Arizona where I found the mode of transportation to be versatile...

...the dress casual and a bit different from what I'm used to in Michigan....

....and the natives friendly and always willing to say "howdy".

As soon as my paints, paintings and gear arrive via UPS I'll be able to add a few more new images to the blog. Rarely do I take a workshop, usually I conduct them. However, this trip was a learning trip for me. I studied with Carolyn Anderson, a fabulous instructor by the way, at the Scottsdale Art Center in Scottsdale. I was fortunate to have friends to stay with and so was able to get out and see the desert and get up close and personal with the horses. Needless to say, with such a full day of learning and fun evenings exploring the desert I was exhausted and usually in bed by 9 pm to gear up for another day.

More later......

New Paintings and Studio Space

2011-04-04T18:10:00.000-04:00

"First Light of Day", 18 x 24", oil on canvas

I apologize that I've not kept up with posting. It's been a hectic few months. I'm finally back in stride now, although I've still not found adequate time to paint en plein air....a sorrowful state of affairs to say the least! However, my time in the studio has been good and I feel as though I've made progress.

"Summer Light", 20 x 24", oil on canvas

These two paintings and several have been newly added to my website at www.SGTarr.com. Be sure to sign up for my occasional newsletters when you visit the site. I'll look forward to keeping you updated.

Studio seating area showing drying wall.

The photo above shows the area of my studio where I relax at the end of the day to study work in progress. The wall shelf also allows me to study plein air works that may become references for larger paintings. The chair I relax in (not shown) has, in addition, an excellent view of current work on the easel. This pleasant and comfortable area also doubles as a place for clients and students to gather and discuss art. It's a good space.

The Uniqueness of YOU

2011-02-18T08:51:00.000-05:00

"It’s only with the heart one can see clearly. It’s what is invisible that is essential."
The Fox in "The Little Prince"

Have you ever spent time with someone who is constantly cracking jokes about themselves that imply their ineptitude? At first it's usually funny but soon gets to be a bit much after the 4 -5th slam?

In my classes I find that it is not unusual to hear negative comments from students as they attempt to cover up their insecurities. Normally I ignore it knowing that once they gets further into their work they'll drop this false safety net. There is though, from time to time, a student who will continue to knock him or herself verbally to a point that it can't be anything more than an ingrained personality habit. This I find very disturbing and, I believe, the biggest block to creative self-improvement and growth that exists.

I care greatly about each of my students and highly respect their uniqueness. In fact, this is often a topic that I expound on in my classes. However, I sometimes suspect I may have more respect for their uniqueness than they have themselves. There are times, out of frustration, I end up reacting negatively to their negativity. It happened again earlier this week. After demonstrating a technique in one of my classes I said something to the effect that "try this and see if it helps you in your work". The immediate response from one student was "... nothing is going to help me".

This kind of verbalized self doubt, often repeated, soon becomes a way of life...a way of thinking about one's self. Because I care, I shudder every time I hear a student talk this way.

As I said earlier, I believe each of us is unique and as artist's, that uniqueness is evident in our visual expression. We should glorify in this knowledge.. not denigrate and destroy it. We artist's have a wonderful opportunity to express our inner feelings and beliefs in ways that are not possible for others. We should embrace this and use it to its fullest, not demean it and put it down. What is within us is a beautiful thing.

In conclusion, I say to you.....

...hold what you are in great esteem, you are the only one in the world that owns this invisible essential. Glorify in your uniqueness and share it honestly.

Reflections on Style

2011-01-04T14:44:00.000-05:00

"Grand Flowers", 24x18", oil on canvas

Style can be a seemingly illusive element in our work that students seek and seasoned painters seem to own. Where and how does one "find" style and what is it? The answer to that, like so many things in art, is both simple and complex.

To begin with, style can not be taught, it is inherent in each of us. We can develop it through painting miles of canvas and we can recognize it within us through self knowledge and understanding. It is, after all is said and done, who we are and how we do it. The more we understand and focus on what comes naturally to us as a unique individual, the closer we arrive at style. Style is after all, no more than our "signature". An example of this is the way each of us writes. We can force a style of writing that is unnatural but when we are relaxed we revert and write in a way that is unique only to ourselves. Style in painting is the same, unique and self inscribed. Style is all about what we say as an artist in our work.

Don't be confused between the issue of developing one's own personal style and learning the principles of one's craft through instruction. They are two entirely different things. Unfortunately, some students feel that taking art classes will influence their style. This is true only if the instructor they choose is one that insists students paint like them....and, frankly I can name several nationally known artists who have a whole cadre of students (the magazines are full of them) who are copycats of the instructor's style. Sad but true! I believe, the measure of a good instructor is one who teaches the principles of sound painting and "guides" his/her students in developing their own signature. Teaching is not, should not be, an ego trip. Students should be encouraged to study and learn all they can about their craft, their style will develop in its own good time as they work.

As a student, my work exhibited an energetic brush work that I didn't understand and found difficult to control. Being without an instructor or mentor at that point in my career, I literally worked hard to eliminate it and to establish what I felt was the "right" way for me to paint based on what I saw others doing. This had nothing to do with art classes or instructors. It was my mind-set. I would have been much further ahead if I would have applied this energetic enthusiasm to my studies and allowed this to develop into my unique signature. The effort to control and divert my natural inclinations unwittingly delayed any progress I hoped to make.

Today, as never before, I enjoy the freedom of being in touch with myself and have learned to ignore external influences in books, magazines, DVD's, etc. My style has evolved and I find once again that energetic loose brush work is important to my work. I am not pursuing someone else's style but my own. In fact, I am pursuing it with a vengeance. It is at once exhilarating, freeing and really quite wonderful!

"It’s only with the heart one can see clearly. It’s what is invisible that is essential."

The “Fox” in The Little Prince

Art Supplies and Equipment Recommendations

2010-12-08T10:28:00.001-05:00

The studios of other artists have always held a certain fascination for me. I like to see and learn from others. It occurred to me that perhaps some of my own studio "finds" would be of help to blogger's. So, here goes....

Still life stands are not as easily found as I thought they would be. After I spent literally months searching and finding nothing that would work for me, I found this gem (left) by Mabef at T-Square, a local art supply store in Grand Rapids, MI. It's a sculpting stand that is adjustable right and left as well as bringing the subject up to near eye-level. I'm tall and it was really hard to find a stand that raises high enough plus one that didn't take up a mile of floor space. This stand may be available through a local store near you and/or via one of the many art supply catalog companies for about $125.

For "Over Abundance" (below) the stand was placed close on the right of my easel so that I could sight/size my work.

"Over Abundance",

14x11", oil on canvas panel

Website development was a huge mystery to me. After hiring and struggling through working with this and that designer and spending an inordinate amount of money and time away from painting to work with these folks I decided I had to bite the bullet and find an easy way of doing it myself. The answer, after a lot of research, was Fine Art Studio on Line (FASO). Their simple template method and superb tech support, available 24/7, made it a snap for even a computer dummy like me to quickly and easily present my work professionally. I'm not alone. Any number of artists that we've all heard of such as Mian Situ, Keven MacPherson, Laura Robb, Matt Smith, Ron Rencher and William Schnieder are among the users of FASO's website template system. You can Google these artists to see their sites and contact FASO at http://www.fineartstudioonline.com/ to start your own easy to do website.

Last but not least, I prefer to paint on canvas and later hand-mount it on panels, when working plein air or small in the studio. This offers me an easy way to travel with many studies/paintings in my suitcase without the bulk of panels or stretched canvases. To do this I require a high quality reversible archival adhesive. Again, after a lot of research I found Lascoux's 498 HV Adhesive to be the best possible option. However, it's hard to find. Recently my source dropped it from their inventory and I had to web-search of another distributor. The only one I found was Museum Services Corporation available at:

385 Bridgepoint Way
South St. Paul, Minnesota 55075-2466
PHONE 651-450-8954
FAX 651-554-9217
info@museumservicescorporation.com

A liter costs $60 plus shipping but this will mount a lot of paintings and I know that those I choose to mount are archivally sound.

I hope the studio information above helps and cuts you some slack in research time. If you found this of use but have other studio questions/needs let me know and I'll post what I'm doing to resolve the issues for me and/or my students. Good luck!

Inspired and Breathless in Utah

2010-12-05T00:25:00.000-05:00

While I don't have to travel to find subjects to paint I must say our western U.S. holds my heart and takes my breath away. Until recently I have to say that of all the National Parks, Teton and parts of Yellowstone have been my number one favorites. That was before I experienced Zion in the snow. This beautiful magical wild place gave me an experience that I will hold dear to my heart for the rest of my life. Beyond its ageless heights of limestone and sandstone, amazing in their own right, the beauty of the Virgin River canyon was compounded with unexpected snow. Hiking the canyon last Sunday morning, in blizzard like conditions, I felt a personal joy for the richness of all that nature can offer.

Side pools collect water from the heights and feed the river. The water shows teal green and red color in contrast to the white snow.

A monolith near the entrance guards the canyon.

Wind and the Virgin River created the canyon over millions of years. Seasonal run-off and flash flooding carves out the soft rock.

Other special experiences on this trip included Thanksgiving with my daughter Renee and her family in their home, hiking and playing with grandkids in 18" of snow at Snow Basin in the Wasatch Mountains near Salt Lake and gallery hopping in Park City, Utah's ski capitol.

At Bryce Canyon I stopped to help a Chinese family with their camera so they could all be in the picture. They in turn did the same for us. In spite of the language barrier, after much gesturing, smiling, and bowing, we all went away happy. Later, with the exception of a lone Steller's Jay for company, we picnicked in the 27 degree weather. What fun!

Steller's Jay waiting to clean up any crumbs that escaped our mouths.

Left to Right: Renee, Ian, Roger and Maddie. The black-headed gnome is...Me!

Holidays vs. Art

2010-11-16T23:05:00.000-05:00

I love the upcoming Holiday season but know that every year it puts huge limitations on my time normally devoted to art. There were even a few years in the past when I didn't paint, draw or even think much about art for a number of weeks because of heavy personal and family commitments at this time of year. Each time this happened I found that my ability to perform regressed. I lost my working momentum, the rhythm of my process and even became unsure in my skills. It took weeks to regain all that was lost. This lapse combined with others of shorter duration throughout the ensuing year delayed my growth as an artist.

I finally came to realize that I could not afford to allow this to happen. Instead of beating my breast and feeling guilty I decided to break my time into small segments that were manageable and develop a schedule I could keep. My formula was simple, it consisted of deciding what I needed time wise to maintain my skills and rhythm at a working level.

In general, I knew personally I needed at least 4-6 hours a week to just keep my skills honed to a passable working level. That broke down to doing quick studies for at least 30 - 40 minutes each day. That was reasonable and something I was able to do even on the most busy of days

One of the biggest misnomers among my students is that they feel they must create "paintings" whenever they pick up a brush. That's wrong! It is far more important to do studies and small exercises to keep up skill, grow and be able to preform when called upon to do so. Anyone can do a drawing, a series of 4-5 thumbnails, work on a value or color study, etc., etc., in a 30 minute period. That is far more important than waiting until you have a "block of time" (which may never happen) when you can "paint". Part of all this is simply mind set.

The bottom line is that if you do nothing with your art over the holidays you will most assuredly regress. If you dedicate 30 minutes per day you will maintain for a few short weeks before regression begins and if you work an hour or more each day you might even be able to build more skill in certain areas.

If, throughout the year, you take art classes and/or work regularly in your studio then why jeopardize that investment? Isn't what you do important to you...important enough to maintain it through a busy time? Surely you can tweak your schedule to guarantee just 30 minutes a day for your art?

Fall Trees Looking Garish?

2010-10-10T17:14:00.008-04:00

Last weekend I painted with a group of artists on a west Michigan farm where the trees were nearing their peak autum color. During our afternoon critique, several artists commented that they find it difficult to control fall colors in their work so they don't appear garish. I believe the answer to that is transitions created by soft edges and carefully used neutral tones between color shifts.

"Fall Color", 12 x 9" plein air oil study on canvas

The hues, in "Fall Color", above, read well and are pleasant to look at. Notice how the bright instense colors are juxtaposed with neutral hues of less intensity giving the eye a place to rest. Notice also how soft the edges are within the tree's color shapes and how they help the eye travel from one area of the tree to another.

Fall is a wonderful, albeit brief time, to paint outdoors. For those of us tired of painting summer's green the challenge of a warm autumn palette is creatively exciting and most welcome. Enjoy!

Painting a Rainy Day

2010-09-19T16:18:00.013-04:00

"Rain or Shine?", 8x10", oil on gessoed panel

"Woodland Path", 8x8", oil on gessoed panel

This past Saturday, I awoke to a torrential downpour, lightening and thunder outside. With only one eye open I was sorely tempted to roll over and play dead. However, after having been sick with a virus for over a week and a bad case of cabin fever I determined to struggle up out of sleep and dress for painting out-of-doors.

I'm a member of the Great Lakes Plein Air Painters Assn. better known to its members as G.L. PAPA. The all day event was scheduled at Sleepy Hollow State Park about a 40 minute drive from my home. I decided, due to the weather, to at least enjoy the drive up and back if nothing more. After downing a quick breakfast I headed out. The weather was so awful that I was convinced I would be the only one crazy enough to make the effort. Much to my surprise I found six other painters at the park who also shared a desire to paint. With no other option, we began painting from inside our cars and were finally able to migrate outside about an hour into our day. After a very damp, cold morning we broke at noon for fellowship and a hot lunch of grilled brats and salads provided by a couple of members. One of them were organized enough to bring a spouse along who likes to grill. It doesn't get better than that.

The two studies above were the result of a good dose of determination and no matter how wet, the inspiration of Michigan's early fall color. One was finished on site and the second touched up at home later. All in all, a fine day...if not a bit damp.

Back to Basics

2010-09-11T21:09:00.011-04:00

"Onion Study", 11x14", oil on canvas

It's been a good but busy summer and I see that I've been remiss in adding new posts. Sometimes it is just plain hard to stay focused. I find that is true of my work as well. When I have periods of not being able to paint I find it difficult to get back into the swing of my normal painting process. It's at times like this that I force myself to go back to the basics. Last month was one of those times.

To jump start I often do a simple still life. This allows me to focus on the process and not the subject. "Onion Study" was successful in getting back to thinking the process including my use of brush work and edge control. This was a fun piece, no pressure since it was a study, ending with success. It gave me the encouragement to begin several larger paintings that have been on a back burner for awhile.

Speaking of which, I often have a handful of paintings stored in the studio in various stages of completion. This gives me time to think problems through and also to keep my interest level on any given painting at a peak. I don't get bogged down feeling the pressure of having to finish a painting unless of course I'm working on a commission deadline, which is another story.

What do you do to get jump started? You may email your comments or questions to me by clicking on the small white envelope below.

Forget Me Not!

2010-08-06T12:04:00.009-04:00

"Forget Me Not!", 11x14", oil on canvas

My summer has been chopped up as far as painting vs. social interchange and family commitments are concerned. I find it nearly impossible to keep focused on my art when schedules and people come and go and change constantly. The only thing that seems to get me centered and technically back on track is to drop large projects and go back to either doing small simple studies or finishing smaller works that seem to accumulate in my studio in droves. "Forget Me Not!" is one such painting.

I started but didn't get too far with this as a plein air piece when painting one evening near Harrisville, MI in early summer. Usually, I wipe such a brief start off the canvas but this had a good feeling and the subject remained in a somewhat sketched in mode. After returning from Mackinac Island this year I was looking at this canvas and realized how much it reminded me of the unique woodlands of Mackinac Island. I decided then and there to alter it into a studio painting of my favorite Island wildflowers which grow there profusely. As I love the more intimate parts of Mackinac Island, not what the tourists usually see, it was fitting that the painting be titled with its double meaning, "Forget Me Not!"

Beating the Positive to Death!

2010-07-29T22:24:00.022-04:00

I had lunch the other day with several friends who are also students of art. The topic of negative and positive space came up. Their general agreement was that their focus gets caught up on the positive and that they often forget about negative shapes. My comment to that was, "...one of my frustrations as a teacher is seeing students ignore the negative while beating the positive to death". Well, this made everyone laugh and they all agreed that this had to be the subject of my next post.

"The Road to Somewhere", 18x14", oil on canvas

First, let's assume that everyone, at least intellectually, understands the difference between negative and positive shapes in art, ie: the horse, the tree, the building, etc. vs. the negative space that surrounds these shapes. Due to the way we have been trained to see since childhood, we humans naturally focus on positive shapes. This is our nature. This is also where unskilled painters get into trouble. Because they see only the positive they will continue to erase, redraw (repaint), erase, redraw (repaint), erase, redraw (repaint), or incorporate fussy fussy, dibby dabbing, and mindless pencil marks or brush work to correct a positive shape until it is beaten into submission. Unless reminded they will never look at the negative as a moderating or correcting tool.

There are certain truths in art that are, unto themselves, self evident. This is one of them... if a negative shape is not correct, the positive shape next to it will also be wrong. It cannot be otherwise. So, for seasoned artists, when a positive seems wrong the first thing they do is look at the negative space(s) and correct the shape.

James Reynolds is an American icon of western art following in the footsteps of Remington and Russell. Formerly a Hollywood screen illustrator and later fine artist extraordinaire, Reynolds passed away this past year. What I find interesting about his beautiful oils are the small passages throughout his paintings that show slightly altered color shapes and brush strokes in negative passages that clearly demonstrate his attention to correcting and enhancing positive shapes. His style of work makes it easy to find these alterations. His positive shapes remain clean, crisp and fluidly beautiful by comparison because they are not beaten to death. His adjustments are most often made in the negative. His negative shapes are as interesting as his positive shapes. Reynolds work is well worth studying, if no other reason, for this one aspect alone, simply because his brushwork is so readable. However, I would hope anyone taking the time to study his work would also recognize his phenomenal command of draftsmanship, sense of color and composition. He was clearly a master of his craft and should be studied seriously.

In "Road to Somewhere", above, I spent as much time if not more creating interesting negatives. My positive shapes are the small hills on both sides of the road and the road itself. All the remaining shapes including the fields, roadside grasses and sky are subordinate or negative. However, note how interesting each of these shapes are. They are quite clearly, part of the whole and what creates the "finished" quality and unity in the painting. Without them, this painting would have very little impact. The are effectively important to the overall look of this work.

So, the next time you find yourself struggling with your subject, take a moment and look at the negative space around it. You just might improve that tree or building by creating a better negative.

Summer on Mackinac Island

2010-07-22T22:29:00.028-04:00

Each summer I am blessed to spend time on Mackinac Island visiting my family at their summer cottage. This year was no exception. I love being there and due to the family and home-style experience may view the Island a bit differently than casual visitors. With time, the Island offers so much more than hasty bicycle rides and touristy shops. For me the family situation is the best.

Some say my sister, Barb, and I look alike. Actually, in looks, I take after our Mom and she takes after our Dad. But, I guess there is a family resemblance. I often remind her though that I'm the better 1/2 of the two of us. She claims I'm the spoiled one and she's the favorite. We have a good time razzing each other and know it's all in good fun. I'm shown here relaxing one afternoon at the Grand Hotel.

Family is what makes Mackinac Island special to me and sharing time with my sister, Barb, IS the best fun I know as we are usually only able to see each other once or twice a year. We always have a lot of catching up to do. I took this picture of her and she took the one of me above. Not too bad for a couple of amatures.

"Sophie" was a new addition to the Island this year and she decided that "Aunt Sharon" was OK! We became great pals. Sophie has a great and gentle personality with just a tad bit of "naughty" to make life interesting for her humans. She is not allowed to be in the chairs....get my drift on naughty? How could anyone possibly get upset though with a face like that to discipline?

Painting with friends is always a joy for a plein air painter. This summer I met several new artist friends and had a great time sharing this beautiful garden with them. Other times, I sketched local scenes with my watercolor sketching set-up or painted with oils in the side yard of the cottage.

Early morning adventurer's find all kinds of fun things to photograph and paint. I fully believe that getting up early to experience the awakening of the Island is the best part of each day. For instance, it's always a treat to stop by the horse barns just up the hill from the Grand Hotel and watch the hustle and bustle of horses being fed, washed, hitched to surreys and wagons for their work day. Animal lovers can be assured, the horses are well taken care of as they are "king" on the Island where no motor vehicles other than emergency services are allowed. A stroll down Main Street at dawn when the street lights are still on is lovely. Crews in bright yellow slickers and boots hose down the streets and they and the lights flicker their reflections on the wet pavement. The island is still, hushed like, and yet pockets of "busy" of a different nature from the daytime crowds make it intriguing. And...finally at 8 a.m. the first boats of the day bring dock workers and others from Mackinac City and St. Ignace, along with early visitors, to begin the tourist day.

Boats from the annual Bayview Yacht Club's Port Huron to Mackinac race arrived at the harbor a couple of days before I left for home. I missed the Chicago to Mackinac race this year. The Island virtually hops with excitement when the crews arrive and there is plenty of partying and fun for all....

...and, sometimes if we're lucky, even fireworks to end the day.

Be sure to visit Marcia's new extensive Mackinac Island website: http://www.mackinac-island-insider-tips.com/ to see all there is to do and enjoy.

More on Sketching with Watercolor

2010-07-02T12:12:00.008-04:00

Sorry! This workshop is full. A wait-list for a possible repeat class in late summer, early fall is availabe. Go to "Contact" at www.fineartstudioonline.com/sharongriffestarr to be included.

I've had several students requesting a photo of the color sketching system I use. Above is a photo showing the field watercolor book, my water supply which is a bottle that originally held seasonings (the cap is what I dip my brush into), one of two field boxes (palettes) that I use and my trusty Cheap Joe's Dream Catcher #10 brush...couldn't do it without this brush. All supplies are available at Cheap Joe's Art Supplies at http://www.cheapjoes.com/

See examples of field sketching with this system below in the next post.

Sharon

Color Sketching Workshop

2010-06-22T10:38:00.014-04:00

My unique no fuss, no muss, one brush method of sketching strengthens the intuitive use of the three value system in all other areas of my work as well as honing the ability to work quickly and capture gesture effectively. Below are examples from my various sketchbooks. YOU CAN DO THIS TOO.

Color sketching is my favorite way to accumulate knowledge of subjects and understand color mixing while keeping up my drawing skills. I decided to offer a color sketching workshop out of my Williamston, MI studio on July 8/9, 2010 to help other artists learn the simplistic approach to color sketching that I've developed over the years. This workshop is of great value for all artists...not just watercolorists. Because of the simplicitiy of technique, it is especially helpful to those folks who have little time to devote to their painting and especially helpful on vacations when time to create is limited.

All sketches show here are approximately 5x8" or smaller.

Contact Sharon Griffes Tarr for workshop info via www.SGTarr.com

What's Happening with Your Process?

2010-06-15T09:45:00.007-04:00

It occurred to me today that I've been writing this blog now for six months and have received precious little input by way of "comments" from my readers. Why is that? I wondered this aloud to myself then went back and re-read some of my earlier posts. Well.....it seems I've been so busy talking about me and my experience(s) and haven't clearly indicated that I'm really, sincerely, dyingly (I think this is a great word and should be in the dictionary) interested in gaining some insight into YOUR experience(s) as well. After all, give and take is a great and better way to spend a life. Don't you think?

So......"Painting in Progress vs. Progress in Painting", posted below on June 12th tells about my processes in painting in the studio vs. painting en plein air. The big question is...how about you? What is your process and does it or does it not work well for you? Does reading about my process help or hinder you? Are you even an artist or are you a non-artist interested in art? Does knowing my process help you understand how artists think, see and plot our destinies? What are you doing to find/help/hinder your own?

HELP, help, help! I'd like to know what you think about "process".

Boy! Do I feel better now? You bet I do, but I'll feel even better as soon as I read your comments about the joys of and/or frustrated lack of a process.

Have a great day and don't forget to click on the envelope below so you can email/post your thoughts and ideas for me to read. I'm waiting with bated breath and heart racing.....

Paintings in Progress vs. Progress in Painting

2010-06-12T13:53:00.023-04:00

I believe the beginning of a painting is the most important creative phase whether an artist jumps directly into his/her known rhythm to "find" a subject, or carefully plans with thumbs. Personally, I feel so strongly about this that I set a time to start when there will be no interruptions...sometimes even in the middle of the night. I've come to know that if the painting doesn't connect for me at this point then it never will and there is no point in continuing.

"Sound of Water" (a work in progress)

30x40", oil on canvas

The "Sound of Water" is a work in progress that is currently on the easel. My studio work has evolved over time into applications of light filled opaque passages over the all important initial transparent layers to evoke contrasts in texture, color and depth. Notice the transparency of blocked-in passages. These strong transparent passages are super important to the opaque layers to come. This method of painting takes longer and is in direct opposition to how I paint en plein air.

"Kate and John Exploring", shown here in progress...see finished painting on website.

When painting outside on location, I usually work alla prima which means "all at once". This is due to light changes caused by the traverse of the sun throughout the day. "Kate and John Exploring" is an example of this approach. Somewhat unusual for me, this particular painting was created alla prima, in the studio, simply because I felt it was the best approach for the fresh and crisp feeling I wanted to achieve for the children. Never-the-less, it is a good block-in example of all prima. Each brush stroke of color is placed with the knowledge that it will stand on its own and will not be covered with subsequent layers of paint as in the studio approach. See the difference?

As an artist, my work and procedure of painting continually evolves. These two approaches have, over time, become more separated in my working methods to the point that today I clearly utilize each to the advantage where they work best for me. By in large, I've come to separate what I do outdoors from what I do indoors in the studio and am finding more consistency in my work because of it. Sorting this out has taken time but it has certainly been a wonderful and satisfying experience.

Perils of Plein Air Painting: Hee Haw Round-up!

2010-05-17T00:32:00.028-04:00

I awoke yesterday morning with anticipation of a peaceful day outdoors painting en plein air. The night before I had planned on a site at a nearby farm where the view was pastoral, quiet and angled correctly for the early morning light.

Still not fully awake, I drove into the farm yard with coffee in hand and was greeted by six free-roaming donkeys. I parked and eased out of the car so as not to frighten them off and went in search of someone to get them back into a pen. I checked the house and several barns only to find that I was alone. Not even a friendly dog in sight....just donkeys. Each of the nearby fenced enclosures had either cattle in it or more donkeys and all visible gates were closed.

It was clear that I was going to have a problem trying to get the six donkeys into an enclosure without other animals getting out. If you've ever tried to herd animals into an enclosure you know it's almost impossible to do so alone if there are already other animals in the pen. Where one roams free they all want to roam free. I could see the writing on the wall and knew there was a strong likelihood that I was not going to be painting the early morning light as planned.

I tried calling the owner on his cell phone, the only number I had. All I got was a message that said "...thank you for calling. Please leave your number and I will return your call as soon as possible". Great! I left a jumbled message and hoped that he'd show up soon. In the meantime, the donkeys were on the move.

I don't know a lot about donkeys, but I found out three things mighty fast. First, for being such small animals they can move remarkably fast. A LOT faster than this artist. Secondly, they have a mind of their own (they don't care for or listen to strangers). Third, they don't respond to "here, donkey, donkey, donkey", "cluck, cluck, cluck" or "tch, tch, tch"...it was clear I didn't know any magic words. Well! What to do now?

After 20 minutes of racing back and forth, fancy footwork and sweet talking, I finally got one donkey in a pen. Unfortunately, "my" donkey was not particularly well received by the current residents. After a lot of braying, kicking, biting, etc. he ended up in one corner of the pen and the others in the opposite corner...all with ears back (unfriendly sort of...not unlike boxers after a grisly round of fighting. I was now down to five free-roaming donkeys. Roughly figuring, if I allotted 20 minutes per donkey, things were not looking good, and still no help in sight.

It was at this point my charges (notice that they have become "mine") decided to head down the lane at full speed headed for a busy side road. Having a bad foot, I didn't even try to keep up. I jumped into my car and the race was on. Would I be able to catch up, make it past the donkeys, and turn them before they made the road or not? I gripped the wheel and drove like a mad woman with stones flying as my tires bounced over the uneven stony ground. Luckily I was able to outdistance the herd just short of the road and turned them (doesn't this sound like a movie plot?) back the way they had come.

The only good thing I could find about this morning was the fact that donkeys are herd animals and are not inclined to separate from each other. I can't even imagine the scenario of them going off in five different directions. Horrors! Returning back up the lane, they stopped short of the barn to graze on a grassy knoll. Leaving well enough alone, I prudently decided to stay in the car and watch them while I explored my options. It was with welcome relief, that about 10 minutes later, the owner and his wife showed up and the three of us herded the five donkeys into a pen. Hee Haw! Round-up completed in just under an hour of high jinx.

For more "Perils of Plein Air Painting" stories be sure to see posts at right for March, 2010.

COMMISSIONED PAINTINGS: CHILDREN

2010-05-03T17:09:00.002-04:00

"Clara", 16x20", oil on canvas panel

Balancing artistic integrity and a clients vision in a commission can be a daunting task for an artist. In "Clara", as compelling and endearing as the subject was, the painting of it offered numerous unique problems that had to be dealt with prior to and during the painting process. I'd like to share these with you.

First, the photograph provided by the client did not include the entire figure of the child or in her reflection. Secondly, she had already grown past this age and was no longer available to me as a model. To resolve the lack of legs and feet in the photograph, I simply hired another child as a model to replicate her extremeties. While not perfect these references were sufficient to at least create a believable reflected image.

The second issue to be dealt with was which to emphasize, the child or the reflection? I chose to down play the main figure except for the face around the nose and eye and to increase the color and light contrasts in the reflection, thus directing the viewers eye to the mirrored image. Keeping edges appropriately soft between the two was also a delicate balancing act. Consequently, there was, in my mind and in my brush, an ongoing yin yang between the two images. Throughout, I had to constantly consider and reevaluate relationships so as not to lose the original intent.

On the choice of pigments, I chose to modify what has come to be known as the "Zorn Palette". In reality, it is a Victorian palette of Ivory black, Titanium white, yellow ochre and red (Zorn used Vermilion). To this I added Cobalt blue, chose Permanent Red Medium for my red, and changed to yellow ochre pale. I used thinned down Transparent Red Oxide to establish shapes and suggest features during the initial block in. This slightly expanded palette allowed me to execute the warm and cool contrasts of Zorn and Sargent while effectively capturing the child's warm flesh tones. Overall, I am well pleased with the outcome of this painting feeling it captured all that was intended. The plus side of this is that my clients were delighted and that validates my creative efforts.

Footnote: This from the client who commissioned "Clara". "Your 'Clara" still takes our breath away." So lovely!"

Recent Pastels

2010-04-18T18:53:00.015-04:00

While oil remains my medium of choice for its tactile properties I often use pastels and watercolors for developing ideas and sketching, such as in "Fergie" (below) of an eight week old pup.

"Fergie", 9x12", pastel on sanded paper

Unlike some instructors, I prefer to keep enrollment in my classes and workshops limited to 12 students or less for several reasons. Small classes ensure that each student receives plenty of individual attention from me during painting sessions. In addition, it allows me to work along with my students so they can watch me develop a piece to completion over a period of time. The still life's below were painted in such a way. Each took several weeks to complete in my pastel classes, not because of their complexity but rather because I work only for a few minutes at a time between making rounds with my students. This method of teaching has proven extremely valuable to students.

"Still life with Fan", 9x12", pastel on sanded paper

"Still life in Orange and Blue", 12x9", pastel on sanded paper

All images on this blog are copyrighted by SGTarr with all rights retained by the artist.

A Demonstration: Studies vs. Paintings Workshop

2010-04-14T22:19:00.025-04:00

In a recent workshop for the Great Lakes Plein Air Painters Association I demonstrated the value of preliminary studies by working out problems prior to painting a larger work from plein air and photographic references. To make this concept as realistic as possible for the students I chose to go for broke by conducting this demonstration without the usual planning prior to the demonstration. This left me open to explore any and all possibilities (good, bad, or indifferent) in front of the audience providing them a more honest view of the give and take mental and visual processes that an artist goes through. Frankly, it also left me, as an instructor, feeling more than a little vulnerable.

Six of my plein air studies showing considerable variation of subject matter were presented to the students. After discussing the merits of each, I asked the group to pick any two as the vehicles for the development of a larger studio painting. What ensued was the process of how I elected to choose, discard and rearrange the various elements of the two plein air paintings. This was of extreme interest to the students resulting in a good interchange of ideas, as well as, questions and answers. Over the years, my students have often expressed that the manipulation of subject matter for studio paintings is the single most difficult and confusing step for them.

Finally, with an idea of what should be included in the painting I began the process (see photo above) of doing composition, value and, color studies. In reality, the painting itself was almost anticlimactic. In fact, I have yet to finish it. The real value of the entire demonstration was the thought processes involved in the selection of subjects and the resulting development of various studies to support the proposed painting.

I must say, I love it when students leave a demonstration or the classroom visibly high on excitement and eager to get home and begin doing their own work. This level of enthusiasm tells me the class experience was a winner and the students gained considerable knowledge and understanding from the experience. That is, for me, what teaching is all about and why I do what I do.

My workshops are always designed around the idea of what my students are struggling with and realistic solutions to solve these problems. In other words, the focus is on the student, not on teaching my style of painting. For this reason, every workshop, demonstration and/or classroom experience for students is topically current and packed with useful information and tips.

My teaching method is never canned. This approach certainly keeps me, as an instructor, on the edge, but effectively provides students with plenty of valuable practical information they can use now, not six months, a year, five years down the road. I've never been interested in developing clones of my style. I am truly put off by the number of clones I see in every art magazine I pick up today. As an instructor, my goal has always been to encourage students in developing a working process that supports their individuality and the development of their own uniqueness of expression with the very best tools available.

Note: EASyL easels by Outdoor Essentials at http://www.artworkessentials.com/

"No Magic Formulas"

2010-04-08T08:20:00.000-04:00

I've never considered the purpose of this blog to be tutorial. However, students in my classes often ask how to paint "things" such as water reflections and buildings. I feel this student concern is universal and therefore it might be a good idea to address it here. My usual answer to students, other than novices, is "if you have had good instruction from a qualified teacher and learned to 'see' more than likely you already know what it takes to paint these subjects. What you may not have is the confidence to put what you know into meaningful order".

First of all, I want to make it abundantly clear that contrary to popular student opinion, there are no magic formulas for painting a subject. Just like there is no perfect brush for doing an entire painting. For any instructor to suggest otherwise would be highly misleading. Representational artists who paint still life's, landscapes, figures, and/or portraits, all rely on the very same basic principles of art and painting techniques. The very same! Therefore, my answer to the questions "how does one paint water reflections with amorphous shapes", and "how to paint buildings with angular shapes" is essentially the same.

Besides basic drawing and compositional skills, artists, who work in color, have several simple but very important tools that have stood the test of time in creating great works of art. They are well placed color notes, edge treatments, and texture. The combined effect of these three elements define the impression of any subject.

The color note consists of the local color of a subject (ie: red, yellow, blue, etc.) and it's relative value (lightness/darkness), temperature (warm or cool), and intensity (saturated color vs. greyed color). Each of these elements of the color note, listed here in the order of their importance, must be correct in the various passages of a painting. If any one element is wrong the passage will not fit with its surroundings (hence the word "relative"). I tell students to check their color note(s) when something doesn't read right in their painting. Invariably one or more of the elements, value, temperature or intensity will be wrong. Corrected, the passage will then "fit" with other nearby notes.

Traditionally, edges are one of the last tools students pay attention to on their way to becoming accomplished at their craft. By way of definition, a hard edge exists where two contrasting elements meet. Conversely, soft or hard edges apply where contrast does not exist. It is the effective use of these variable edges that create the so called "poetry" in a painting. By in large, a painting should be made up of primarily soft and/or lost edges leaving the hard edges, which catch the attention of the eye, in important places such as the focal area.

And finally, texture. We know that contrast is elemental in creating interest in a painting. This is never more true than with texture. Contrast titillates the eye and textural diversity is exciting, such as: rough vs. smooth, thick vs. thin, and opaque vs. transparent.

It is not unusual to see student works that are all hard edges, all smooth surfaces, etc. Students often get so caught up in the "thing" or the immediacy of what they are doing they forget to diversify contrasts. The next time you paint, think about color notes, edges, and texture. Even a small improvement in any one of these will add up to huge gains in the overall look of your work and help in painting that building or the water reflections correctly.

The best advice I can give is to draw on what you have learned...what you know. Think about how you can apply these tools to create your subject. Remember, if there is a magic formula, it is YOU. You in combination with a few simple tools. You may be surprised at just how much you already know. Have the confidence to try without looking for easy answers. I know you can do it!

The Advantage of Light

2010-03-30T21:22:00.012-04:00

"Emergence of Spring", 12x16", oil on canvas

Last week, a friend commented that the area we were painting would be quite "spectacular later in the season when there is some color". Her comment surprised me as, I must say, for weeks, I've been quite happy painting at this and other nearby locations and never considered them to be anything but colorful. Later, looking at the small study I did that day between 11 AM and just after the noon hour it was brought home to me that the light was probably the reason for her comment.

Today, from a hillside, I painted "Emergence of Spring" (above) of the marsh below, filled with last year's grasses and dormant bushes and trees. This was a similar environment to last week's site. Was the landscape devoid of rich color? Not at all, as this painting testifies. However, there was a difference between the two painting sessions. Instead of the mid-day light we had last week, I painted "Emergence of Spring" today between 4:00 and 6 PM when the sun is low on the horizon and casting a golden glow on all it touches.

As anyone knows who paints outdoors from life mid-day light tends to flatten shapes and wash out color. As a seasoned plein air painter, I've developed two options that work for me when forced to work the so called, "noon day shift". First, to help eliminate that flat washed out look I face into the sun, as much as possible, to create a sense of back lighting and form, or if that's not possible, I'll very slightly heighten visible colors to create more temperature contrast. While not ideal, these options help an otherwise lack luster middle-of-the-day lighting situation.

Artists who, for what ever reason, elect not to paint the early morning or late afternoon light do themselves a serious injustice. If just once, they would work early or late they would be amazed at the difference the light makes in their work. They would never want to paint mid-day again.

Dogs in the Field

2010-03-27T14:00:00.057-04:00

Sporting and working dogs will take to the fields in April to begin learning the fine art of tracking, retrieving and herding, from their trainers. If you've never watched

"Friends", (detail), 16 x20 oil on canvas

them work you've missed one of the greatest joys in the life of these dogs. Joy is the only word I can think of as you watch them work a field. Their eagerness and quick thinking belies their remarkable natural abilities. They are bred to work and work they do with wonderful enthusiasm.

The detail of "Friends" above, shows "Jack", a farm dog, who, trained as a puppy, herded his owners cattle to the fields and back to the barn at the end of the day for milking without human commands other than, "Jack, get the cows". He did this daily with eagerness and joy for most of his life without human intervention. It is dogs such as "Jack" that gave me a life-long sense of awe and respect for their intellegence and for the folks who love working with them.

The Miracle of Spring

2010-03-23T22:14:00.020-04:00

There is so much more to painting outdoor then simply adding paint to canvas. Taking time to wonder and to really see the world around you is one of its greatest joys. The truth of this was brought home to me today as I sat in the sun next to a pond painting the tree study above.

Spring is such an extraordinarily exciting time of year. The air virtually vibrates with energy as days lengthen and new growth emerges from earth nourished by life-giving water moving through the ground on its march to the sea. As I painted near a muddy seep at the bottom of a hill I thought of the miracle of life that lay at my feet.

The movement of water in the mud was nearly invisible to the eye. Only by sitting and staring at a water filled deer track did I begin to be aware of its gentle flow ebbing towards the marshy pond in front of me. This particular pond, several acres in size, has no visible outlet. It is encircled by higher ground all around. To leave this pond water must either evaporate or flow underground.

To the east about a quarter of a mile is a large marsh with open water at its center that wildfowl love as it has been set aside as a sanctuary. On its eastern edge is a small freshet that falls quickly to a channel running north and south. Water in this channel flows north towards Vermilion Creek then to the Looking Glass River and finally the Grand River which empties into Lake Michigan near Muskegon.

As I considered the muddy deer track, I envisioned it's scant cup of water flowing along underground eventually merging with the waters of the nearby sanctuary, then racing down the eastern freshet to the channel and beyond on its trip to Lake Michigan, over 100 miles away. As a child, the book "Paddle to the Sea" fired my imagination and today, many decades later, water oozing in a muddy deer track reignited the miracle of a Spring thaw for me.

A Last Hurrah of Winter?

2010-03-09T05:49:00.021-05:00

"Snow Tracks", 8x10 plein air,
oil on panel

We've had a remarkable run of good weather in Michigan. For more than a week the days have been warm and sunny with snow remaining on the ground. This weather condition has been key to Mother Nature providing phenomenal abstract shapes for our enjoyment and material for artists to capture.

During this time, I've been busy in the studio working on several commissions but have made it a point to head out to my favorite location to paint en plein air from 4:00 PM until sunset each day. Being familiar with the area I usually have a feel for what I might want to paint before arriving which cuts down on set-up time. I get right into it and paint until just before 6 PM then stow my gear and wet canvas in the car. Then, with camera in hand, I enjoy the next one-half hour of the most extraordinary light imaginable.

The conditions have been remarkable. I'm not a scientist so have no idea what the official explanation would be but it must have something to do with the low trajectory of a very warm sun on moisture laden air and snow. It's at times like this that I wish every student I've ever had who has said, "I don't see all those colors you put in your snow", was with me. In these brief unique sunny days the snow has been a kaleidoscope of color. Strange colors have even shown on other objects as well as I was able to record below. Note the turquoise fence shadow on the side of the barn. This is accurate and has not been digitally altered. Unbelievable!

Experimenting with Technique

2010-03-06T09:35:00.016-05:00

"Untitled" (detail), oil on canvas

Winters are seemingly endless in Michigan and at times I feel a need to scratch my creative in the studio during the white months. I have always enjoyed applying "what if" to my work. This winter I've jogged myself a bit by alternating techniques. To begin, I considered my normal process and the various techniques I use. I then switched the emphasis to lesser used techniques and found that my work took on a fresh look.

For instance, in "Summer Remnants" (see January, 2010 post entitled, "Winter Painting") I dramatized soft edges. In another, as yet untitled work in progress (see detail above), dry brushing dominates. The direct opposite of what I normally do. It's been fun to redirect my process in opposing ways that have created unexpected and happy results. I've not really changed my process, simply altered the emphasis.

Why Studies vs. Paintings?

2010-02-24T21:42:00.006-05:00

"Early Warm Up", 18 x 24", oil on linen

"Winter Cattails" (below) is a small study of last seasons intermingled grasses and cattails and is a good example of how valuable a "from life" reference can be during painting sessions in the studio. I create and keep many such references and use them frequently. This particular study gives me all I need to know of the natural angles of the stems and leaves and the transitional edges at snow level. I referred to this study often when painting "Early Warm Up" (above), a painting in progress (notice the lower left uncompleted corner). Without this from life study experience in the field I would have no knowledge or understanding for portrayal of grasses in the studio.

"Winter Cattails", 12x12" study, plein air oil on panel

Inexperienced artists are often confused over the differences between studies and paintings. To me, a painting is a performance. In other words it must express all the elements of painting that an artist has perfected at the time of the performance. Therefore, as a general rule of thumb, which makes perfect sense to me, one should not tackle elements in a painting that are unfamiliar or unknown to the artist.

Studies on the other hand, are executed as an examination, a lesson, if you will, of subject matter, light, texture, technique, etc. A study supports experimentation, the option of trying new things, perfecting a technique, or gaining experience with a process. There is a heightened sense of freedom for the artist in creating a study that is not evident in a painting where one is expected to perform.

It is this learning process that develops artistic acuity in observation, knowledge, understanding, and mastery of medium technique. These four elements must be thoroughly developed on the road to excellence. The only way I know of how to do this is to work often, study hard, and create miles and miles of studies. I tell my students to practice ninety percent of the time and perform ten percent. Those who take this advice advance their skills much faster than those who continually belabor over creating paintings.

Watch this blog for a one day workshop on "The How and Why of Studies" to be announced for Spring, 2010 at my Williamston Studio.

Silverman on Sensationalism

2010-02-21T13:15:00.001-05:00

For a number of years the art world has been in a flux casting about trying to figure out where we should go from modernism. In reviewing Burton Silverman's exceptional website (link at right under "Websites of Interest") I noted on his "Commentary" page a section entitled, "Realism in the Century of Modernism". He succinctly describes the turmoil the art world has been in over the past 50 years and the current trend to sensationalize.

Keeping true to ones self as an artist is a truly difficult thing to do as we are bombarded by external factors every way we turn in our daily lives. TV, movies, the media, magazines, etc. all impact what we do, what we think, and how we feel. It becomes ever more difficult for artists to focus on their own internal message and to express self. Finding a quiet place within and outside of ourselves to contemplate who we are and what we have to say as artists is ultimately essential if we wish to follow our own unique individual path. I can only say, "Bravo" to Mr. Silverman for understanding this and having the foresight and courage to stay the course throughout his career. His example of individualism is clearly an ideal towards which we should all strive.

Sketching From My Car

2010-02-19T10:40:00.007-05:00

There are times when the weather is too cold, I have too little time to set up and paint, or I'm just too tired to work on location after a hard work day. It's times like this that I set in my car and draw in comfort. I've found that good drawing paper clipped to a sketching board and Tombo pens work best for me. I like the Tombo's because they come in a variety of values in both warm and cool tones. Most often, I work with a black pen for my dark, a 50% value for my mid-tones and the white of the paper for my lights. This gives me all the information I need to record a subject. The thumbnail sketches ABOVE were done in this way after a day spent at Valley Forge in Pennsylvania.

Perils of Plein Air Painting: Where the Buffalo Roam

2010-02-19T10:30:00.009-05:00

In an earlier "Perils of Plein Air Painting" I related my experience with a stalking bull. I'll compound that singular episode with this tale which includes a whole herd of bison. It seems I have a penchant for hoofed animals.

In the late 1990's I was privileged to go on an 18 day painting trip in the west with three artist friends that included painting in the Grand Teton N.P. We traveled west from Michigan in a relatively new Subaru loaded heavily with painting gear and very light on personal effects. We were crowded but happy as we looked forward to our grand adventure. One day, we were painting along Mormon Row in the park, a dirt road where a few abandoned historical farms are back dropped by the Teton Mountains. We'd been painting for sometime in an open area and, needing a break, I volunteered to take the car and drive approximately 5 miles back to the Visitor's Center for refreshments for everyone. This done I started back to the group only to find, as they came into view 3/4 of a mile away, a herd of about 20 free roaming buffalo headed straight for them. Realizing their peril, I gunned the motor on the car not sure if I could reach my friends before the buffalo did. Stones flew as I drove like a mad woman along that road. It should be noted here that such big animals cover a considerable distance quickly even when walking. Don't ever let their girth and short legs fool you.

I literally reached my friends just as the first cow reached the road opposite them. The gals were backed up as far as they could go against some brushy saplings and an old rickety wire fence. With the car between the bison and my friends, they piled in with arms and legs flying, leaving all our gear outside. I quickly moved the car down the road a bit giving the buffalo plenty of room.

Laughing somewhat hysterically with relief we watched the herd checking out our easels and overturned chairs. Somewhere we have a photo of a cow with her nose in my painting smelling the wet paint. Apparently finding nothing to be anxious about they left everything in good shape and slowly moved off headed for their destination, on our side of the road, a lush grassy park.

We returned to our gear, finished our paintings and packed up the car. The afternoon was early so instead of turning and heading back towards pavement, we decided to do some exploring and continued further down the road. We were to find this was an unfortunate choice.

The road ends at the last farm house next to a large wilderness area. We drove into a turn around and discovered that a second wave of bison were following us down the road. This group of about 30 bison had blocked the road from side to side. We backed up into the front yard of the abandoned farmhouse next to a tall bush and rusty windmill to await their passing.

Just then, a ranger driving a truck seemingly came from nowhere and made an attempt to ease through the herd. He wisely gave up the idea turned around and went back the way he'd come. The four of us looked at each other and said, "great!". To our dismay, the herd turned towards the farmhouse where we had taken refuge. Things were definitely not shaping up in our favor. We were cut off and totally surrounded by huge hairy beasts. If you've ever had such an experience you can appreciate how small you feel in a compact car when you are looking directly into the eyes of enormous wild beasts that could conceivably turn your car over if they decided they didn't like you. We very much wanted them to like us.

At this time, I had a cell phone conversation with my elderly parents back in Michigan. My Dad was delighted to hear about our predicament. He always did have a weird sense of what was "fun". Laughing, he said, "I hope they don't bed down to chew their cud, you might be there for a few hours". As I was the driver, I didn't dare look at the others. I was sure by this time they hated me and if looks could have done it I'd be dead. Somehow, the fault of this day was becoming solely mine.

That day I learned several things that I didn't know before. First, I developed a greater appreciation for how zoo animals must feel with people looking at them in their cages. Second, I was shocked to see a cow buffalo lift her front legs and sail over a four foot fence as easily as an agile deer. I wouldn't have believed it if I hadn't seen it myself that an animal that big could become so easily and gracefully airborne. Obviously, a fence is no protection when buffalo are on the move.

Think Spring!

2010-02-13T23:34:00.013-05:00

Fresh off the easel...

"Buckets of Color", 18x24", oil on canvas

The itch to paint lots of color usually hits me about this time each year and "Buckets of Color" was my 2010 winter cure. It borders on whimsy but that's OK in my book as it greatly improved my annual longing for warmer weather. I've got it out of my system and I'm good to go now for another month or two of the white stuff.

(Painted from reference photos)

Painting Oil on Paper

2010-02-11T23:25:00.029-05:00

"Grand River: Humble Beginnings", 11x14", oil on paper

I have often asked myself why students feel compelled to perform by doing "paintings" instead of practicing which makes so much more sense if one is trying to learn. I've always felt there must be some logical reason but have been hard pressed to figure it out. In my classes I stress the need to practice ninety
(90) percent of the time and perform ten (10) percent. I'm sure I must sound like a broken record sometimes as I try to get this point across.

It occurred to me that cost might be at least part of the problem. The psychological need to justify the cost of paint and canvas, ergo, finished paintings vs. practice sketches. If this is true, then there is a solution. Paint on paper! It's cheap and certainly readily available in every household. Proper preparation on archival paper combined with correct painting procedures studies thus created may stand the test of time for permanency.

WHAT KIND OF PAPER?

Any kind of paper may be used but it must be isolated from the oil paint or the oil will eventually rot the paper. When working this way, I personally use high quality archival watercolor paper but have also been known to create quick color workups and sketches on cardboard, mat board,Foamboard, Bristol board, copy paper, etc. Here's how.

First, for paper that buckles when wet, slightly dampen the backside with a damp sponge (do not saturate) then lay the paper, wet side down, on a Masonite panel that is some larger all the way around then the size of the paper. Tape the edges down with brown packaging tape and make sure all edges are secure. Brush a thin coat of Acrylic gesso onto the paper with a craft brush making sure that all surfaces are completely covered. Gesso may be thinned a little with water for easier application. I use a scumbling movement with a craft brush to make sure the gesso gets into the minute valleys of the paper. Allow to dry. You may recoat with a second thin coat if necessary. The paper is then ready for painting after it has dried and is smooth as a drum.

A word of caution, paper, by its very nature, is an unstable surface, in other words, it expands and contracts as it absorbs moisture from the air and as it dries. For this reason, do not paint heavy layers or your paint will eventually crack. It's best to use no more than 2-3 thin layers of paint. For my initial lay-in of darks I use a small amount of Liquin to thin the paint preserving transparency in my dark passages and encouraging quick drying of the first layer. By personal choice, artists might add color to their gesso to establish an even mid-toned support.

With this easy inexpensive method, many studies may be created for the cost of a single canvas. The low cost of paper should help everyone to practice, practice, practice. How else do we become skilled and masters of our medium?

In "Grand River: Humble Beginnings", above, I was concerned about color relationships and did this study quickly to see how various color relationships would work for a near to sunset painting. This study shows more delineation than is usual for me because it was done between classes and I had time to do a little more before folks arrived. In general, compared to a completed painting, my studies are painted quickly and simply.

"John and Kate" a Painting in Progress

2010-02-07T20:30:00.011-05:00

Sometimes it's helpful to see how a painting has developed. I wanted to capture the sibling relationship between John and Kate as well as the sense of discovery children have when playing in shallow water. John is intent on moving boldly ahead while his sister shows her concern for him by her slightly turned head and upraised hand reaching towards him. Both poses imply the personality of these siblings.

"John and Kate" was a commissioned painting completed this past year. It was a fun painting for me to do as it brought back many wonderful childhood memories of my own and that of my children and grandchildren. Those memories helped me to relate to the children as I painted them.

To start the painting I used a warm orange based color to suggest the placement of forms. Some of this color was allowed to peak through subsequent layers of paint which helped to harmonize the flesh tones with the cool tones of vegetation and water. The overall effect was one of sparkle and freshness.

Switching to Right Brain Activity

2010-02-05T06:56:00.009-05:00

"Where did my right brain go?"

This week I heard several of my students bemoan the fact that it's hard to gear up for a creative session when they've been totally immersed with life's problems all day or they have suffered from a creative block. I have a solution to these problems and it is to develop a quick and easy personal trigger that can be called upon as needed to switch your mind from left to right whenever you want to become creative.

As a professional artist I don't have the luxury of painting only when I am in the mood. I have to fit my painting time into the nooks and crannies surrounding my work schedule. Because art is important to me I want to maximize the time I do have to study and perform at my peak. It's essential that I come to the easel fresh and ready to paint and cannot afford to worry about my "mood" or what's happening outside the studio. How do I do that?

First and most important, I go to my studio, sit down, making myself comfortable, and then.....

1) with pen in hand I fill a sheet of paper from left to right, line by line, with words as they pop into my mind. I allow no sentence structure or punctuation. I write as fast as I can to fill the page (time about 5 minutes), or

2) work on several reverse imaging exercises to achieve mind, eye, and hand coordination (time about 10 minutes), or

3) (my favorite) view a slide show on my laptop computer of favorite paintings that I've collected. This not only activates right side thinking but also relaxes and inspires me (time about 8 min.).

My images are of photos I've taken of favorite paintings from the permanent collection of the Detroit Institute of Art (always check with a museum to make sure you can photograph their permanent collection). Take a little time to crop and coordinate the images into a pleasing sequence then hit the slide show button. I have enough images that my slide show runs for about 8 minutes. By the time it has run its course I am usually hooked and good to go. If I happen to be a hard core case on any given day then I may have to view it more than once.

Notice in all three of my triggers I am not problem solving. I shy away from activities such as sorting photographs to work from as that requires my logical brain to be running, I'm not flipping through an art book where I can get caught up in reading and analyzing (logical) the artists written information, etc. I am doing visual cuing, in a relaxed mental state, that forces the brain to switch modes.

Since I began using #3 above I have had enormous success in switching gears. No matter how dicey life gets outside the studio I can feel serene and creative in just a matter of minutes.

Dealing with a creative blocks are a bit more difficult. In short, one must go back to the basics and paint simple things. More on that later....

Perils of Plein Air Painting: a Stalking Bull

2010-02-01T14:43:00.002-05:00

"Leelanau Vineyard", 8x10" plein air study, oil on canvas

I've been an outdoor enthusiast all of my life and in that time, as an artist, I've had the privilege of introducing many hundreds of students to painting en plein air, a French term meaning from life in the out-of-doors. Personal safety is always a consideration for artists when painting on location. Unfortunately, no matter how careful we are situations can and do happen to keep life interesting. I've certainly had my fair share of encounters with domestic and wild animals over the years. Some more interesting than others.

Two summers ago I met and received permission from the owner of a large vineyard in northern Michigan to paint anywhere I wanted on her picturesque and very hilly property as long as I had 4-wheel drive to get around. Towards the end of our conversation the woman casually mentioned, "don't go into the north pasture because there are cows there".

After driving around for sometime to familiarize myself with possible painting sites I ended up on a long up-hill farm lane next to the north field where a large herd of cows were fenced in by a single wire. The lane finally petered out so I killed the motor, stepped out of my car and continued the steep climb on foot to the top of the hill to see the view.

I was nearly to the top when I heard a grunting sound coming from the herd. Having grown up around farm animals, the hair on the back of my neck raised. I looked to my right across the thin wire that separated me from the herd and saw the cows dividing like the waters of the Red Sea as a huge bull stalked towards me not 30 feet away. Every few feet he'd hesitate and paw the earth. It was obvious he meant business and didn't want me near his cows. I desperately looked around for a place of safety only to discover that the nearest tree and my car were at least 100 yards below me. Clearly, I was in a dicey situation. I did the only thing I could do in such a situation and broke out into a cold sweat of fear as my mind raced searching for a possible out. The best I could figure was the obvious... I needed to get somewhere other than where I was fast.

If you know anything about the size of a bull in its prime, you'll know that a wire, even an electrified wire, wont stop a bull if he decides to go through it. In the short moments that my brain was calculating the distance between us and the distance to my car the behemoth arrived at the wire still snorting and pawing earth. I began to move slowly sideways in the direction of the car being cautious not to move fast and/or directly away from the bull. Believe me that trip down the hill to my car was the longest walk I've ever made. The bull, not 10 feet from me, followed my every step snorting and pawing earth all the way. With relief unequal to any word known in the English language, I finally reached the car and literally threw myself into it.

Later, when I returned to the vineyard office, I told the owner about the experience. She looked at me as though I was crazy and said, "that bull wouldn't hurt a flea!" Well, believe me when I say to you that I wont be going back any time soon to prove her wrong.

1, Feb. 2010: Morning Plein Air

2010-02-01T14:10:00.009-05:00

The trees in our backyard were tipped with frost this morning and the sun was rising through thin clouds giving a pinkish glow to the sky. I hurried into my outdoor clothing, loaded the car with fresh canvas, paints, etc. and was off.

My usual haunts were still in shadow when I arrived at the farm so I decided to drive around the property a bit looking for other subject matter. The field study above is the result. I was especially taken by the contrasts between the russet orange in the subject tree (left center) and grasses vs. the dark purply-blue background trees. I have always had trouble trying to establish just the right color note for those background trees at this time of the morning. They seem to hover around several color notes without ever becoming identifiable with any single color.

I was pleased with the resulting sketch and finished the morning off with a short hike, hot chocolate from my thermos, and a feeling of well being. It's good to be alive on a 20 degree plus morning in Michigan.

New Paintings from the Easel

2010-01-31T08:47:00.004-05:00

"Window Study", 11x14, oil on canvas panel

September Light", 24x36", oil on canvas

Finding Time to Paint

2010-01-26T21:29:00.006-05:00

I think in my 30+ years of teaching I have heard just about every excuse there is as to why a student can't find time to paint. It is so easy to find reasons not to do what you want to do. This seems especially true of women...the care givers. Being one myself I fully understand the need to be needed and the need to be of service to the family, community, etc. Men on the other hand may have trouble divorcing themselves from their "working" career long enough to pursue their creative side. However, if a person wants to paint, wants to succeed at art, then some obvious decisions have to be made.

First, find a place to paint where materials can be left out and ready to be used. Such a simple thing makes a world of difference on mentally finding time to work at your art. If you have to move your art materials every time a meal is to be served you will quickly quit painting.

Second, let your family know how important this is to you and that you want to set up business hours for working. If they care about you your needs will be important to them. Communication is a priority here. Speak up! Don't buy into the guilt of doing for yourself before others. After all, it's only for a couple hours out of the whole week. The earth wont stop rotating because you want a couple hours a week for yourself.

Third, treat your hours in your studio as business time. No personal calls, no cooking, no running errands, etc. Even if it's only 2 hours a week. They are your hours...keep them and use them.

Four, have more than one project going at different stages in the creative process. This way when you enter the studio there will be something to do that fits your immediate emotional makeup and time frame for working, albeit it may only be 15 minutes. If you don't "feel" like painting then gather items and set up a still life, do some thumbnails, check through references, plan a painting trip, read that art article you set aside a month ago. It all counts towards your business hours.

Finding time to paint is really not that difficult. What is difficult is giving yourself permission to do it and then sticking with it.

Happy painting!

Shall We Paint From Photographs?

2010-01-26T20:46:00.013-05:00

Since I'm known as an outdoor painter, I am often asked if I ever paint from photographs. I would love to be able to say, "no, I only paint from life", but that would simply not be true. I am a busy person with a busy schedule and don't have the privilege of devoting all my daytime hours to painting. I paint around teaching, family needs and housekeeping. HOWEVER, other than teaching, the rest of my activities remain as flexible as my painting schedule so that I can devote as much prime time to painting as possible. I have to say here that I have an understanding and encouraging spouse that is supportive of my work. He encourages me rather than discourages. I appreciate him very much.

So, back to photography. What part does it play in the scope of my painting?

When I am on location, I always carry a digital camera with me. I photograph what I am painting plus other interesting things in the area. However, I NEVER take snapshots. They are a total waste of time. My photos are carefully taken with the idea of a painting. In other words, I look for line and shapes that converge or are in juxtaposition of one another creating interesting compositions. I take time to frame the subject as though I were setting up a painting. Back in the studio I download the photos, review what I have and delete anything that is not usable. I hold very high standards for what I keep and what is pitched. Since I photograph often it is easy for me to be heartless in sorting and deleting. If you take only a few photos each one becomes precious to you and you don't feel so casual about dumping them. As a result, my repertoire of photos to work from are excellent.

This said I must add that I do not in any way consider myself a photographer. Excellent well composed reference shots are my goal, not award winning photographs.

I use my photos in two ways. They are references for subject matter or I may review groups of photos of a possible painting site to help establish a loose plan of what I may want to do once I get on location. For instance,a place where I paint often offers a lot of subject matter. There are hills with views that can be painted as vistas, cropped into smaller areas, or moved into for intimate looks. By reviewing my photos ahead of time I'm able to focus more time on painting rather than "looking".

Currently, it's winter and I am looking at my warm weather photos from last year and visualizing some of the paintings I would like to do in the coming season. This visualizing stirs my creative juices and keeps me excited about the season to come. I'm already planning on a 30x40" that I want to do come spring from on top of a hill overlooking a marshy pond with a woodsy background. I've found that some of my best work comes from those pieces I've mentally visualized for months prior to ever picking up a brush. I go there now in winter to see the abstracted view of the scene, ie: the evident contrasts between light snow and dark vegetation areas. This simplifies and makes more obvious the shapes to be added into my painting when later in the year everything is all "green".

When working from photos, I never "copy". I use the photos as references while establishing the painting but normally put the photos away once I'm into the painting process. When in the studio, I want to create a painting, in other words, express my feeling about a place not copy it. I already have a copy....the photograph.

Winter Painting

2010-01-25T09:42:00.014-05:00

"Remnants of Summer", 18x24", oil on linen

I paint often on the property of a large local farm that offers varied natural, tilled and pastoral scenes. Working in the winter is, to me, the most rewarding time to record abstracted shapes and value contrasts. So much easier to identify than when everything in the landscape is green. I find the evident juxtapositioning of line and shapes thoroughly exciting.

The painting, "Remnants of Summer" (above) was created in the studio after completing an on-site pencil sketch of the abandoned farm building one cold January morning. The delicate grasses against the austere lines of the building and broken fence caught my eye. If you've never painted in the snow I encourage you to try it. Reading the next post will help you dress warmly for the occasion.

Plein air in the Winter? Are you Kidding?

2010-01-17T20:48:00.017-05:00

I love painting outdoors in the winter. There is a certain hush that lays upon the snow covered earth that is not evident at any other time of year. The air is clean, fresh and beckoning. Whether sunny or overcast, a snow laden landscape offers exciting natural abstract shapes and color contrasts, and for those who love to paint the subtle variations of white it cannot be surpassed. Winter is an exciting and fascinating season to capture on canvas.

Of course, you always have the option of painting from inside your car where you have all the comforts of home, ie: heat, music, etc. However, you'll miss the sound of snow, the quality of the air and the space around you that is so beautiful at this time of year.

When I encourage students to try winter plein air it's not the subject but the cold that receives negative responses like, "...are you kidding? You paint in your car, right?" It's usually the gals, who tend to wear fashion outer clothing not designed for standing in cold temperatures for hours, who are my most vocal skeptics. The answer then to enjoying outdoor painting lies not in a lack of enthusiasm for winter but a lack of knowledge in how to dress properly for comfort and warmth.

When I go out to paint I don't worry about pretty...I worry about warmth. If it's 32 degrees I layer my clothing for at least "0" degree weather. When you're standing still for a long period of time the cold will seep in so over-dressing makes sense. Below are the layers I use.

INNER WEAR

Layer #1: Long underwear and liner socks made of silks reduces bulk and wick moisture away from the body.

Layer #2: Warm pants or those lined w/ flannel plus a turtle neck cotton top and 1 pair of wool socks.

Layer #3: Lightweight wool sweater or velour top that buttons down the front so it can be opened if the body becomes overheated.

Layer #4: Quilted, button down the front, outdoor vest with a stand up neck collar.

OUTER WEAR

Warm coat that covers the fanny and has deep pockets

2 pairs of stretchy gloves (buy in any store for 99 cents a pair). Doubled up these are thin and do not hamper finger movement or brush holding but keep the fingers warm.

Warm hat with ear flaps and a small brim to keep sky light out of eyes.

Wool scarf worn tied around neck and crossed over the chest under the coat.

Boots with felt liners that are designed for 20 degrees below zero or better. This is not the time for fashion or shoeboots. Cold feet will send you home faster than anything.

IMPORTANT EXTRAS

Warmers available in sporting goods departments or stores. A pair of hand warmers (one for each pocket), one pair foot warmers for inside the boots, and 1 body warmer which sticks to the back of long underwear just below the neckline where the body loses most of its heat.

This may seem like a lot of clothing but today's miracle fabrics keep the bulk to a minimum and the body wicked and warm. If the hands get chilled simply put them in a coat pocket with a hand warmer for a few minutes and they'll be toasty and good to go again in short order.

If possible, I usually set up somewhere close to my car where I keep a thermos of hot tea and one of chicken noodle soup for my lunch available. Their warmth tastes mighty good and warms me up inside if all else fails and I get chilled. However, dressed this way, I'm good to go for a number of hours.

WHAT DO I DO ABOUT MY PAINTS?

I've found that I can easily paint outdoors with my oils in weather as cold as 10 degrees above zero. If it becomes stiff I add a touch of Liquin to my paints as I mix them. In this way, my paint is just a little juicier than when applied in the studio. The paint stays workable long enough that I am able to adjust edges throughout the length of the painting session. I know other artists who add a small drop of extra linseed oil to the piles of paint on the palette prior to mixing.

This seems like a lot of clothing but it really isn't and it holds your comfort level for a long time. If you have ideas on dressing for cold weather painting or how to control the viscosity of oils please feel free to offer your suggestions.