Reflections of an Artist

Gotta Paint

2012-02-01T17:06:00.000-08:00

At the end of last year my friend Marian Fortunati and I got into a discussion about the state of the state of California. I mentioned that I had noticed a lot of out-of-state license plates and that it seemed Los Angeles was experiencing an influx of people moving from other states. Marian said that the state was loosing population, not gaining. I checked with a few statistics and sure enough Marian was right. In the beginning of last year the Golden State did loose population with more moving out than moving in but I kept seeing all those out-of-state plates. I figured I'd wait until after the holidays but even then I still saw so many. OK.... so I became completely obsessed with this and decided to print out a list of all the states and see how many of the fifty states I would see in a month. Was this a trend or was I crazy.

The results are in and I have seen license plates of 42 out of 50 states around my home in Los Angeles during the month of January. I also saw Alberta, Canada. The eight states that I am missing are Delaware, Hawaii, Louisiana, Nebraska, New Hampshire, Oklahoma, Rhode Island and West Virginia. It seems that people are coming to LA, with a lot of them moving into my neighborhood. I have gotten very good at recognizing various states. For instance, Wyoming has a bucking horse with rider on theirs, Maine has a pine cone and Florida has oranges. I know doing this was silly but I had a lot of fun too. The only thing, did I prove I am crazy (because I did this ADD thing) or did I prove I'm not because I did see so many states. The good news is I am finally over a sinus infection and will be going out to paint plein air tomorrow.

Why Does a Painting Sell?

2012-01-30T15:30:00.000-08:00

Strawberry Fields

Figuring out why a painting sells can be very helpful. What element distinguishes an image from others and then connects with a client? Is it the color, the subject, or some intangible emotion you feel when viewing a work of art? Last night, at the California Art Club "Iconic California" reception I sold two paintings. This started me to thinking about why those two paintings sold and what was my vision as I painted them. Was there something unique about them that led to the sales.

"Strawberry Fields" was painted from a photo I took in Carmel at the 2011 Carmel Art Festival. While searching for subjects to paint the next day for the plein air event, I drove by workers in a field. I only stopped to take a photo but several people rushed over telling me I couldn't take pictures. I let them know that I was just an artist, not someone who could get them in trouble, but they where remained adamant. I had to leave. Needless to say, I found other scenes to paint for the plein air event but I didn't forget about the workers I had seen in the strawberry field. In the short time that I observed them, they had made an emotional connection with me, so when I returned home I decided to do a painting from the one photo I had taken before being run off.

I loved how the painting evolved but not everyone felt the same way about it as I did. My husband told me he liked it but admitted he didn't think it would sell. Having a strong feeling for the piece, I disagreed. I didn't just see workers in a field but I could sense the farmers love for the land, the solitude of the workers and the eternal struggle for survival. This little painting had captured the feel of the place and I was thrilled that someone had been moved by my painting too. Sharing a fundamental emotion with the buyer through my work is the ultimate achievement.

My job, as an artist, is to see the extraordinary in the everyday, to see the beauty in the common place. The solitary farm workers among the regimented rows of strawberries evoked a strong emotional connection with me. That emotional link lingered long afterward and I called upon that connection when I painted. The scene was both beautiful and simple, the design distinctive and familiar but, I am convinced, it was the emotion I transferred to the canvas that sold the painting.

High Sierra Snow, Along the Kern River, and Orange Grove in the Late Afternoon are still available at the California Art Club "Iconic California" Exhibition at the Altadena Town & Country Club. The show remains open through May 15 and paintings can be purchased through the California Art Club.

Altadena Town & Country Club

2290 Country Club Drive

Altadena, Ca 91001

Rafael Nadal Faces Djokovic for Aussie Final

2012-01-27T18:04:00.000-08:00

Roger Federer and Rafael Nadal

I am a big fan of tennis player Rafael Nadal. The semi-finals for the Australian Open just took place and because they where so good, I had to post something.

It is always amazing to watch Rafael Nadal (#2) play Roger Federer (#3). Rafa plays his game with a crazy intensity and extreme power. He is a force of nature like a tornado coming. In contrast, Federer is poetry in motion, smooth and effortless. He makes everything look deceptively easy. On the court Rafa is Gene Kelly to Roger as Fred Astaire.

What could be better than watching Rafa defeat Roger Federer in four sets? The match today between the number one player Novak Djokovic and Andy Murray. With Murray ranked 4th, I never expected him to be a threat to Djokovic but the only way to describe this match is epic. Both players pride themselves in their fitness and lesser players would have been on their knees half way through the 4 hour and 50 minute match. One rally in the eighth game of the second set ended after 41 shots. These guys are warriors.

This weekends final promises to be an incredible duel between Nadal and Djokovic. I am looking forward to it and of course I will be cheering for Rafa.

Panel or Canvas: What is the Best

2012-01-26T14:46:00.000-08:00

Cropped Whitewater

The location where I painted Along the Kern River held a surprise. Just north only a few feet from my spot was a cascade of rushing whitewater rapids. Two of the other artists painted the rapids while I chose the calm beach but I knew I wanted to try the frothy brew at a later date. My friend Marian Fortunati posted a photo of the rapids on Facebook and several artists asked if they could use it for a painting so I joined the group and painted Whitewater.

Originally I thought to paint the scene on a 12x12 panel but now that I can step back from the subject I am considering cropping the painting like the image above. The water is the important element so now the sky and hills seem to be distracting. What do you think?

Here is the original size.

Whitewater 12x12

One of the many good features about painting on panels is how easy it is to make these adjustments. The panels are glued onto the board so changing the size is only a matter of waiting until it is dry and then cutting the panel.

If you don't use panels I recommend that you try them for smaller paintings. Here are a few of the advantages:

Take up a lot less room: Besides the convenience when carrying them into the field, I can stack a few dozen in a storage box to take with me in the trunk of my car. You never know when a chance meeting could result in a sale. I have sold several painting from my trunk.

Light weight: When you are carrying all your supplies to paint plein air, the weight of every item is a factor.

Indestructible: Depending on the backing most panels will hold up to rain, snow, extreme heat and cold without stretching, sagging or being punctured by a palette knife.

Sunlight Doesn't Show Through: Canvas allows light to shine through it. This is usually not a problem in the studio but outside it can be a disaster. The light shining through will distort the colors on the canvas so values and hue become impossible to see accurately.

Size adjustable: I have cut several panels after analysing the composition of the painting later. It is true that this can be done with a stretched canvas but it is a lot more of a hassle taking the canvas off the stretcher bars cutting it and then restretching it onto a different size.

In an imperfect world panels make up for a lot of mistakes. In most cases, panels are not appropriate for large paintings but for anything 16x20 or smaller think of using this canvas alternative.

Knowing When to Fold

2012-01-24T16:53:00.000-08:00

I was scheduled to go to San Francisco for an art seminar this past weekend but, I came down with a sore throat which developed into a sinus infection. After seeing the doctor, I reluctantly decided to eat the cost of the plane ticket and cancel the trip. It would seem to be bad luck but wait, after the fact it was a good thing I didn't go. It seems because of the uncharacteristic bad weather this last weekend, the flights where horribly delayed and what should take one and a half hours took well over 7 hours up and 5 hours back. If I had gone, I probably would have returned with pneumonia. So after the fact, I was lucky to have cancelled.

My motto is "If you don't try you can't succeed," but deciding not to do something can be just as important.

Juried Art Shows: You don't want to enter every show since not all shows are appropriate for your genre. First check award winners from previous years. It is the easiest way to see if the show is compatible with your work. Another clue is the judge. I will look up the judges work and if I like what I see, it is usually a good indication that the judge will like mine.
Art Co-ops: Showing your work is the only way to make sales but every venue needs an evaluation of the cost verses exposure. Art Co-Ops are springing up all over but not all are created equal. A good location is essential, costs need to be balanced by the possibility of sales and many require a time commitment. You may not mind sitting the gallery but you need to factor that into your costs.
Art Walks and Sidewalk Shows: Many artists make a living doing these shows but are they right for you? The initial cost of the setup, tent, panels, etc. will cut away into the profit from any sales the first year. The show fees are high so that will also subtract from any sales you make. In the current economy climate, trying just one would be unwise so think more long term. You need to make a commitment to the show and decide to do it for at least two or three years. Setting up the booth, sitting the show and then tearing down the setup is hard work too. Find more insights into this venue at Art Fairs: Another Scam or the Best Way to Market Your Art?
Studio Tours: The only down side to this venue is the chance that you will not sell enough to make back the application fee but many local studio tours have very reasonable entry fees. Clients come to your studio and someone else does the organizing. The most you can lose is a weekend and the admission fee.
Plein Air Events: One of my favorite venues but not for the weak or lazy. Painting in strange locations, under unknown conditions is stressful. Being able to adapt to any situation is a must. You'll be away from your studio for a week and there are travel costs. Some of these shows have great sales while others struggle. No matter what I love doing these because I learn so much from every show. You can find more information on plein air events at Painting on Location.
Website, Blogs, Facebook, etc.: A wonderful promotional tool for every artist. There are long discussions everywhere about all the different ways to use social media and the internet so I won't get into it all here. I know only one artist who sells consistently through Facebook. I agree that you need to have some online presence and I love my website through FineArtStudioOnline. My site is easy to use, has a built-in audience and is reasonably priced. I enjoy blogging but it is time consuming to post at least twice a week. For me, the return is well worth it but again it is not for everyone. Don't let this one venue take over your life, because it will if you let it.
Galleries: You walk into the gallery and they need to replace an artist. Your work is a perfect match. What luck. You are thrilled but... Worst case; you find out from other artists who have work in the gallery that the gallery is a year behind in paying their artists and the reason they need new work is because many are pulling their pieces out of the gallery. Usually the red flags are not this obvious but take the time to find out some information about the gallery. There are many reasons to overlook problems in order to have your work in a gallery but there can be good reasons to pass when a gallery calls.

Just because some of these venues may not be for you doesn't mean you should give up. I want to restate that you will never sell anything if you don't have your work in front of buyers so always be open to new venues but make sure you do your homework before making the commitment.

Keeping It All in Perspective

2012-01-19T19:56:00.000-08:00

Shadow on Half Dome 11x14

Showing at "Iconic California" at the Altadena Town & Country Club in Pasadena, CA

I just received my first rejection letter for 2012, so this week has been one of extremes. Tuesday, I was way up (see my last blog "Out of the Blue") and the next day, the rejection letter. Of course, this isn't the first one nor will it be the last. No matter how nicely they phrase the rejection, it still hurts. So how do I deal with rejection. There is no easy answer when an artist's fragile ego is involved but there are steps to take when that dreaded form letter comes. Here are a few things I remember:

Don't place too much importance on any one event, show or club. Just like with everything in your life, keeping balance is very important. Take satisfaction from a variety of sources so when (note I didn't say if) a rejection comes it isn't devastating.
It isn't personal. There are many factors which can lead to a rejection. Every judge has their own individual criteria which influences their choices. The judging process is very subjective and doesn't confirm that you don't have talent, it just means they liked other pieces more.
Don't do yourself in by rehashing all your past failures. We all have them, but they are history so try to forget it and move on.
Review your successes and focus on your strengths. It is always a good idea to stay positive so remember to do this often.
You can learn from a rejection. A serious evaluation of your entries may lead you to understand why you were rejected and how to improve your chances in the future.
Like the song says : Que Sera, Sera (Whatever Will Be, Will Be). Rejection goes with the territory. If your fear of rejection takes over, you have a big problem, so take a deep breath and relax.
Keep things in perspective. One rejection isn't that important. Just because you were rejected by one judge doesn't mean that tomorrow you won't get that acceptance letter from another show, gallery or event.
Think of all the other artist who received that same rejection letter. You are not the only one. There is some consolation in numbers and we all take satisfaction in knowing that others are in the same situation.
Get back on the horse and create. There is no better revenge than to leave that rejection in the dust and create something new and amazing.

Today, after getting this rejection, I applied to another national show. I am optimistic that the next envelop will contain an acceptance letter. May all your letters be fat with acceptance and remember to:

Paint from life; live to paint.

Out of the Blue

2012-01-17T13:47:00.000-08:00

Out of the blue, I received a wonderful email this morning. I don't know this person but she does receive my newsletter. I think it is worth sharing.

"Dear Sharon,

Just a note to let you know, this morning I woke early, feeling a little down. When I checked my email, your newsletter was there and upon opening it and viewing your paintings I was transported to another place. I am an artist, so when I see what you are painting I am reminded to start again, pleinair painting, go out to nature and uplift my spirits. I have so much to learn, There is a possibility to grow and, perhaps travel and paint. To put my attention to something that can bring light and joy back to the forefront of my days.
Too look at the art that inspires me and get exited about experimenting and trying to keep painting and learning.
We have never met, I'm not even sure how I found your web sight. I am attracted to the way you mix color and your compositions look so effortless. Just thought that you might like to know that what you do touches people in different ways.
thank you your inspiring me this morning."

I think it is easy to understand why I felt great after reading this email. Not only have I inspired another artist, but additionally that person took the time and made the effort to contact me to let me know that my work has helped her. Often sitting at the computer, I wonder how many people are out there listening, reading or seeing my work. Yes I can see my improving statistics but positive feedback sure does help motivate me with the marketing aspect of my business, an area that needs as much motivation as I can muster. So thank you to my artist readers who I have touched my art and who have taken the time to contact me. I appreciate it. How crazy is it to write to someone just to say thanks? Not crazy at all.

Found Treasure

2012-01-15T20:22:00.001-08:00

Across the Valley

I recently discovered a local hidden treasure called McGroarty Arts Center. The place had been on my radar for a while but I finally drove over to check it out last week. The center is nestled in the Verdugo Hills and was originally the home of a former Pennsylvanian, John Steven McGroarty. It is now the site for a non-profit organization known as McGroarty Arts Center. In partnership with the Department of Cultural Affairs, City of Los Angeles they offer "access to the arts through in-depth arts instruction and experiences. Affordable or free multidisciplinary arts instruction is offered to at-risk youth, children, and families, as are performances, exhibitions, and events that engage the greater public."

I find it refreshing to discover a local organization striving to make a difference in the community. With the current economic difficulties, it isn't easy to create an environment where artists and students can come together to exchange knowledge. As art departments are eliminated throughout the public schools, it is even more impressive to see an organization who's sole purpose is to provide access to art classes. I am forever grateful to the small art department in my home town school of Hellertown, Pennsylvania where I made my first sculpture in clay, tried pen & ink drawing and learned about color theory.

The painting Across the Valley is one of the plein air paintings completed in October in Sedona. I am hoping that my love for painting outdoors is a likely candidate for the art center so I submitted a prospectus to McGroarty and am hoping to hold a plein air workshop on the property. It may not happen but I am taking the steps to share my love of plein air painting with others. Perhaps there is a local non-profit near you where you can make a difference. Paint from life, live to paint.

Ventura Art Opening

2012-01-14T08:48:00.001-08:00

Among the Rows 11x14

Among the Rows was painted in Camarillo, a farm community not far from Los Angeles. There are rows of fruit trees and vegetables planted right off the freeway. It is part of a coastal valley ending at the sea with Ventura. Some of the fertile farms are nestled into the mountains forming a picturesque frame. At harvest time, the migrant workers are a familiar sight bent over their work in the fields.

It was a surprise to be juried into the 25th Annual Open Competition in Venture. My research showed that the gallery shows lots of abstract art, I've never shown their before and I wasn't familiar with the judge, but I took a chance and got in. Although a local show, the competition was fierce with 400 paintings entered and only 80 juried into the show. I hope to see you at the reception tonight.

25th Annual Open Competition

Buenaventura Gallery

700 E. Santa Clara, Ventura Ca 93001 805-648-1235

January 10-28, 2012

Reception and Awards: Saturday, January 14 from 4-7 PM

Sailboat at the End of the Dock

Good Art Verses Technique

2012-01-12T10:52:00.001-08:00

Cathedral Rock Reflection 14x11 Oil on Linen

Figuring out how to paint is an important part of an artists learning curve. Looking at other artists, we admire how they render the ocean or the sky so we try to emulate the same technique. Spending hours mixing colors, watching demos and taking classes, we practise with different brushes, brands of paint, texture surfaces and every other trick of the trade, trying to master a technique. Using the same materials as that artist, we hope that somehow his skill will rub off on us. But even if we could clone the technique, would that ensure good art? No, because good technique does not necessarily produce good art. The truth is technique alone can result in art that is sterile and without emotion. So, developing a healthy relationship with technique is one of the necessary lessons all artists must learn on the way to becoming a good artist. Together technique and emotion are a formula that will produce good art. An artist's success comes from melding the right technique along with the artists vision.

Achieving balance between technique and emotion is a classic struggle. Being a plein air painter, I always attempt to complete a painting on site, believing that the emotion of the moment will usually makes up for the lack of time or the best technique. But sometimes, that just isn't the case. Some paintings need to go back to the studio and be reworked.

"Cathedral Rock Reflections" is one of the latter. Originally painted on location in Sedona last October, I knew it wasn't the strongest of my paintings but only recently did I have the insight to make the necessary changes. I was happy with the composition and with the water reflections. I knew I could turn it into a strong painting. Working without a photo, I changed the clouds over the rocks, darkened the water, refined the the rocks and added more shadows in the mid ground.

Old image of Cathedral Rock Reflection

There are times when emotion just isn't enough and technique must be called upon to improve a painting. For me the end justifies the studio work I added to my plein air piece. If I must choose, I choose good art over technique or emotion.

The Drama of Light

2012-01-10T13:23:00.000-08:00

Storm Over the North Rim

OK. I admit it; I'm a sucker for dramatic light. I love the awe inspiring effects that the contrasts form. I know, I should try to find unique images and not paint those picture postcards, but painting a scene with contrasting light is so darn much fun. I just couldn't resist. I am especially attracted to a scene when the drama is caused by an unusual weather pattern which makes that moment in time unique. The random nature of these moments makes luck an important ingredient.

I was lucky on a recent trip to the Grand Canyon when I captured this storm as it moved across the North Rim. At first, I was overwhelmed with the scale of the view. It is a vast expanse of uninterrupted beauty looking out from the Watchtower. When faced with so much input, how did I decide what to paint?

First, I look for interesting shapes
Then I see if there are unusual contrasts
I always need a strong composition. Instinct, along with a trained eye, combines to eliminate the infinite number of ridges, rocks and shadows to synthesize the scene into manageable shapes.
Once I found shapes I liked, I considered how to convey the scale of the Grand Canyon. I realized I needed a distinct background, mid-ground and foreground.
One factor which clinched my decision to paint this view was the unusual series of shadows. Most landscapes have a lighter background as it recedes into the distance but in this painting the shadows cast by the clouds formed a dark backdrop highlighting the sunlit bluffs in the mid-ground.
The final key was the cloud darkened shape of the foreground which bracketed the soft colored valley.

To show how every piece fits together like a puzzle, I eliminated the bluff on the right foreground. Without that dark shape to stop the eye, the viewer is pointed off the right edge of the painting by the diagonal lines. Experimenting with the shapes helps me confirm the strength of the composition and establish the structure of the painting.

New Year, New Shows

2012-01-06T09:01:00.000-08:00

Along the Kern River

I admit I was lazy in December but I am starting the new year off with a bang, I will have five paintings at the upcoming California Art Club exhibition called "Iconic California." I can't think of a better way to inaugurate the new year than with a celebration of our wonderful state, California. Yosemite, the Kern River, and the Eastern Sierras are only a few of the places that will be represented in the show. Come to the Altadena Town & Country Club at 2290 Country Club Drive in Pasadena. The reception is on Sunday, January 29 from 4-6 PM. Seeing all the varied and creative interpretations by all the talented artists of the CAC will be a treat you won't want to miss.

I am tackling several new marketing ideas which I have read about from other artists. First on my list is having more paintings in more venues. Starting off the year with this show puts me ahead of last year and I am looking forward to many other events. I look forward to sharing all my adventures with you. I will do my best to inspire and touch your imagination. I hope you have a successful, exciting and interesting year.

The Process

2011-12-16T15:39:00.000-08:00

The Evolution of Umbria Autumn

I painted Umbria Autumn in 2009 but recently reworked a section of the painting and eliminated the wall on the left. I thought a slide show of the process, from the first sketch to the final painting, would help illustrate my thinking process.

There are 12 images as follows:

1) Pencil Sketch - I always like to do an initial sketch of a painting. It helps me to eliminate design problems and to understand the composition.
2) Initial Layout on the Canvas - I do a line drawing first in one color but this is a little farther into the painting with the sky already painted.
3) Adding Color and Value - The depth of the painting is worked out with the values.
4) Working in the Background Hills - Here the richness of the colors are developed.
5) Completing the Foreground - The scale of the scene is established with the foreground.
6) Adding the Details - Getting the richness of the autumn landscape.
7) Refining the Details - Final touches to the mid-ground.

At this point I thought I was finished and had the painting hung in my studio. Over the next year, I started to realize that something was bothering me about the composition. I decided that I didn't like the wall on the left side of the painting and started to work on solutions. The next 4 images are different ideas I worked out on my computer even before I attempted to change the painting.

8) Replacing the Wall with Trees - I thought this version had too much green.
9) Extending the Cliff - This one seemed to only replace one problem (the walls) with another (the dominant cliff).
10) Extending the Horizon - This version seemed to lead the eye right off the canvas to the left.
11) Combination of 8, 9, and 10 - I finally decided that this was the best way to resolve the painting and finally took brush to canvas to make the changes.
12) Final Painting

I am much happier with the final version of the painting and hope you agree.

Beauty Verses the Machine

2011-12-07T19:22:00.000-08:00

Apollo & Daphne statue by Gian Lorenzo Bernini

Imagination is an amazing thing. It is an intangible but it manifests itself everywhere. A person designed practically everything I use and see. That keyboard, the computer, even the office chair I am sitting in all started with just an idea. Someone first imagined it before it became reality. With so many man-made objects in my live, it isn't often that something jumps out and stops me in my tracks to say, "Look here. I'm beautiful." The last time this happened, I stopped the car to take a photo of an old antique yellow truck parked on the street around the corner from me. I was impressed with the sweeping fenders, extravagant front grill and decorative hood ornament. Someone designed this amazing machine to be mass-produced and to provide transportation. Wow!

Maybe because of the holidays and looking for gifts to buy, I started thinking about that beautiful old truck and making some comparisons. I looked around at the latest gadgets that I had bought. They seemed blank, unimaginative, boring. I looked at the apartment building being built down the street and thought it looked like a glorified storage unit. I thought, "When was the last time my imagination was inspired by something new?" It seems to me that today's products are designed to be invisible. They are geared to provide a service and be useful but not to be beautiful. Where is the passion for beauty in design that once was the hallmark of American ingenuity? Where is the imagination to design something amazing instead of just to produce something cheap? Form can follow function and still be beautiful.

My thoughts made me realize that as artists, we have a unique opportunity to produce objects that are designed to inspire. How amazing to make something with only the idea of producing an object of beauty for beauty's sake. Artists could be the last stronghold to preserve the concept of beauty.

Love the paint.

The Disease of Buying Art

2011-12-05T13:41:00.000-08:00

"One art adviser who works at the top of the market says that a collector is “like a diseased human being ... these people love to buy, and they love to buy art. The process is a very deep-seated urge. This idea of hunting and gathering—it’s not a new one.”

This is a quote from the article " Why is Art So Damned Expensive?" by Blake Gopnik in the Daily Beast. It is an insightful look at the top-end buyers of the art market. Gopnik discusses what motivates the super wealthy to spend vast amounts of money for art. According to Gopnik there are five reasons why, in a down economy, sales of high-end art is up 34% from 2010. It is a fascinating read.

This look into the motives of the 1% top art buyers also gives insight into our own customers and may help us better understand our clients. Below are my thoughts on the article and how the five reasons listed can factor into my dealing with the economy and my collectors:

The Prestige Factor

Art and prestige are natural partners. The very idea of being an art collector gives status to spending. It gives the impression that we are using our money for something loftier than a big flat screen TV or a luxury car. Art gives the image of culture, supporting an artist with a purchase is another way to patronize the arts and the art itself enriches the collectors life. Catering to the prestige element is why some galleries have stayed successful. Even museums have added prestigious exhibitions to their yearly calendars. The art reception for these events is a coveted ticket where collectors and corporations want to be seen buying high-priced art. Buying online will never have that kind of prestige factor and maybe the price points you and I buy and sell at are not in the same arena but I still contend that keeping the purchase of art in respected surroundings is important to maintaining that "Prestige Factor."

Dollars Are Easier to Measure Than Beauty

Recently there was a discussion online about ignoring the "never lower your prices" rule. After reading this article in The Daily Beast, I am even more convinced that lowering prices to stimulate sales is a bad idea. Since collectors buy what they love and price is rarely an issue, I am not sure what is to be gained by lowering your prices? It is doubtful that a collector will buy a painting they like less than another because of a few hundred dollars in price. Discounts only lead to more discounts. I learned this simple rule working retail. Unless you want to get caught in a downward spiral of pricing (just look at retail for Black Friday; sales up but profits down) don't lower your prices. Art should be bought for art’s sake but there is no denying that collectors love it when the value of their art purchases rise. The price of your work is how a collector measures value. If a work of art is perceived to be worth less, won't a collector look at that work differently. Is it an advantage for art to be a bargain item like a discounted sweater in a pile of discounted merchandise? The act of lowering one piece of art cheapens all the others. If a buyer can get a bargain rate on one work of art, why not all? It is bad for you and every artist if even one decides to reduce prices.

The Thrill of the Hunt

Gopnik brings up an interesting point. It isn't fun to hunt if there is no game. He concludes that with so few old masters available, collectors have turned to contemporary artists and specifically modern art. Why is it exciting to sit in a gallery and have the salesperson bring treasures from the back room only for you to see? Because everyone loves the thrill of the hunt and finding a treasure before anyone else, satisfies our hunters heart. But flooding the market with your work will also damage your brand. Diamonds are one of the most valued stones in the world even though they are also one of the most abundant. The idea that they are rare is only our perception which is controlled by a handful of supplies who keep tight control of distribution. This sounds vaguely like the art dealers who sell high-end art. Distribution is key. If the market has a glut of anything, the perceived value is diminished. During tough economic times some artists think that more is better and will throw more work out there hoping for sales. Again, this is self-defeating and will only continue to cheapen the brand. I would suggest that if the work isn't selling, pull it out of circulation and replace it with new work. Perhaps in a year or two these pieces will again be in demand.

New Money Skews the Market

According to this article, high-end art is up 34% over 2010. Yes, he is talking about Eli Broad caliber collectors here. So while the high-end of the art market is enjoying a surge, the opposite problem is plaguing mid-priced and emerging artists. Very wealthy buyers are spending more than ever while the rest of us are experiencing a shrinking market. Fewer sales of homes means less walls to cover, less sales, fewer galleries, well you get the idea. In addition, as more and more of the baby boomers retire and pursue an alternative art career, more mid-level (some would say low-level) art appears on the market causing an unwanted glut of merchandise. I won't get into a cause and effect discussion here. Let's just agree that since most people have less disposable income there are less sales in art for the average artist. The circumstances are in place to eliminate a bunch of artists from the herd. In the long run, this may not be a bad thing but short term, it will be painful for some artists who find their work out of favor.

The High Price of Patronage

I can't make this stuff up so please read this section of the article. The High Price of Patronage

This paragraph expresses the amazing excess that is lavished on art but also confirms an emotional investment by the patron as well. It implies that once purchased, the art is too precious to just sell for a profit. All collectors are emotionally invested in the art they buy, irregardless of the price. It is that emotion which triggers the purchase. Without it, you can't give your art away.

In closing, I want to say that I am sympathetic to artists who are finding themselves having financial difficulties. Everyone is scrambling for different solutions to capture the attention of a reduced market. Just remember that the basic nature of collectors hasn't changed. Buyers still purchase art for the same reasons. It is just that now there are fewer buyers and finding them is more difficult.

December Starts with a Bang

2011-12-03T07:47:00.000-08:00

Along the Kern River

This year is ending as it started, with a bang. Last night I found out that I received the Best of Show Award for my painting "Along the Kern River." Although I resigned my post at the end of 2010 because of this years busy schedule, as former Vice President of the San Fernando Valley Art Club for two years, I still try to make it to some of the meetings and enter the exhibitions which the club sponsors. Last night as I helped to hang the show, I was impressed with the caliber of art on display. Getting the Best of Show Award is that much sweeter when an artist you respect, Julie Snyder was the judge, recognizes your work. I appreciate the kudos. SFVAC is the first club I joined when I started to paint full-time and I learned so much from all the supportive artists. Thanks to all the SFVAC members.

Unrelated, that same day I also received the following email from Bob, a fellow artist.

Hi Sharon,
I saw your comment on being better. Don't be too hard on yourself.
Your work is solid. All you have to do is, keep painting.
The work you do is always the best you can do at the time.
No one hits a home run every time.
Often your some of your early work will be "better" than your late work.
YOUR WORK IS SOLID!!!!!!
Sincerely,
Bob

The thing that makes this even more interesting is I do not know Bob. He decided to email a supportive letter and make my day a lot brighter. Thanks Bob. So for the holiday season I am asking everyone who reads my blog to pass it on by contacting another artist who you don't know to tell them how much you like their work. It will only take a moment and you will make their day, week, month or even their year a lot better.

Plein Air Fever

2011-12-01T18:54:00.000-08:00

It seems crazy but most of the applications for 2012 plein air competitions are due before the end of the year. Consequently I have been organizing my entries and working on my schedule. Completing the different applications is always a time-consuming, mind numbing affair. Every event has its own list of criteria and different checklists. Some I can enter online while others I need to snail mail a DVD with images; some ask for cover letters; another wants a 500 work bio. And of course, each has their own requirement for the size of the images.

I realize that there is not one way to do this but it sure would make it a lot easier if everyone got together and decided on a standard for this stuff. The only way I can keep it all organized is to create a folder for each event with the size adjusted images, applications and event schedule all together. Some of the plein air organizers are now using websites that are designed specifically for art competitions. I do like this solution but I fear the added cost of this service is passed on to the artist through higher submission fees.

It is impossible to predict which plein air competition I will be juried into for 2012 so I've decided to increase the number of events I am entering. Along with all the paperwork, I will also be incurring a ton of new application fees. I hate to do this at the end of the year, but like I said at the start, deadlines are soon. Deciding which competition to enter is also tricky since predicting which ones will be profitable is another factor. You must be wondering why I go through all this? That's easy. Because I love painting plein air. There is nothing like it to kick start my creativity.

Viva La Difference

2011-11-30T00:09:00.000-08:00

I recently participated in an online discussion asking if an artist should know how to draw. The comments ran the spectrum from definitely yes to an emphatic no. Some argue art is a concept, not a method. It started me thinking of the long road that art has traveled from cave paintings to computer generated designs. How diverse it all is. Regarding this discussion, at first, I defended the more traditional art method and thought, "Yes an artist should know how to draw," but I started to think about some of the less traditional artists who have influenced me and realized drawing was not very important in their work.

A Bigger Splash by David Hockney

British born artist David Hockney's work emphasizes concept over traditional drawing skills. First seeing his work while living in New York City I remember how the work moved me. His linear swimming pool paintings seemed to epitomized the Southern California lifestyle. I loved the simplicity and vibrant colors of the pool series which Hockney painted while living in Los Angeles using acrylic paint. The stylized water patterns, the idea of private swimming pools (not the norm in the Northeast) and the modern buildings in the background, all added to the exotic nature of the paintings. I thought they were wonderful.

David Hockney also worked with photography, constructing photocollage. Using an impressive number of small Polaroid snaps or photolab-prints of a single subject, Hockney arranged a patchwork of photos to make a composite image. The photographs were taken from different perspectives and at slightly different times with the resulting image being kind of off. My favorite of this series is a landscape, Pearblossom Highway #2.

Pearblossom Highway #2 by David Hockney

These works show how concept can trump technical skill. I realize that there isn't just one simple answer when approaching art. What makes my paintings work for me, may not be what another artist finds successful for them. Regardless of how an artist approaches their work, they deserve my consideration, respect and for me to keep an open mind.

Giving Thanks

2011-11-21T23:20:00.000-08:00

Light on the Lake (Sold)

Fall is my favorite time of year. Growing up in rural Pennsylvania, I welcomed the change of colors in the trees, the crisp air and the rows of puffy clouds marching across the sky. I was not pleased to go back to school but even then, Fall still captured my soul. In California, Autumn arrives later. While other areas in the Mid West and East have already had snow, here in LA, only now are the leaves changing color and falling to the ground.

My family rarely celebrated with a big Thanksgiving dinner since my mother was a waitress and always worked that day, but there were always leftovers brought home after her shift. We enjoyed the turkey, stuffing and gravy for several days after the fact and I have good memories of those times. Hunting season opened and my father would go hunting for wild turkey and deer. My mom dreaded the season since he was sure to bring home a turkey to pluck or venison steaks to cook from the deer he would bring home on the hood of his car. As the baby of the family with 3 brothers and 1 sister, I always got to be one of the two who competed for the wish but it always seemed they were the ones who walked away with the bigger half of the wishbone.

This has been an amazing year with increased sales, acceptance in the Oil Painters of America National Show, an award at the Carmel plein air competition, two articles in American Art Collector Magazine and having my work accepted into a gallery in Carmel. I have a lot to be thankful for. I hope that you have much to be grateful for too and that you will be spending the day celebrating with those you love. Happy Thanksgiving.

Love the Paint

2011-11-18T15:44:00.000-08:00

Light in the Passage

::: Renoir :::
I’m not an abstractionist. I’m not interested in the relationship of color or form or anything else. I’m interested only in expressing basic human emotions: tragedy, ecstasy, doom, and so on.

I don't know about you but when I think of Renoir I think of his mastery of color. So it is interesting to hear in his own words that emotion is his singular goal. The majority of painters are emotional about their work but how successful are they about transferring that emotion to the canvas and in turn to the viewer? Sometimes I become so involved in the technique, the method, the colors that I forget what I am trying to capture; a feeling.

I have a show coming up with the figure as the theme. For me, working in the studio is a very different process than painting plein air. In the studio everything is planned, I have an idea of what I want to do before I ever touch a brush. This is in stark contrast to painting plein air where nothing is planned and everything depends on chance, luck and the ability to take advantage of any situation. Now I am in only the concept stage so I am concentrating on the emotions that I want to invoke. Without the paint and canvas to distract me, I can focus all my energy into creating a feeling. Achieving success with these paintings starts with this conceptual process. If I see the finished work in my mind, I have confidence I can achieve it on canvas.

I will keep you posted as things develop. LOVE THE PAINT.

Break-through

2011-11-15T15:51:00.000-08:00

I have written in the past about being open to change and how difficult it is to change. We all get stuck in habits which become our "go to" response in a situation. It is true in our personal life and in our professional ones too. As an artist living in Southern California, I paint landscapes which have many times have similar characteristics; a distant mountain range with trees in the foreground; the cliffs looming over a rocky coast or a lakes reflection in water. Over the last few years, I have develop an automatic solution for dealing with these recurring themes. They have become habit. That is why it is interesting to see how other artists deal with the same situations using their own slightly different solutions. Small changes can effect the outcome of a painting in a big way.

Being an artist is a solitary life. Painting in the studio or on location means we are alone in our thoughts and struggle, but recently I was reminded of how important it is to make the effort to get out there with other artists. In the last few weeks, with my trip to the Kern River (see my last blog Kern River Revisited) and a critique discussion sponsored by the California Art Club, I learned some very valuable lessons which have the potential to improve my work. If I had stayed in my studio, I may have eventually stumbled upon these things but who knows how long it would have taken for a catalyst to instigate change? Or, I may have become even more entrenched in my routine and never tackled these problems.

The fresh eyes of another artist can often catch flaws in your work which you don't see. Get out of your studio and paint with another artist. Watch them, ask questions, listen to their opinions. Listening to a critique by a respected artist can have the potential to catapult your work to the next level. Of course, being open to hearing the criticism is essential and you must be willing to change. The next important step is trying out those suggestions, taking the risk to step out of your "go to" response. Every painting can't be a home run so don't be afraid of failure. Some works are only an exercise toward achieving a goal. Don't worry if your experiment doesn't work. Just try it. After all it's only a morning of time, some paint and a canvas. The funny thing though, when I try something new, the result is often a break-through painting. All you have to lose are some bad habits.

The Kern River Revisited

2011-11-14T17:54:00.000-08:00

Kern River Rapids

I know I just posted this painting but I was so involved with painting the water I forgot about everything else. Looking at the painting yesterday, I realized that I had neglected a few details so here is the revised painting with the following changes.

I added yellow highlights to the tree in the right foreground. When I painted this on location the tree seemed so much brighter but after it dried the tree needed a punch.
The rust row of trees in the back was too even so I added the smaller ones and also some lighter color to distinguish the tree shapes.
I refined the skyholes on the left tree and added some lighter green for highlights. Although this tree was in the shade of the mountain it still needed some color.
I lightened the side of the mountain toward the sun. It was silhouetted against the light sky but needed to be softened against the other mountain.
I added more white foam around the rocks to give them definition.

With a few minor adjustments, I think the result is much improved. What do you think?

Painting a River

2011-11-12T15:52:00.000-08:00

Kern River Rapids

I recently took a painting trip to the Kern River with three other artist, Marina Fortunati, Laura Wambsgans and Diane Gold. We only stayed two nights but packed a lot of painting into the three-day trip. I think the trip exceeded all our expectations with perfect weather, wonderful accommodations, zero drama and lots of inspiration. We are already planning our next excursion.

My previous paintings of the Kern show reflections in smooth, tranquil waters so I decided to test my skills with a view of whitewater and painted "Kern River Rapids." The challenge was to portray the water with a frothy dimension while still maintaining a sense of the rivers forward movement. I wanted you to hear the rapids when you looked at the painting.

Although the whitewater is predominantly (surprise) white, I realized that the dark colors between the rapids where what made them stand out so I started with a dark olive-green for the river floor. There where also sections of the river which reflected the blue of the sky so those were added. For the rapids, I did not use straight white. Instead I added a little yellow and orange to a large pile of white with my palette knife. The knife is what I used to streak in the accents on the horizon and to apply the thick paint which makes up the rapids. I was careful not to cover all the dark underneath but let it show through. I also made sure that there was structure in the waves of the water. I needed to add volume but structure the water so it always was flowing toward the back horizon line. The S bend in the river helped with the illusion of motion and added the needed structure to the composition.

Water remains an inexhaustible source of inspiration and I will continue to explore its infinite possibilities in my work.

Out on the Edge

2011-11-10T14:23:00.000-08:00

Sierra Stream

This week I read that fashion designer Tommy Hilfiger bought Damien Hirst’s “Disintegration -- The Crown of Life” for $1.4 million. If you are not familiar with Hirst you should look him up. He exploits the current need for excess with his art. He made a human skull covered in diamonds, boxed a dead shark in Plexiglas. That guy.

The work that Hilfiger bought looks like a stained glass window from a Gothic cathedral. On closer inspection it is really made up of thousands of butterflies applied to the canvas. The use of butterflies to make pretty things isn't new. I remember years ago while on vacation, walking into a shop where butterfly wings were mounted behind glass, the colors forming intricate shapes. The pieces where lovely as are many of Hirst's work but the shop made me feel uncomfortable as I wondered, "Where did they get all these amazing insects?" Of course, Hirsts piece is huge and takes the idea to the extreme. Instead of hundreds, he has assembled the piece with thousands of the critters. He is a master at taking natural objects and pushing our perception over the top with the use of exaggerated opulence. Judging by his success, the in your face, attention-getting pieces seem to appeal to the current brand of movers and shakers in the art world.

So can a traditional artist, like you or I, hope to find an audience? Or should we grab some notoriety by pushing our art? Gold leaf trees; pavé diamond skies anyone? Today, representational artists are facing challenges from all sides. Even artists who are established are seeing drastic drops in sales, evaporating venues and stiff competition. As artists, we all struggle with the decisions we make and are seduced by the idea of financial success. Should Hirst influence our work? Can we incorporate some of his edge into our art? Should we go out on the edge or continue on a traditional course? Is achieving financial success the number one consideration? Just thinking.

Sierra Stream is one of five paintings showing at the Valley Artist Guild:

Encino Terrace Center Exhibition

November 7, 2011 – February 3, 2012
Reception: Friday, December 9, 4pm–6:30pm

Painting the Weather

2011-11-01T14:09:00.000-07:00

"Melting Fog"

Southern California is known for its sunny, hot days but not this year. It was unusually foggy. So what does a plein air painter do when the weather isn't perfect? Take advantage of bad weather days and paint the fog. As I have logged more miles on my Easy L, I realize the value of bad weather. Paintings that capture a specific day, with rain or fog or clouds, are much more interesting than a generic perfect blue sky. So last week at a paint-out, I hoped to find one of those unique mornings.

I set up in front of the Santa Monica Mountains at King Gillette Ranch when the fog was so thick I couldn't see the top half of the mountains. Slowly the mountains started to become visible but the process sped up as the sun warmed. It was only a short time later when blue patches started to peek through the clouds. The light through the clouds was luminous as the sun opened up sky holes in the fog. The effect only lasted a few minutes so I finished "Melting Fog" using bold strokes with a palette knife. Remembering what I had just seen, I softened the clouds, introduced the lavender grey and diffused the top of the mountain on the left.

I hope you will be inspired by those days when the weather isn't perfect and realize that bad weather can be an opportunity to paint something unique.

The Signature Palette

2011-10-22T15:55:00.001-07:00

Jeremy Lipking

A few days ago I received a question on a blog I posted in 2008 called Portraits by the Sea. The original post was about a seminar I attended with several portrait artists, including Jeremy Lipking. At the time, I was just beginning to paint full-time and was discovering the world of art and artists. The seminar was an inspiring experience and the post about it is still getting new readers to my blog.

The question about Lipking's palette started me thinking so I thought I would explore the color palettes of some well-known artists in this post. In the photo above you can see some of the colors on Lipking's palette but not all of them so here is a list from his workshop recommended palette:

Titanium White, Cad. Lemon, Cad. Yellow, Cad. Orange, Cad. Red, Alizarin Crimson, Burnt Sienna, Ultramarine Blue, Cobalt Blue, Viridian and Ivory Black

Lipking used a predominantly warm color palette with a few notable exceptions. The one color that stands our in the photo is a light blue. I remember asking him specifically about that color because it didn't look like cobalt and he confirmed that ii is not a tube color. It is a color he pre-mixes using Ultramarine, Alizarin Crimson and Titanium White. I noticed that when this color was used against the flesh tones, it had a luminous quality and looked lavender, not blue. He uses it enough to pre-mix the color in large quantities.

Scott Christensen Palette

Above is the palette of Scott Christensen from the demonstration he did during the Oil Painters of America National Exhibition this last June in Idaho. There is a huge difference in the colors Scott used in this landscape palette when compared to Lipking's for portraits. I wonder if Jeremy uses a different palette for his landscapes. Does anyone know? Anyway, in Scott's palette you can see the grays on either side of the orange, that are also personal mixes. The orange also looks like a special color, with a lot more yellow in it than a stock Cadmium Orange. Scott uses these colors so much that Vasari Classic Artists' Oil Colors in New York City has produced his most frequently mixed colors as ready-to-purchase, tubed pigments.

The striking element in both cases is that the artist has personalized his colors which distinguishes his palette from anyone elses. These unique colors contribute to the artist's signature look and leave a tangible recognition to every piece they paint. I wonder if all world known artists have customized their colors? I had a teacher who when asked what paint he uses answered, "Don't buy the paint brand, buy the color." It seems that finding your own signature color palette is a step to making art that is identified only with you. Do you have signature colors that you always use?

Inspiration at Big Bend in Zion National Park

2011-10-20T18:47:00.000-07:00

Big Bend

In the early morning, the red rocks at Zion National Park, are a magical color. The diffused light and deep shadows add a lot of blue to the rocks, giving them a rich depth. As the rocks recede into the distance, a soft purple glow embodies the cliffs. There are not many places in the park where this play of light happens. Most of the time the harsh sun washes out these colors, so I was thrilled when I found Big Bend.

My first morning in the park, I got off the tram at Big Bend to see what I would be able to paint and was rewarded with a view of two California condors. One was perched on the steep cliff face. The ranger was thrilled to have spotted it in the telescope and was telling everyone to take a look. As I stood there with a dozen other park visitors, a second condor took off from the shadows and glided into the sunlight far above our heads. A sighting of two at one time is very unusual and the ranger was noticeable moved. The second condor, continued to soar hundreds of feet over the canyon floor but eventually settled back on the cliff face. When I told another ranger at the information center about my condor encounter, she informed me that in her three years at the park she has never seen one. It was a once in a lifetime event.

Big Bend continued to reward me with an exceptional painting experience but the early morning was cold in the shadow of the rocks. Lucky for me, I remembered to take my hand warmers and they really helped keep off the chill. By noon, the temperature was in the 60's and I took the bus back to the visitors center to find a different painting location after lunch.

Judging Other Artists

2011-10-18T14:58:00.000-07:00

I recently judged the art show for the Santa Clarita Artists Association with two other judges, Karen Nichols from La Galeria Gitana, and Larry Hurst from the College of the Canyons Art Gallery. The experience was interesting and not nearly as difficult as I anticipated.

The three of us decided to first judge the show individually then come together to compare our results. More often than not we found common ground where we had overlapping votes for the same work. The artwork that was on all three of our lists were obvious award winners and that made it easier than if I were the only judge. But when we didn't agree, and there were several categories where that was true, we discussed the pros and cons of the pieces we had chosen and then came to a consensus. There were times when I convinced the two of them, and other times that I was convinced by them to change my votes. It was a true collaboration. Since I am an artist whose work is often judged, I took my job very seriously. The quality of the work was high, with a wonderful variety of medium and subject; both serious and whimsical in representational and abstract forms. Judging the artists work, I looked for a strong composition, skill in the medium, color balance, interesting subjects, unique viewpoints, the artists intent and the emotion which inspired the work.

I especially enjoyed meeting and talking to several of the artists who were in the exhibition. The SCAA includes many talented and interesting people who where very friendly and helpful. I was also impressed with the groups mission. They award a scholarship to a deserving high school student to help that student further their art education. This year the award was split between two very talented young artists.

My experience as judge was interesting, informative and a lot of fun. Thank you to all the artist who participated in the SCAA Exhibition and the board members who including me in this years event.

Art Originates from Emotion

2011-10-14T22:53:00.000-07:00

The Sentinels

"A work of art which did not begin in emotion is not art."...... Paul Cezanne

After paint is found in shells in African cave, archaeologists realize artists have been around a lot longer than first thought. The dried pigments in the shells that were found revealed that the mixture consisted of ochre, animal fat and marrow and dated to 100,000 years ago. It overturns the notion that man started painting only 60,000 years ago. *

I try to imagine the motive of these primitive people and it leads me to reflect on my own basic need to create. Understanding where that need comes from and what is the catalyst that inspires creativity is not an easy task. Some say they are driven by a strong force that defies explanation but produces an irresistible compulsion. Others explain this need in a long worded account. Still others connect it to a higher power. The quotes by past artists that have survived over the centuries, I think, come closest to my interpretation; like the one above by Paul Cezanne. If emotion is at the start of the process than trusting my emotions is essential.

On my recent trip to Sedona and Zion I experienced some unusually vivid emotions which I channeled into my work. Arriving in Sedona, I experienced a feeling of awe, wonder and comfort. Looking back on my trip, I realized that when I found a painting location for the first time, if I felt an immediate affinity with the place, that feeling was translated into my painting. With so many intangible elements that are involved in the creative process, my feelings would seem to have a large influence on the final product. Be inspired and create from your emotion. The Sentinels is one of five paintings showing at Verde Gallery until the end of October.

*Here is the LA Times article: Artifacts indicate a 100,000-year-old art studio

Sunset in Sedona

Plein Air Painting on Location

2011-10-11T15:58:00.000-07:00

Cathedral Rock Reflection

I returned yesterday from my extended painting trip and am starting to get back to normal. I am satisfied with the amount and the quality of work I completed so the trip was a success.

For those of you who have never done a plein air painting trip and are not familiar with the concept, here is a brief summary of the process.

Pack the car to the brim with canvases, frames, paints, jackets, traveling easel, food, turpentine and anything else you think you may need during the trip.
Drive hundreds of miles to an amazing location where you have never been before to paint.
Explore the new location for possible painting sights.
Get up in the morning before dawn to catch the early morning light.
Paint.
Explore some more.
Paint in the late afternoon to capture the sunset light.
Get home after dark, eat and crawl into bed at about 9 PM to do it all again the next day.

I did this from September 30 to October 5 in Sedona, Arizona and then went to Zion National Park in Utah from October 7 to October 10. I put 1450 miles on the car and painted ten paintings.

This intense and productive trip was taken for several reasons. First, I never painted Sedona or Zion and I wanted to experience each site to see if I could paint the area. Second, both have plein air events that I thought I would apply to next year and I wanted to familiarize myself with the local color. Third, I entered a plein air event at Yavapai College which thankfully provided me with a wonderful place to stay for a week of painting in Sedona.

I loved painting in Sedona. The place is amazing with so much variety, spectacular beauty and wonderful people, I am sure I could paint there for years and never exhaust all it has to offer. I painted six paintings: I love 4, like 1, and only 1 was a failure. Very good percentage.

Zion was interesting, with an other-worldly quality that made it a very unique spot but I had several problems with painting there. A large area of the park is accessible only via bus. With all my painting gear, it is very problematic. The morning light is wonderful in the canyon but the afternoon light is not good. With the high cliff walls on the west side, the sun is behind the mountain well before sunset so the light is either very intense or gone. The red rock is overwhelming and everywhere (See my last post about this). Though I painted four paintings in Zion, I only love 1. The others 3 need help to bring them together. Not a great percentage.

I concluded that the Sedona Plein Air Event would be a wonderful addition to next years calendar but I will pass on Zion. The Sedona event is a tough one to get into so my acceptance is far from guaranteed but if I can somehow manage to be accepted I will be a happy painter.

Painting the Red Rocks of Sedona

2011-10-05T10:27:00.000-07:00

The Sentinels

I haven’t been online for a few days because I am in Sedona, AZ for a plein air event without internet. I visited here last year for the first time and was enchanted by the place. I decided then that I wanted to come back to paint. Even before this trip I knew that the colors of Arizona were different from anything I painted in California. The success of my paintings would depend on how quickly I could figure out the “local color.”

Four days of painting have been an amazing learning curve. The red rocks that are characteristic of the area are both a burden and a blessing. It took several paintings before I finally realized some basics about painting that red rocks:

Paint in the early morning or late afternoon. By 10 AM the sun has turned the rocks into a fleshy, bubble gum, washed out color that works in person but on canvas looks awful.
Don’t cover the entire canvas with that red rock. Overkill of red is horrifying. I know other artists have pulled this off but I need to tackle the concept in a more relaxed setting before I can succeed with it under pressure at a plein air event.
I am forever thankful that I had a tube of Terra Rosa. Without it I don’t think I would have ever gotten the color of the rocks. I ordered it after reading Richard Schmid’s book Alla Prima and have used it occasionally in LA but nonstop here.
Keep most of the rock in shadow with small streaks of sunlight. The shadows of the rock are really important and give the rocks their richness of color; again that peachy sunlit color is not good in large quantities.
Think BIG. These are huge spaces so the need to establish scale is very important. Overlapping layers of rocks that fade back into bluer and bluer shades of red help but I also recommend a foreground that anchors the view.

I am going to hand in my paintings today and will keep you posted on the reception and show events.

If you want to learn more about plein air events I have written about it extensively in past posts from events in Carmel, Los Gatos, San Clemente and Victor.

Slip, Sliding and Hiking in Hawaii

2011-09-29T12:33:00.000-07:00

Just one more post about my trip to Hawaii. The week included several wonderful, but muddy, hikes. We were warned that the trails were wet and muddy so we prepared before heading for Mauna Wili Falls, or so we thought.

This summer, the US west coast has been unusually cool and wet. My theory is that the earthquake and tsunami in Japan belched up a ton of frigid water from the depths of the ocean and all that cold water has effected our weather this summer. I have mentioned this to several people and their reaction has run the spectrum from, "You're crazy" to "That sounds logical." What do you think? Could the earthquake in Japan have an effect on the weather on the west coast?

For whatever reason, the dry season in Hawaii has also been rainy and you can see how muddy it is in the top photo. The trail at this particular part was raised on wood steps but most of the way we were hiking sown in the mud. The hike out from the falls was even worse since it rained while we were swimming. Our sneakers turned into mud pies on the bottom with layers of encrusted slim. Mud on mud makes every step through the tree roots, rocks and mud a potential slide into the muck. I had several close calls as I grabbed nearby trees and boulders to stop an undignified plop into the mud but both Jeff and I made the hike into and out of the falls unscathed.

Jeff, my husband at a dry patch in the trail

What we thought would take a few hours had turned into just under four hours of intense hiking with us having to watch every step. By the time I got back to the car I was exhausted and starving for lunch.

Mauna Wili Falls, The Payoff

I did take a dip in the pool at the base of the falls but the water was freezing and several of the other hikers didn't venture into the water. Another adventure accomplished but I don't think I'll try it again unless the trail is dry.

Hawaii Vacation

2011-09-27T23:18:00.000-07:00

I just returned from a week in Oahu, Hawaii, one of the most amazing places on the planet. I always take paints and sketching stuff but I never seem to actually painting when I am there.

I know that Oahu is the busy island, with Waikiki and Honolulu, but the island is so much more. Just a short ride out of the city reveals pristine trails to hike, waterfalls, lush rain forest and quite beaches. I wanted to share a few photos I took during my trip.

Sharks Cove

On the North Shore is Sharks Cove, a great snorkeling spot, but only in the summer. The winter months see some of the biggest surf anywhere and many surfing competitions take place during that time. When we where there, it was still relatively calm but the seas were changing and several rollers came in smacking against the rocks and churning up the bottom. The visibility was just OK.

This cove along the east shore has a lovely little beach farther in, off to the right of the photo. That is where the famous love scene in "From Here to Eternity" with Deborah Kerr and Burt Lancaster was filmed. Isn't the color of the water amazing?Surfboards at Waikiki

Just before sunset, most of the surfers have come in but there where at least a dozen locals still catching waves as we sat on the beach to watch the sunset.

Living on the West Coast allows me easy access to the Hawaiian Islands and I make it a point to get there as often as I can. Maybe some of you are more disciplined than I am and have done some painting there. Although I always take art supplies, I never get around to painting. It is all I can do to just take in the charm and character of the islands. This trip to the islands was one of the best with lots of new adventures.

Draw, Draw, and Draw Some More

2011-09-26T18:28:00.000-07:00

In previous posts, I have mentioned the importance of drawing to improve your painting and thought that I would again mention how helpful it is to go to a life figure drawing group. This exercise is invaluable in teaching proportion, improving observation, handling perspective and understanding shape relationships. Lately, I have been too busy to attend my Tuesday group but recently decided to make an attempt. I struggled until the final pose when I realized that I was not drawing with straight lines but instead was attempting to render the curves, well, with curves. I know it sounds counter intuitive but as soon as I switched my thinking to straight lines, my drawing improved dramatically.

Here is a closeup of the head and shoulders where you can easily see the angles I used to draw this figure. I don't understand the science behind this but the eye exaggerates the curves and softens the sharp edges. Even when a point is apparent where the angles meet, the eye still rounds that point into a curve. The figure looks a lot better and more accurate with these angles than any curved lines. The use of straight lines to make curves is one of the principles of academic art and should be taught in every first year art class. This method is also transferable to your painting. The use of angles and straight lines will always render the subject more accurately than the use of curved lines. Try it and see what you think.

Fortune and Fame

2011-09-23T12:10:00.000-07:00

Notoriety is an interesting phenomenon. One that can make the individual not only famous but also bring fortune. I have been intrigued by the recent fame of an artist here in Los Angeles. Alex Schaefer was in the spotlight after being investigated by the police for one of his paintings. If you are not familiar with the story here is a brief summary.

Alex was painting a bank plein air, on location, for an upcoming show. As a social commentary, he added flames to the top of the building as if it were on fire. For Alex, the burning bank symbolized how the global economy was destroyed by the banks with their reckless investments. Someone saw him painting a burning bank and called the cops. The police came out to talk to him, checking to see if he was a terrorist. Then the police came to his home to see if he was a terrorist. Then the LA Times wrote about it and published a photo of Alex and his painting of the burning bank. Finally, he sold the painting on Ebay for over $25,000. Way to go Alex.

Fame and fortune. Fortune and fame. They are intrinsically connected. I have heard the refrain that if your work is good it will sell but more and more it seems necessary to get attention with outrageous, unusual or newsworthy behavior to advance. Being propelled into the human stream of consciousness through social medium and learning to capitalize on that notoriety seems essential to financial success. Feeding the frenzy and making that notoriety last is another matter. Success is measured in many ways so figuring out were and how your definition fits into this crazy short attention span world is only one of the challenges.

Lady Gaga and Fame

2011-09-20T21:37:00.000-07:00

I just happened upon the airing of an interview of Lady Gaga by the French fashion designer Jean Paul Gaultier on TV. In my former life, I graduated from Parsons School of Design and worked as a fashion designer in NYC for ten years, so I have an interest in the combined worlds of fashion and art.

The interview covered familiar ground as Lady Gaga told many of the same stories that are known to her fans, affectionately called Little Monsters. Often compared to Madonna, Gaga talked about being born famous. How fame is something that comes from within. Her love of fashion and everything artrageous is part of her personality. Pushing herself artistically and staying true to herself are priorities. She closed the interview by teller her beloved fans that she will continue to be fearless, to create and to change. Whatever you think of Lady Gaga and her music, listening to her interview she sounded like a mature, likable woman who knows what she is doing with her art and her career.

As a designer in NYC, I was in the spotlight and enjoyed wearing a costume (my fashion) as my public persona to camouflage and shelter the real me from that intrusion. I think Lady Gaga does the same thing with her over the top fashion. Being in costume is very liberating and allows an artist to be whoever they want. One of the most revealing moments was when she talked about being comfortable enough to fall asleep in her wigs and costumes. She went on to say, by living the fantasy she hopes to make it her reality.

As an artist I am constantly faced with the need to project a persona to the public. It must say, I am an artist. reconciling that with who I am can be daunting. The personal struggles of artists are documented throughout art history from Michelangelo to Van Gogh. How an artist deals with rejection, acceptance, staying connected to our muse, success and failure are the stuff of legends. Never forget that watching that struggle is very interesting to the public and makes for high drama.

Next time I'll talk about a local artists who found a national spotlight.

The Color of Snow

2011-09-16T08:25:00.000-07:00

High Sierra Snow

I recently decided to enter a show where the theme is "Winter's Light," so I searched through my photos for inspiration. I found a number of likely scenes that would work. First, I set up an individual folder on my computer specifically for that show and then moved copies of any photos that would be helpful into the file. Next, I looked through my books and online to see how other artists have handled the same theme. With several ideas to consider, I then sketched out the compositions, blocking in the values. This helped me to see the painting in my mind even before I started to paint.

Finally, I put paint to canvas. Never painted snow before, "High Sierra Snow" is my first experiment with the frozen form of water. I blocked in the shapes and placed the dark shadows on the mountains. The mountains were a combination of rust and blue with accents of peach. The color of the sky at that elevation is a very intense blue. Believe it or not that same blue is what I used for the snow in the shadow of the mountains and the accents on the water. The blue looks completely different in each placement because of the color next to it and under it, but honest, I dipped into the same pile of paint for all three areas.

At one point, I became aware that the painting could go either way. The colors were odd and I considered wiping it down but because the composition was strong I decided to work through. I also realized I needed to paint what was there not what I thought should be there. So the snow is blue, the water is rust and the rocks are peach. Overcoming the initial reaction to add more white into the snow color wasn't easy but I reasoned that the colors in the shadows must be darker than the colors in the sunlight so I resisted.

Color is surprising, fascinating and very fun to play with. The more I experiment with color, the more I realize I need to experiment even more.

Finding Small Works

2011-09-13T08:18:00.000-07:00

Cruising the Shore

It seems a little crazy talking about the approaching holidays in September but I have to paint now for all the small works shows that will be exhibiting during Christmas. I need to "think small" to find inspiration for those little gems.

I started with "Cruising the Shore,'" a 5x10 seascape from Leo Carillo State Beach. This painting started as a 8x10 but I cut 3 inches off the bottom because I decided I didn't like the composition. The eliminated sand and extended rocks didn't add anything to the painting and actually distracted from the ocean. I was able to experiment with the photo image before actually cutting the original and of course it helps that I paint on panels so adjusting the size this way is easy. All I needed to do was cut off the offending area.

Calvin Liang explained this process in a workshop. He was painting on a larger panel and said he would give the painting to his framer who would cut it to the size he wanted. He painted in the area he had masked off with tape but I decided to take this idea a step further.

Why not use this concept on completed paintings that I wasn't 100% happy with. After reviewing several of my works to see if cropping them would improve the painting, I found several that would benefit from this change. By cropping them, I came away with a much improved painting and some lovely little gems for the upcoming Holiday season. Now, I realize I can look at a painting and adjust the dimensions to improve the finished piece. It is an easy fix to make a painting work.

How to Keep Momentum

2011-09-08T18:36:00.000-07:00

I recently completed paintings for three different gallery openings. This has kept me focused on my work and painting nonstop for weeks though the entire summer. Preparing for an opening is an emotional experience. The power of creating the work, coordinating all the elements and the thrill of the reception all keep the adrenalin pumping. But now, after I have delivered all the paintings to their designated galleries and the openings are behind me, I can't help but feel a little let down.

I decided to take a much-needed break from painting. Of course one week often lead to two and then it becomes difficult to rustle up the motivation needed to get back into painting. It is not for lack of ideas. I have several concepts ready and waiting but I feel lazy and a little lethargic.

So how do I get over that post reception let down and find the spark I need to paint? Here are a few ideas that get me going again and may help you too:

Get out of the house and go to a museum. There is nothing like seeing a new exhibition to spark my need to create.

Look through my favorite teaching art books. I am always inspired by Richard Schmid's book, Alla Prima but I am sure you have your favorite.

Discuss my feelings with another artist. Sometimes all I need is a little positive support from a friend.

Take my camera and head out to a beautiful/interesting spot. Whether you paint landscape, figurative or still life, seeing something that really grabs you will make an impression.

Just paint. Sometimes all it takes is going through the motion of putting brush to canvas and before I know it I am back in rhythm.

Appreciate all that I have accomplished and don't be too hard on myself.

It is normal to go through periods of accelerated productivity followed with arrested progress. The ability to stay intense and focused is not infinite and recharging my batteries could be just what I need. Next week I will be painting again and this lull will be a thing of the past, just a little glitch in my journey. How is that for positive thinking.

Happy painting.

Seeing a Painting with Fresh Eyes

2011-09-06T09:16:00.000-07:00

Umbria Autumn

I had a local show coming up which needed some large paintings for the lobby of an office building, so I looked at several older paintings with fresh eyes. Of course, now I found things which I wasn't happy with so I decided to revise and rework some areas of the painting. Luckily, I had not varnished Umbria Autumn and could easily redo certain problem areas.

Old Umbria Autumn

Looking at the original painting with a critical eye, I thought that the wall and ledge where to predominant. I wanted the valley and sunset to be the main focus but found I was "caught" by that wall. This led me to experiment with the image on Gimp (free Photo Shop) and ultimately I decide to eliminate the wall but not the cliff. Here are the altered images which helped me to reach my conclusion and make the needed changes to the actual painting.

The top adjusted image extended the cliff but only transferred the problem from the wall to the cliff.

The second change wasn't bad but now the road, sky and tree line all pointed in one direction; to the left taking you off the canvas. There was nothing to stop the eye and bring it back into the painting so I realized I needed something on the left to keep the viewer in the painting.

The dark shape on the left was unattractive in the third version.

Last was the format I used for the final changes. I kept the cliff and extended the tree line over the walkway and cliff. I am much happier with the feeling of the painting. When I walk into the room and look at Umbria Autumn, I now see the valley and sunset first, then my eye moves around the painting. The cliff and trees in the foreground give perspective and scale which allows the viewer to place themselves in the painting.
I also darkened the cliff so it receded into the dark foreground.

Stapleton Kearns has a blog today that also discusses the focus of a painting so you may want to read his post.

Artist Reception: "The Color of Light"

2011-09-04T14:55:00.000-07:00

Sharon Weaver at Segil Gallery Reception

Last night was the reception at Segil Gallery for my exhibition with Lynne Fearman called "The Color of Light." Many of my favorite paintings are included in this show and I have an entire wall dedicated to paintings with the ocean. Despite it being Labor Day Weekend we had a large crowd in attendance and red dots appeared on both Lynne and my paintings.

"Morning Hits the Rocks" was among the paintings which sold to a collector in Texas.

There is always a certain amount of excitement mixed with anxiety that accompanies all openings. I think every artist struggles with the anticipation. Will anyone come? Will people like my paintings? Who will I know? What will sell? How do I talk about my paintings to clients? Then somehow the gallery is full, red dots appear, people ask where that was painted and before you know it the evening is over; everyone has left and you are cleaning up.

Looking back at the evening, I had a lot of fun meeting everyone and talking about my art. I appreciate everyone taking the time to come and share in my work. I am grateful for the opportunity to show at this lovely gallery in Old Town Monrovia and to have so many friends who make it a special night. Thank you to Laura Segil and Lynne Fearman.

The show continues through October 1 so please stop by at 110 W. Lime Avenue in Monrovia or contact Laura Segil at 626-358-5563.

Designing Color in Your Painting

2011-09-01T08:21:00.000-07:00

Previously, I talked about improving a composition by changing what you find in nature. But what about color? Should color be designed and changed to unify and improve the painting? I think so and Strawberry Fields is a good example of why.

In this photo I took of field workers picking strawberries, I wanted to use a simple, unified palette. I wanted to maximize the beauty of the sky and distant hill, I saw a connection of the sky to the field with color and I wanted to make the greens more attractive . Here is my thinking for the changes I made to the painting with color:

If you paint landscapes, green is a necessary evil. Figuring out how to mix a vast variety of greens is important and making green appealing will save a lot of paintings from the storage bin. I could have just as easily made the greens more blue but instead I decided to make them more olive since it was a hot day and I wanted to use peaches in the sky and for the ground.
Landscapes are very often predominantly cool colors (blue sky, green trees) so finding a balance by adding enough warm colors (red and orange) is important.
I exaggerated the warm colors in the clouds and I added peach into the neutral ground between the rows.
The sky blue accents peek out at the top of the hill and through the clouds on the right. For continuity I used the same sky for the some of the plastic along the rows of strawberries.
The accent colors of the figures and truck provide relief from the very chromatic colors.

As I was writing, I realized that it would be a fun experiment to try painting this scene using the alternative palette; push the greens toward blue, not olive; the sky and ground with pink, not peach. It will make the painting look more like late afternoon, not morning. I will try to do that this month and post it to my blog so we can see which one is the best.

Have a great weekend and enjoy the last few days of summer!

Bending a Composition to Your Will

2011-08-30T09:05:00.000-07:00

Strawberry Fields

Painting unusual compositions can really make a painting stand out, so I was excited when I had the perfect excuse to paint "Strawberry Fields" for the upcoming show, California Bounty, at La Galeria Gitana. I was inspired by a scene from my last trip to Carmel, a farm off River Road along the west face of the San Joaquin Valley. The farm workers asked me to leave and not to take any photos but I was lucky to sneak one just before I drove off.

Original Photo for "Strawberry Fields"

The photo needed adjustments to make it work. Bullet points of changes to final painting:

The horizon line was right in the center so I needed to crop it differently. The fields were the main attraction, so I eliminated a lot of sky and made the horizon line high.
The downhill slope of the field to the left was too steep and I straightened that a little. As it was, I think it would draw the eye to the left too much.
I eliminated the dirt road in the foreground and extended the rows all the way to the bottom edge. I decided the rows in the field were the important feature.
I eliminated the bush on the right. It wasn't very pretty so I just got rid of it.
I changed the direction the truck was facing and moved it to the left of center. This points the viewer's eye to the workers in the field instead of down the slope.
I tried the boxes in the field but found the square shape a distraction from the rows of strawberries so I eliminated then in the final painting.
I eliminated the closer worker on the right. I wanted there to be a feeling of separation from the figures, to show the solitude of the field workers from the rest of the world.

When I painted this scene, I attempted to keep the freshness of a plein air painting so I picked a small format, 8x16, and limited myself to paint for only a few hours, as if I where on location. It kept the painting loose and limited the application of details. Once I had the main image done, I let the painting dry for a few days before I put in the figures, truck and utility poles. It was easier to keep the colors clean and the lines crisp with the background almost dry.

You can see "Strawberry Fields" at the La Galeria Gitana reception, 120 North Maclay Avenue, Suite E in San Fernando on September 17 from 6 to 10 PM. The show continues until November 5.

Judging Art Events

2011-08-26T08:17:00.000-07:00

Many artists add workshops to their busy schedules to help supplement their income. I never thought I would like teaching, but recently I did a demonstration for a local art club. I was pleasantly surprised to find it rewarding, interesting and a fun experience. I was also happy when the club came back a few days later and asked if I would be one of three judges at an upcoming exhibition. Adding "judge" to my list of credentials would be great, so I agreed to do it.

Recently, I have read some blogs that have been negative about judged events, going as far as to say that an artists is a fool to enter them. I have a different opinion. As a plein air artist, these events are a great source of income for many artists. Well known artists take part in plein air events all over the country for the great sales and also for the award money. Every year I participate in several plein air competitions, have entered local and national art shows and many of these events award nice cash prizes to the best paintings. So if you are a plein air artist you may be interested in these plein air competitions.

That being said, let me get back to my upcoming judging job. Most of the time, I agree with the award winners and understand the choices of the judge but there have been a few times when I admit to being baffled by a prize winner. I was wondering how my opinion could be so off and if the process was somehow different from what I thought.

Fortunately, I know a very experienced and respected judge, Jean Stern director for the Irvine Museum. I thought that I would ask Mr. Stern for some pointers about judging and see if my thoughts were on the right track. I had a long conversation with him and he revealed what a judge looks for in a painting. I realized that this information would also be helpful for artists to understand how these decisions are made.

Following is a look into how a (good) judge thinks when picking a winning painting.

1) Look for the accuracy of the light. Are all the shadows in the same direction? It is surprising how many paintings contain mistakes in the placement of shadow.

2) Consider the perspective. The drawing skills of the painter are put to the test and inaccurate perspective is a common mistake made by painters who have not first been trained in drawing.

3) Along with perspective, consider the depth of the painting. How well does it break out of the confines of the canvas to give a sense of depth and three dimensions?

4) Good composition

5) What is the point of the painting? Is there a reason for the painting? Did the painter just paint some trees or does the painting have a purpose?

6) Is there a flow sight or path into the painting and where does the path lead? Does the path hit an obstacle or lead you around the painting?

7) The judge is not there to award a prize to the best artist but to pick the best painting in that particular show.

8) It is important to understand why you don't like something. Is it because you just don't like cows or is it because the cow isn't painted well?

9) As a judge you are there to evaluate the artist's paintings but acknowledge that the artists are the ones who have done the work. They deserve all the credit.

10) Be positive. Be fearless.

Number 5 was especially intriguing to me. Only recently have I started to ask, "why am I painting this?" It seems a good judge will also ask this question.

I am now available to do demonstrations or judging for your club or group. If you are in the greater Los Angeles area contact me through my email at sharon@sharonweaver.com.

Thank you to Jean Stern for sharing his insights as a fine art judge.

An Artist Needs to be Prepared

2011-08-23T16:26:00.000-07:00

Old Red at the Farmers Market

I always have a camera with me. Well maybe not always, but I try to carry a camera just in case I see that perfect scene to paint. Being an artist has opened my eyes to the wonders that I pass every day which make fantastic subjects for a painting. Often it is ordinary things which are the most profound.

I was driving from LA to the Carmel Art Festival when nature called and as often happens luck was with me. I just took the next exit off the highway and found a nearby farmers market, restaurant and part museum all rolled into one.

Driving onto the grounds I was confronted with antique tractors, farm equipment that looked like multi-legged space creatures and rusting coaches from another era. The vast building contained an abundance of brightly colored produce, baskets of fruits, garlic hanging from the ceiling and right in the middle of the floor, Old Red at the Farmers Market.

Donated to the market from a nearby farm, the red rusted old truck still was being of use to display oranges, grapes and amber-colored jars of jams and jelly. It seemed to me the truck was happy with its place of honor and glad to still be of use. Luckily that day I did have my camera with me.

In the Distance

2011-08-20T09:25:00.000-07:00

Distant Fields

In my most recent work, Distant Fields, I continue my efforts to paint the air (or atmosphere). This painting of the San Joaquin Valley, as seen from the Coastal Mountains near Carmel, captures the hot, still, midday sun. I was exploring the vineyards along the River Road during the Carmel Art Festival because the coast was socked in with fog. It was a long drive to the sun but well worth the time and gas. Driving into one of the many vineyards nestled against the mountains, I noticed the great view only as I drove back down to River Road.

Actually, I didn't paint this area for the plein air event in Carmel. The weather cleared up along the coast and I decided to paint the ocean, but the photos have been invaluable for my upcoming show "Gifts for the Table: California's Amazing Bounty" at La Galeria Gitana.

The road and trees made a natural frame for the distant mountains and farmland. The perspective of the fields, along with the receding telephone poles help to give scope and proportion to the wide open space of the San Joaquin Valley. Including a figure or something man made in my paintings helps to establishes scale. It allows the viewer to imagine themselves in the painting and makes it more accessible. If you are a painter try adding a figure into one of your paintings and see how it changes your perception of that painting.

First Time Demo

2011-08-18T09:29:00.000-07:00

Afternoon Clearing

I recently realized that teaching is a very important part of an artists resume so I was looking for a way to enter into teaching when the perfect opportunity presented itself. I received an email from Patty O'Hearn with the Santa Clarita Artists' Association asking if I would do a demonstration for the club.

I accepted, hoping that I was up for the challenge. The demo seemed far off in the future but before I knew it, the day had arrived. Luckily, I had already decided to approach the demonstration with "composition" as a central theme. I had some wonderful examples of bad compositions which I borrowed from Stapleton Kearns' Blog of bad ideas. It is always fun to start with what you shouldn't do and the row of potato shaped clouds really broke the ice.

Potato Clouds from Stapleton Kearns library of What Not to Do

I also took my two favorite books, Alla Prima by Richard Schmid and Composition of Outdoor Painting by Edgar Payne and passed them around. These books should be in every artists library. With only these two books everyone can learn the principles of creating great art.

Of course, at some point I had to actually start painting. The challenge was to paint and talk about something else at the same time. Not an easy task with all the decision involved in creating a painting. Without the necessary concentration, I fear my demo painting may have suffered. I was OK if I could just paint but then someone would ask a question and suddenly my mind was yanked from the painting to retrieve a response. Pretty tough.

My fears were dispelled when several members of the group came over to tell me how much they enjoyed the demonstration before having to leave. It was a gratifying moment. I think I now understand why teachers teach. Sharing your knowledge, enthusiasm and experiences is fun. Having a group who responds with so much warmth and appreciation makes it memorable. Thank you to the wonderful members of the Santa Clarita Artists' Association.

Make the Most of a Difficult Art Market

2011-08-09T09:43:00.000-07:00

It's been a great year. So far, I have sold more than the entire year of 2010 and there are still nearly five months left in 2011. I have had two very successful plein air event, winning an award in the Carmel Art Festival. I am now showing my work in three galleries and I was juried into the National Oil Painters of America Annual Exhibition, a very important national show.

Just last month people were finally feeling good about spending money and positive about the future so it is not surprising that the economic news has put a damper on my forecast for the rest of the year. What will this mean to artists who depend on the discretionary spending of clients for a luxury items like art? If you are in the small group of well-known established artists whose customer base is not largely effected by the economic news, you may not have to do anything. But if, like me, you are an emerging artist, I need to consider the consequences of the economy. Until I am discovered by the art collecting elite, I must consider my client base who doesn't have the resources that the very wealthy have. If the past is any indication, sales will suffer.

I was thinking about what I could do to lessen the blow. I will be looking closely at my expenses and make cuts where I can. Spending on art trips, supplies, fees, workshops or any other art related costs need to be evaluated to determine if I can cut my expenditures but that is still not enough. I need to generate income. Since larger paintings are more expensive, I will switch back to a smaller format. I have always been very successful with my plein air pieces and the 11x14 is a great size that people love but it means I will have to sell more paintings to achieve my sales goal. Not an easy task in a slow market.

I was considering having a home art show. I know several artists who have done this with success and am looking into the possibility. It would be a lot of work but that isn't a big deterrent and I think it would be fun. I need to expand my exposure and research those venues which I have been procrastination about. The more people who see my work the more likely I am to sell. Continuing the momentum is important and being aggressive in my marketing is a positive step. Hopefully the economic climate will improve but I'm not going to wait around for that to happen.

Point Mugu Painting

2011-08-05T13:02:00.000-07:00

Coast at Point Mugu

Yes, it is true that every part of the USA has its own appeal. From Maine to Hawaii, each and every state is unique and lovely but as a transplant from the east who lives in California, I can't help but continually extol its amazing beauty. Driving into Point Mugu State Park, the first thing Marian Fortunati, Diane Gold and I noticed was the amazing color of the water. The turquoise water was electric. Exploring the immediate area I found the destroyed remains of an old highway that wove around the rock at the ocean's edge. The sea had undermined its foundation casting the broken concrete and rock down the cliff into the ocean 100 feet below. So much for man's dominance over nature.

The surf was very large and the relentless pounding of the waves, reminding me how fragile our hold is over the forces of nature. We continue to pretend we are in control, but the truth is a far cry from that egocentric thought. Watching a particularly huge wave come in and cover most of the rocks I was painting, I couldn't help but be awed. It was glorious.

I painted Coast at Point Mugu with abandon, only stopping to talk with several people who expressed interest in my work. I had forgotten my own recommendation to always take a box of paintings with me, just in case. The day was so amazing, I didn't even let that dampen my euphoria.

Starting with a Great Composition

2011-08-02T20:41:00.000-07:00

Green Shudders

Later this month I am looking forward to doing my first demonstration at a local art club. I was very flattered when approached by the scheduling chair but the job does come with some anxiety. I have started to think about what I will talk about and how to approach this assignment. My thought is to start by explaining how I begin a painting project. My first consideration, and one of the most important, is the composition.

Several books which I have studied give comprehensive theories of composition. The examples in both books are from the perspective of a traditional artist but are easily translated to all categories of art.

The classic, "Composition of Outdoor Painting" by Edgar Payne discusses the varies structures which make up a good composition; Circular, Triangle, Cross, Steelyard, etc. With the simple sketches, each example is easy to understand. I am again reminded how every decision about your painting should be designed by the artist. Don't wait to find a perfect scene in nature but instead design the painting to be perfect on your canvas. There are many great tips on how to do just that in this book.

For a very practical view try "Mastering Composition" by Ian Roberts. Down to earth and organized this book has great illustrations. It gives concrete examples and problem solving methods with real advice on how to improve your compositions.

I often work from my photos but rarely am I satisfied with the original. Before starting the painting, I work out the composition on Gimp, a free version of PhotoShop, until I am satisfied. I will enhance the colors, crop the image, sometimes even flip the photo. Here is the original photo of a side street in Rome on the left. On the right, is the cropped and manipulated photo for my painting "Green Shutters."

The composition is the backbone of your painting. Therefore it should be analyzed, considered and perfected well before ever taking a brush to canvas. This is true for every painting of every subject whether a landscape, still life, portrait or abstract. Design the painting from the start.

How to Grab Success from Failure

2011-07-29T09:10:00.000-07:00

Among the Rows

Every job has problems, but how we solve them makes the difference between success and failure. I learned that from a mentor when I was a fashion designer in New York. This idea also applies to my art. I am fraught with anticipation when I begin a painting. It holds the promise of being the best I have ever painted or the disappointment of a failed attempt. Numerous factors play into the success of a painting starting with the subject.

I took a day trip to Camarillo to find inspiration for the "California Bounty" show at La Galaria Gitana. It started out badly with a typical morning in June gloom. It is a condition which makes everything white. Not to inspiring so I stopped for lunch and by 2 the clouds where parting with the sun breaking through. With the weather cooperating I started an afternoon painting which eventually turned into a mess. I had experimented with a gesso board and hated the slick surface. After wiping down that painting at 4, I was thinking the day had been a waste but I pulled out a tried and true 8x10 canvas and completed a little painting (Orange Grove in the Late Afternoon) before the sunset. As I was driving out I noticed that the sunlight was the prettiest of the day. I took lots of photos before the sunlight faded to twilight. "Among the Rows" was painted from those photos. Despite my rocky start, that day yielded two paintings for my upcoming show. Even failures have the possibility of success if we persevere.

Painting from Different Angle

2011-07-28T08:22:00.000-07:00

Vineyard Silhouette

I have another exhibition coming up, so I am in the process of working on the paintings with the theme California's Bounty. The logical subjects should include plenty of oranges, still life paintings of fruit and some farmers markets thrown in. I am approaching this theme through my love of landscapes and will be exploring the bounty of the land and sea so hope I will be a little different.

This lovely vineyard nestled against the mountains was found during one of my road trips. The trees planted for a windbreak perfectly silhouetted the grapevines. I screeched to a stop, backed up into the driveway and got out to paint. I took several photos trying to find the right angle but could only find this upward view from the road. I do not recommend setting up an easel on the road. That is a no, no. So I didn't paint this plein air but instead stashed the photos to my computer only to take it out last week for "Vineyard Silhouette."

How to Improve a Painting

2011-07-22T08:34:00.001-07:00

Side Door at Carmel Mission

I have come to realize that whether painting on location or in the studio there are unique challenges to both. For several weeks I have been working on my series, The Great Art of Doors, for Gallery Elite in Carmel. It has been fun, frustrating, exhilarating, boring, easy, difficult and of course a learning experience.

I thought that "Side Door at Carmel Mission" makes a wonderful example of how a little extra effort can transform a painting. Below is a photo taken after working on this 24x24 work for about ten days. I liked it and thought I was nearly finished but the response from the gallery was not as enthusiastic as I had hoped. This led me to examine the painting more carefully and I soon realized that there were several areas I could improve.

Here is a list of changes I made. It is interesting how one change triggered the next.

First I darkened the side where the Bougainvillea comes up along the wall.. I didn't just add a darker adobe color, I also played with adding blue shadows.
After that change, I decided the entire building needed a small color change so I glazed the wall with a burnt sienna mix.
This made the green plants on the other wall too prominent so I then darkened those plants.
With that change it became obvious that wall behind those same plant needed to be changed so again I added both a darker adobe color and blue shadows.
That led to the corner of the building above the door needing to be darkened also.
Now that I had more cool colors in the painting, the ground in front of the door looked too blue so I then added a putty color and a few more detail elements thrown in.
Almost finished, I added some pure red color to the Bougainvillea to make the flowers pop.
The final touch was giving the door knob a stronger highlight.

A critical look resulted in a much improved painting (see top photo). Happy with the changes, I sent the work off to the gallery yesterday and am hoping that someone will see all the thought and care which I poured into this piece.

You can purchase "Side Door at Carmel Mission" from Teresa at Gallery Elite in Carmel by phone 831-625-2233 or send an email to teresa@galleryelite.net

Your Opinion Counts

2011-07-18T22:57:00.000-07:00

Rest Stop

I have submitted a few articles to Empty Easel and they have previously used one of my pieces, Your Art Will Never Improve...Until You Embrace Change, in there weekly newsletter. Another will be published this Tuesday, July 19th in the art opinion section.

Tuesday in Art Opinion - When an artist does multiple paintings or drawings of a single scene, and sells them separately, what do the collectors think about it? Sharon Weaver was curious, so she made a point to ask. . . and she’ll share what she found out this Tuesday.

With so much talk about how to promote yourself and your work I think this is a no brainer. The last time my article appeared on the Empty Easel site I saw a very nice spike in the number of hits to my website so if you have something interesting to say, try submitting to an online art forum or art website. It is an easy way to get your information in front of a whole new group of potential clients.

Hangin' at the Mini Mart Sold

Off to the Gallery

2011-07-10T22:59:00.000-07:00

Friday, after completing the involved process of packing up three studio paintings, I finally shipped them to the gallery. I signed the finished paintings yesterday and this morning sprayed a workable varnish over the mostly dry paintings. I am very encouraged by how the paintings looked in their new frames. The group is coming along well and I am hopeful that the buyers will have the same reaction.

But how can an artist maximize the likelihood of sales when there are limited customers who have less disposable income? Wouldn't it be great to know what the buyers want even before you start to paint? Can a successful artist pick subjects that collectors want thus boosting the likelihood of a sale? I am not sure about other artists but I have noticed that buyers are responding to the paintings which I have a real connection with. I worked in retail and often observed that when an item attracts multiple customers over a day it will often sell. Even if the piece has been sitting in the store for months the attraction of one customer seems to pull other buyers to it. Is there an intangible attraction to a painting triggered by the artist's feelings about that painting? They say that attraction is what holds the universe together. Some people even call that attraction love. So maybe, just maybe the secret ingredient to selling is love.

Afternoon Glow, 24x20, Oil

If you are interested in owning Afternoon Glow contact Teresa at Gallery Elite in Carmel at 831-625-2233 or email her at teresa@galleryelite.net

Studio Painting

2011-07-05T23:25:00.000-07:00

Faded Door, 11x14, Oil

I apologize for my inconsistent blogging lately but have been working on a group of paintings that I need to complete as soon as possible. I hope all my readers from the US had a great 4th of July celebrating with family and friends. Painting in the studio these last few weeks, I has been a little claustrophobic but I still have two more to complete so I will be in my studio for another couple of weeks.

I thought I would give you a sneak peek of what I have been up to before I send them off to Gallery Elite in Carmel. It has been a great experience working on a theme, while still making sure that each individual painting stands on its own merit. I have always had a soft spot for architecture; specifically doors so when I was asked to paint a group of doors I knew it would be a rewarding and fun experience. I have taken several studies and used them as the starting point for two of the paintings.

Faded Door (above) has always been one of my favorite compositions and the predominantly warm colors of the painting radiate the warmth of summer. I refined the stairs, improved the grist wheel and added the flowers to the larger piece. Liking the original painting as much as I did, it took several passes and a lot of thought to improve on the study but I finally achieved my goal.

Faded Door at the Mission, 16x20, Oil on Linen Panel

If you would like to own Faded Door at the Mission please contact Teresa at Gallery Elite, San Carlos, between 5th and 6th in Carmel, California at 831-625-2233 or through her email at teresa@galleryelite.net

Plein Air Painting Can be Dangerous

2011-06-30T08:55:00.000-07:00

Painting in Belgium

Recently I received a comment from an artist in Belgium, that is Martine in the red parka below, who has started a plein air group. Her reference to bad weather and my recent rain at Los Gatos has me thinking. It is so wonderful that I live where I can paint outside all year round. Actually the best time to paint outside in Southern California is in the winter. The light is very much like Italy at that time of year.

I am ashamed to admit that I haven't been plein air painting since the Los Gatos Plein Air Exhibition earlier this month. I love being outside, seeing the lovely scenery, talking with other artists and experiencing the thrill of a new creation. After seeing photos of the amazing scenery around Brugge (see the castle above) I am even more inspired to get out there.

I haven't been able to venture out because I have been working on several studio pieces but even when working at home I will roll my easel out onto the back porch to paint. Luckily I have this option since my studio is tiny, dark and hot. The porch is covered and faces north so the lighting is wonderful. With the longest day of the year just behind us, I will often paint out there from 9 to 6 and then only stop because I just can't keep standing anymore. I know some artists who sit when they paint but I have to stand. I am always moving around the painting, stepping back, comparing shapes, checking perspective.

But this practice of roaming around my canvas can cause problems. One specific time comes to mind. I was painting on a jetty and became so caught up in the moment that I forgot where I was. I stepped back to take a better look when the person next to me grabbed my arm. I had backed up to the very edge of the walkway and would have fallen four feet to the rocks below with one more step. Scared the heck out of me. For this reason, whenever I am painting outside I make sure I have some space to roam or I always have a friend nearby to grab me. So get up and get outside to paint. Find a group to paint with or like my blog pal in Belgium form your own plein air group.

Martine at First Plein Air Outing

More from Idaho

2011-06-27T19:55:00.000-07:00

I finally have a moment to review my notes from my trip to Coeur D' Alene, Idaho. I try to review my notes from a demonstration while it is still fresh in my memory, but this is the first chance I have had since my return home to look through everything. Yet another distraction, this last weekend was my 7th wedding anniversary (Yeah!) so I was busy celebrating on Sunday with my husband, Jeff.

First, I want to thank the Oil Painters of America for organizing fun events, informative discussions, and enlightening demos for all the attending artists. I was very impressed with the caliber of work that was at the show and with Devin Gallery. The owners enthusiasm was catching and the opening night electric. Many of the artists took the opportunity to paint the natural beauty of the area while they where at the show.

The highlights of the event was the demonstration by Scott Christensen. We were asked not to post any photos from the demo but I wanted to write about a few insights.

1) Mix the colors first. This will establish the key of the painting before ever picking up a brush.

2) The most common mistake made when painting outside is making the darks too dark.

3) Design the painting.

4) Establish interior and exterior lines. An example of an exterior line is the sky line. Keep it varied and interesting.

5) In painting, overstatement is weakness; reserve is strength.

6) The lights become darker and redder as they recede(think about this one for a minute) into the distance.

7) Darks become lighter and bluer as they recede.

Scott first uses a lovely range of neutral grays and browns. Then he adds colorful highlights. His subtle grays make up the majority of his paintings. In the past, I decided that my paintings were too neutral so I started applying more color first and later adding neutrals if needed. There is nothing to compare with actually doing what a teacher says, so I am going to have to try Scotts methodology. The first painting could be a dull disaster but there will be lots to learn and experimenting is always an adventure worth the risk of failure.

Words to Remember

2011-06-23T13:04:00.000-07:00

I tried to blog last night but after about a half hour it suddenly disappeared and I had to get to bed. I just left Coeur D' Alene today after attending the Oil Painters of America National Juried Exhibition in Idaho. After the critique and seminars, I will be on the road for a few days driving back to Los Angeles, about 1200 miles, so it will be a tough couple of days.

I wanted to let everyone know that I had a wonderful time meeting all the other artists, seeing the Scott Christensen demonstration and taking in the sights of scenic Coeur D' Alene. It was an exceptional time with so much great feedback from everyone. Having my work included with so many accomplished artists was an exhilarating experience. One that I will never forget.

A few things that I heard many times.

1) Artists who have a support group with other artists are much more likely to succeed than those who do not.

2) Design your paintings. Design the shapes, design the colors and design the edges.

I will be back to normal soon so until then, "Paint the good fight."

Plein Air: The Struggle Continues

2011-06-16T16:55:00.000-07:00

Neither Rain, Nor Sleet

We were all looking tired on Friday night at the reception. That is not unusual after painting for three days straight but this was different. Rain had come where it never rains in June, Los Gatos. The inclement weather tested everyone's abilities and made us push beyond the usual formulas and practiced responses. I know I was not only physically tired but also mentally spent. Every painting introduced a complex puzzle which needed to be solved. I often had to stop painting due to rain and go back another time when the light had completely changed. Despite the challenges, I thought the paintings produced by everyone were fantastic and the show was a great success.

I sold my painting "Sunset in Downtown" (above) at the reception and "Vasona Reflections" sold on Saturday under the big tent which sheltered us all from the rain.

"View from Donkey Hill" is my personal favorite and was the only one that was painted while the sun was actually shining. I found out about this spot from a local who was walking his dog. I had driven into the hills around town then asked if there was a lookout nearby. "Sure, go to Donkey Hill down the road. At least that is what we call it. Park here and walk down to the dead end. There's a gate that says No Trespassing but don't worry about that. Just go on in and hike around to the other side and then up the hill."

View from Donkey Hill

I did and was rewarded with a great view but it was cloudy and getting dark so I could only hope for a sunset when I could paint there. Luck was with me and the next day the sun came out at about 5PM and I sprinted up the hill, setup, and finished just as I lost the sun behind the hill.

2011-06-09T08:57:00.000-07:00

Curves Ahead SOLD

I have tried to paint in the rain before but have found that once the canvas gets wet the paint will not stick to it, so today with the rain in Los Gatos I wasn't very motivated to paint. I know some artists will paint under the back of their SUV, but I have a regular old car. I would like to paint indoors but I am not familiar with Los Gatos so I don't know where to go. What a dilemma.

I procrastinated as much as I could until after lunch and drove up into the hills where there are wonderful old Victorian homes. I set up my easel so I could sit in the car. I hate to paint sitting so this was a last resort but at least I was out of the rain and with an umbrella, so was my easel. I had found a road with a lovely row of eucalyptus trees that I thought would work even with the moody lighting. The painting came out OK but during my struggles, one of the local home owners came out to see what I was up to and we talked a bit. She asked if she could look through the paintings I had brought with me and picked one, "Curves Ahead" and decided to buy it. Thank you Alison and Parvez for starting my trip with a bang and making a very challenging day end on a high note.

There are several lessons to learn from this experience.

*Always take a box of available paintings where ever you go. If someone wants to take a look you have them with you.

*Be open to talking to people when you are out painting. You never know when the opportunity will present itself to make a sale and meet a new client.

Award for Best of Show

2011-05-27T09:02:00.001-07:00

Hangin' at the Mini Mart

So far this year has been amazing and now I can add a Best of Show Award for my painting Hangin' at the Mini Mart at the 2011 Spring Exhibition at Gallery 800. Even better the painting sold opening night. I was happy to meet the new owners and see how excited they were to own this painting. Three is a charm because I also received 2nd Place for my painting Dana Point Harbor Boats. You can see my award winners and the rest of the wonderful art in this show until June 11.

Dana Point Harbor Boats

I hope everyone enjoys the long weekend coming up and have a wonderful Memorial Day. I will be on my way to the Los Gatos 2011 Plein Air Competition which is showing June 3 and 4. After that show, I will be driving up north to Coeur d' Alene, Idaho for the reception of The Oil Painters of America 20th Annual National Juried Exhibition at Devin Gallery. My painting Morning Hits the Rocks will be on display from June 10 to July 9. I will try to keep posting during my two-week trip but with so much going on I am not sure when I will be able to blog again.

Learning How to Mix Colors

2011-05-23T21:07:00.000-07:00

Chart with Lemon Yellow as the Base Color

This is another of the color charts which I did before I left for Carmel. I am completing the exercise as recommended in the book Alla Prima by Richard Schmid. I used Lemon Yellow as the base color in this chart. Starting with the top row I combined Lemon Yellow with a lesser amount of another color from my palette. From top to bottom, white is added to the mixture the same way I did with the original chart (see Steps to Understanding Color.)

Before completing this chart, I never used a lot of Lemon Yellow in my paintings, but as I worked with the different combinations I realized that the soft peach and green colors were perfect for many of my spring paintings. I used much more Lemon Yellow when I painted Trail to Echo Mountain and the recent paintings I did in Carmel have Lemon Yellow mixed throughout.

Only having completed a few of the charts, I have already noticed a difference in my use of color. Working with each color expands my understanding of that color and how it interacts with every other color on my palette. I think this guy Richard Schmid knows a thing or two about painting.

Are all Quick Draws Stressful or Is It Just Me?

2011-05-19T08:52:00.001-07:00

Afternoon Clearing

The just-completed Carmel Art Festival 2011 was a charmed trip but it was not without some self-inflicted stress. With every plein air competition I feel a certain amount of anxiety; getting all my supplies together, wondering what the weather will be like, if I will paint well or be off my game. I worry about the long drive and dozens of other things which can make or break the event.

Happily, this time my stress for naught and the event couldn't have been better. I even won an Honorable Mention award, but I soon realized that this honor comes with a price, the dreaded Sunday morning Quick Draw. The canvas must be stamped at 8:30 AM; then I must get to the painting spot, paint, pack up, frame the painting and drive back to the park by 11 AM. That leaves about 1 1/2 to actually paint. Yikes. Now, I usually can paint a nice little 8x10 in about 2 1/2 hours, but that is all painting time so this would be tricky.

The other problem was the weather. Rain was in the forecast and sure enough that night it came down so hard it woke me up at 4 AM. After that rude awakening I couldn't get back to sleep. Would the Quick Draw be canceled? My chosen location on the beach would be an impossible place to paint in the rain. Could I find a courtyard or overhang to protect me? No, there wouldn't be time. Oh no, I forgot to get a wake up call and the alarm isn't working. Now I'm afraid if I do fall back to sleep I will over sleep. Aughhhhhhh!

The next thing I know, I jerk awake and look at the clock. Did I over sleep? No. It's 7:10 AM. By some miracle I woke up without a wake up call. I sprint to the window, pull open the drapes and amazingly, the sun is shining. Yea! I even have time to go down to the beach and set up my easel before driving to get my canvas stamped.

Painting the beach for a second time (see Afternoon Clearing above, painted Wednesday night and available for sale) is actually fun and I stop at around 10:30 AM, pack up, frame the painting, drive over to the park, wait for a parking space and run to the park just as two other artists are arriving. The painting sells at the auction in the park just before it starts to rain.

Now, I wish I could say that I learned something from this. I hope that the next time I am faced with a challenging situation I will remain calm, confident and assured... Hey I can hope.

Carmel Art Festival 2011

2011-05-17T17:19:00.001-07:00

Harbor Reflection SOLD

Sometimes things just click, sometimes happenstance leans in your favor and sometimes luck is on your side. My trip to Carmel was a trifecta of all these things and more.

I returned Sunday night after a hectic, creative 5 days at the Carmel Art Festival. This is the third year I have been juried into the plein air event but it is the only year when the sun was shining on both of the painting days. The bright light added a lot of color to all the paintings, making this years selection outstanding.

The highlights of my trip included an Honorable Mention prize for Harbor Reflection (above). The judge was Jean Stern, who is the Director of The Irvine Museum. I wanted to thank Jean for being so generous with his time and talking with me about my work. I am honored to receive this recognition. But the good times didn't stop there. Harbor Reflection and Playtime at China Cove both sold on Saturday with a bidding war pushing up the selling prices. A special thanks to all the people who bid on my paintings and congratulations to the new owners.

One of the local artists was surprised that I had painted China Cove. It seems that the road and path to China Cove had been closed for major repairs so no other artist even tried to paint there. My ignorance of that closure ensured that my painting was the only one of the recently open Point Lobos. Just one example of my good luck this trip.

A perk which comes with an award is painting in the Quick Draw....but I'll save that adventure for my next post.

Carmel Art Festival 2011

2011-05-09T16:41:00.000-07:00

Stand of Eucalyptus SOLD Painted at the Carmel Art Festival 2010

I am off to Carmel on Tuesday for the Carmel Art Festival 2011. Preparations are in full swing and I will be loading up the car soon. It is the third year I will be taking part and I am looking forward to the challenges which are unique to a plein air competition. My car will wind up stuffed with canvases, frames, paint, books, suitcases, food, portfolios, turpentine, brushes, laptop, and anything else I may need in the two and a half days of painting.

I always look forward to seeing the other artists, clients and of course the wonderful scenery that surrounds Carmel. The weather can be hit or miss with June gloom always a possibility at this time of year. I know it will be cool during the day and cold at night so I've got my long johns and heavy coats too. When standing in one spot for hours painting it is easy to be chilled to the bone.

I need to produce at least two paintings in two days but I usually try to get four completed by Friday evening. The Carmel Art Festival 2011 website will have all the paintings available through an online silent auction on May 14. I'll try to post about my adventures on the trip but if not you'll hear from me next week.

Marketing Your Art at Art Fairs

2011-05-07T12:10:00.000-07:00

Hangin' at the Mini Mart

I recently read an article in The New York Times which talked about the appearance of more and more art fairs sprouting up all over the country. (Read here: Art Fairs Spring Up All Over this Month.) It started me thinking about the continuing shift of responsibility to the individual is affecting every artist. We are constantly reminded of how empowering the Internet is for artists. In theory, our work can be seen by thousands, potentially millions of people. It is great "exposure." (See the article in FASO newsletter titled "Exposure: The Ugly Myth.") Enter artist websites, blogs, newsletters. The "exposure" is good and I enjoy it, but sales don't automatically follow.

Next I hear that galleries aren't what they used to be. Many are closing, most are just trying to weather a slow market and maybe an artist shouldn't even bother with a gallery. After all, who can sell my work better than I can? Enter art fairs. Now the financial and marketing responsibility have completely shifted to me. There are all kinds of art fairs, from neighborhood sidewalk shows to large convention center extravaganzas. Some of the larger art fairs will attract galleries but many share the idea that the artist pays for the space and sells their own work. The business of art is now completely the responsibility of the artist. Some artists will like this idea and enjoy being in control of their own career. Others will be intimidated or not have the resources to jump into this arena. It is a dilemma which only adds to the stress and pressure of being an artist.

How do you feel about art fairs? Have you had success and is the effort, time and money worth it?

Painting in the Haunted Forest

2011-05-04T21:34:00.000-07:00

Trail to Echo Mountain

Doesn't everyone love a good ghost story? That is what I found by going north on Lake Street in the San Gabriel Mountains to the entrance of the Cobb Estate. The trail-head is through the iron gates and past the haunted forest. "Reports of hauntings at the Cobb Estate are wide-spread," is what Los Angeles Ghost Patrol said about the estate. They investigated the location in November of last year. Following is just a sample of what happened.

"We heard footsteps approaching down the road and when Carol grabbed the camera there was nothing there. Then the footsteps were heard near the stairs moving into the area of the house. At this area in the park we were positive that these footsteps were not caused by any human visitors. In the middle of all this, Tyler’s flashlight died even though he had put in fresh batteries. After Tyler asked a direct question about whether they wanted us to leave and I began to walk up the steps, we got the strongest KII hits of the evening. It was pretty amazing." To read the entire account of their experience at the Cobb Estate go to Haunted Forest at Cobb Estate.

I didn't know about this when I suggested to Marian Fortunati that we paint at the Cobb Estate. After we took separate paths to look around, we wound up painting right next to each other, which is unusual for us. Maybe we sensed something odd about the area or maybe it was just a coincidence. Anyway, we walked away without seeing any ghost and with two good paintings. Of course, we were there during the day not at night.

How to Understand Color

2011-05-01T18:02:00.000-07:00

Color Chart 1

I recently had the good fortune to meet Richard Schmid the author of arguably the best book on painting, Alla Prima. Meeting him started me thinking about how I had always wanted to do color charts but alas never have. It is one of those things which is easy to put off but which I know would help my understanding of color so I decided now was the time and last week I actually started on making up color charts.

Above is the first and easiest. It is just color straight out of the tube mixed with white. It is a five step value chart from top to bottom. I have added a few of my favorite colors which are not in Richard Schmid's palette. I am also trying a few of his colors which I have never used before. Here is a list of the colors as they appear in the chart.

1) Lemon Yellow

2) Cadmium Yellow Light

3) Cadmium Yellow Dark

4) Yellow Ochre Light

5) Cadmium Orange

6) Cadmium Red Light

7) Terra Rosa

8) Alizarin Crimson

9) Transparent Oxide Red

10) Cobalt Violet

11) Ultramarine Blue

12) Cobalt Blue

13) Cerulean Blue

14) Viridian

15) Sap Green

16) Cadmium Green Light

Mr Schmid's chart has fewer blues and greens but I love the cool colors so I have added several on that side of the chart. Ultramarine Blue, Cobalt and Viridian are the three cool colors we both use but Terra Rosa and Transparent Oxide Red are from Richard Schmid and I have never used these before. I see that they are the most neutral in the chart with a lot of brown in them. It will be interesting to see how these two colors mix with all the others. I also notice that there is a lot of repetition of color on the cool end of my chart so maybe after this exercise I will have to admit that I can eliminate some those blues and greens that I love so much.

Published Article on EmptyEasel.com

2011-04-27T08:44:00.000-07:00

Morning Hits the Rocks

I am always looking for alternate ways to bring people to my site and blog. This week I got a big boost from EmptyEasel.com. If you are not familiar with the artists website, EmptyEasel.com, it has a lot of interesting articles, discussions and photos. A few weeks ago I submitted my blog, To Change or Not to Change, which I posted here on 4/2/11. It was published on EmptyEasel.com and featured in their newsletter. They edited the original blog post and improved the content and title to Your Art Will Never Improve...Until You Embrace Change.

You can try having your articles included on the website by submitting them to EmptyEasel. I guess they don't inform you if your blog is published but I found my article while reading their newsletter so sign up for that while you are there too.

Afternoon Light

2011-04-23T08:34:00.000-07:00

Orange Grove in the Late Afternoon

The light in the afternoon effects the colors of a landscape very different from morning. The morning light casts blue shadows and there is a lot of yellow in the sky which is reflected everything. But the late afternoon light is very different, tinting the world in pink and purple. I have been painting almost exclusively in the morning so I needed to paint some afternoon light.

I decided to paint the farms in Camarillo since I was driving out that way to drop off some paintings. I found the prettiest farm nestled against the mountains ridge. After taking hundreds of photos, I set up to paint a 12x12 gesso board. I am so glad I tried this before going to Carmel because I found the board very different to work with and not in a good way. The uncontrollable paint slid around the slick surface like greasy spaghetti sauce. I struggled with it for about 2 hours in complete frustration and eventually wiped the entire mess off.

Luckily, I was carrying a little 8x10 linen panel with me so with a few hours of remaining sun I started another painting. The difference was amazing. The paint spread onto the canvas with a smooth and creamy texture. I realize many artists use these smooth surfaces to paint on but I discovered, I am not one of them. I like the texture of linen and the way paint sticks to it. If anyone wants two 12x12 gesso boards I'll sell them to you cheap, just for the price of shipping.

April News

2011-04-19T10:52:00.000-07:00

Take Time to Smell the Jasmine

I have a jasmine plant on the side of the back porch. It is a wild plant that sends clinging vines skyward, trying to overgrow the porch roof. Every spring it produces thousands of light pink flowers and a cloud of fragrance. Even with the door closed, the smell of jasmine lingers in the house. That smell is sometimes overwhelming, especially on warm days when I have the back door open to catch a breeze.

This spring, with so much rain and snow, the local flowers have formed a mosaic of colors. At Big Bear the lake is filled to the brim and they released water downstream for the first time in 15 years. I can only hope that the drought in Southern California is over.

Helping Charities in April

Arlington Garden Fundraiser

April 30, 2011 from 9:30 to 2 PM

Jasmine at Arlington Garden

Arlington Garden in Pasadena is an oasis where your stress will fall away in the quiet splendor of the spring blossoms. Every step into the park reveals more beauty. For the second year they are sponsoring a fundraiser for the park where you can purchase images created of the garden by local artists.

Dreams on Canvas

April 30, 2011 from 5 PM to 9 PM

Beached in Long Beach

This annual fundraiser benefits the A. Richard Grossman Burn Center, S+AGE, and Circle of Care Leeza's Place.

Four Seasons Gallery - Four Seasons Hotel

818-817-3288

2 Dole Drive

Westlake Village California

http://www.thecircleofcarefoundation.org

Just Off the Easel

Sailboat at the End of the Dock

My recent obsession with boats continues as I enjoy the warm weather at the marina. Painting with friends in the California sun - believe me, it doesn't get better than this. See my latest creations at Just off the Easel. This feature makes it easier for you to find my new paintings, so come back often and see what's new.

Carmel Art Festival 2011
May 12 - 15, 2011

Morning on the Rocks
This is the third year I have been juried into the
Carmel Art Festival. The festival includes the
Plein Air and Sculpture-in-the-Park events,
as well as a Quick Draw by the winning artists,
and Kids Art Day. It is coming up,
and I hope you can join me in
Carmel-By-the-Sea.

My Newsletter: Sharon's News

If you know anyone who would enjoy my newsletter, email a copy to them or you can subscribe immediately at Sharon's News
Sharon Weaver Fine Art - Available Works are all for sale
Click here to go to the portfolio of Sharon Weaver or
click on contact Sharon

Goodbye until next month.

Painting Spring Flowers

2011-04-15T11:51:00.000-07:00

Jasmine at Arlington Garden

A vacant lot abandoned by the city of Pasadena was transformed by local residents into an amazing garden. This project is an inspiring example of how a group of extraordinary people came together with the city of Pasadena to do something incredible; Arlington Garden.

It is spring in the garden and there is a colorful burst of irises, poppies, jasmine, and many more flowering plants throughout the grounds. The beauty of the garden is just the beginning. It is designed as a water wise garden with the Mediterranean climate of Southern California as its guide. Many plants are native to the area and most demand little water.The grounds include fountains, seating areas, Roman columns and architectural features, cacti, sculptured shrubs and so much more. Today as I was painting, walking on the many paths, enjoying the beauty around me, I couldn't help but enjoy this oasis in the middle of town.

Last year the local residents organized a fundraiser. Artists were invited to sell their paintings of the Arlington Garden with a percentage going directly to the maintenance and care of the garden. Back by popular demand, they are repeating the event this year and I will be showing my paintings along with many other talented artists on April 30 at the Arlington Garden at Arlington and S. Pasadena Streets in Pasadena from 9:30 AM to 2:00 PM. Come out and see the profusion of spring flowers while they are in their glory.

Artists and Thieves

2011-04-13T21:36:00.000-07:00

"Good artists borrow. Great artists steal." - Pablo Picasso

A controversial statement, certainly, but I interpret this in a very different way than the common wisdom. I don't think Picasso was talking about stealing someone else's ideas. I believe he is revealing the intangible ability which sets some artists apart. That ability is to own the object that they are painting. He is not just borrowing a model's image; he steals it and makes it his own.

All great artists see the world in a unique way. They have stepped across an invisible line which separates them from other artists. They see an ordinary object, but in an unusual way that transcends the ordinary. They have an idea. I think the best ideas are simple alternatives to solving the same problems that artists have faced since the first cave-person etched a stick figure onto a stone. The best ideas are the ones that have me wondering, "Why didn't I think of that?"

In my last blog I talked about inspiration and how to train my eye to see beauty in everyday things. But there is one further step to take. If I want to stand apart from the many artists who are talented, driven and determined, I have to be unique. When approaching a subject, it is just not enough to paint well or get the perspective correct. I need to digest the subject and make it mine. I need to own it and translate that ownership into the painting.

Who knew thieves and artists had so much in common?

Maximizing Inspiration

2011-04-09T14:50:00.000-07:00

I see something which gives me pause. The light is hitting the rocks in just the right way to inspire me. I decide to set up to paint. In a perfect world I would be filled with inspiration every time I paint. My vision would flow easily onto the canvas without any struggles. But I don't live in a perfect world and there are times when my muse is missing. Inspiration is a fickle thing to base a career on, but as an artist that is my choice. When I paint, if I am not inspired there is a very good chance that the painting is not going to be worth the effort.

So my goal is to maximize the times of inspiration. It can be easier to find inspiration in a beautiful garden, a spectacular location or a portrait of a lovely young woman, but these are all obvious icons of beauty. As an artist, I need to look beyond the picture postcard ideal and see something more. Finding beauty in the ordinary is a transforming ability, not easily achieved. Holding onto that ability, to see beauty in the ordinary, is even more difficult and takes constant practice. I am always forcing myself to see shapes that are interesting, the colors in the shadows of a building or the complimentary contours of an ordinary face. Training my eye to see beauty, even in an unattractive street scene when I am stuck in traffic or in something as unappealing as a trash can, helps me to maximize the times that inspiration strikes. Yours can increase too if you start to practice the art of seeing beauty in the ordinary. Train your artist's eye to see in a different way. My goal is to find inspiration anywhere and everywhere.

Painting Boats is Fun

2011-04-05T21:38:00.000-07:00

The Sailboat at the End of the Dock

In case you haven't noticed I have been having a lot of fun painting boats, so I convinced fellow artist Margie Murray to go to Marina del Rey to continue the party. Spring is officially here and the day we went out to paint was warm and sunny. It took two stops to find what I was looking for but the local docks provided some wonderful afternoon shadows and fun reflections in the water. I spotted The Sailboat at the End of the Dock and set up right in the parking lot.

The sunshine highlighting the blue top of the boat, caught my attention but it was the tall mast and its mirror image in the water that changed how I cropped the scene. Experimentation sometimes works but sometimes not. I painted the park across the water and blocked in the colors of the harbor, but it wasn't till I painted the sailboat that I knew that the painting would work. Boats are quickly going to the top of my list of favorite things to paint.

To Change or Not to Change

2011-04-02T08:51:00.000-07:00

Change comes in many ways. Some changes we seek while others are forced upon us. Many people find change a frightening prospect. Some welcome or even seek it. But all would agree that change is necessary if life is to improve.

As an artist, I make a real effort to be open to learning and to change. The ongoing quest to improve my work makes change an essential element in my painting approach. My desire to improve compels me to enroll in one major workshop a year. I can travel long distances, pay a fee and incur the cost of hotels and meals, all to glean some wisdom from a master artist. I first look for an artist I admire and enter these workshop with the attitude that I am a sponge. I try to leave preconceived notions at the door. The less habitual behavior I take into the class, the more I learn. Anyway that is what I strive to do.

Inevitably there is at least one artist in attendance who has no intention of learning anything new. Every workshop has one of these students. He doesn't listen or try to execute any of the lessons as the instructor intended. She looks at the scenery, doesn't take notes and is bored. I have talked to these artists and noted one consistent trait: they are not willing to change. Why they bother to enroll in a workshop isn't clear, but further discussion has revealed something else. They want to be the best artist in any group they paint with. Now, I never want to be the worst, I have my pride and ego too, but I also want to paint with some artists who are better than I am. Their talent pushes me to work harder as I try to rise to their level. They inspire me.

I was just reading the article on Scott Christensen in the Spring edition of PleinAir Magazine. Scott talks extensively about his process and describes how his paintings evolve. "There seems to be a direct correlation between experience and struggle. The more I know, the more critical I become." "Other people might look at one of my paintings in progress and think it's finished, then the next day they come into the studio and see that I've revised big sections. In order to work to the highest level, I have to be willing to make those hard decisions and do whatever is required to make the painting successful."

The ability to distinguish between what is good and what is better only happens when I am open to change. Improvement can only take place when I allow it to. Trusting that I can improve my painting by destroying it allows me to push beyond my comfort zone. Paint the good fight.

Storm Changes My Idea for the Better

2011-03-30T23:18:00.000-07:00

Storm Watch Below Mount Wilson

I had an epiphany last week while plein air painting with my Thursday group. As I was painting Storm Watch Below Mount Wilson this is what happened.

The weatherman predicted rain in the afternoon so I was prepared for a cloudy day. I found my subject when I noticed the interesting negative shapes between the eucalyptus, shrubs and shed on the hill. I was painting a tree on a hill. Right? Well that's what I thought too. But luck would change that.

As I was finishing up, the entire sky was a water saturated dark grey. Suddenly a strong gust off cold wind separated the clouds to reveal a hole of the bluest sky at the edge of the tree. I didn't think, I just reacted. Scrambling to capture the changed scene, I scooped up some Cobalt Blue and Titanium White on my palette knife and threw it on the top right corner of the canvas. I then lightened the cloud just underneath the sky with White. With wet grey paint underneath, I couldn't go back to refine the shapes. To keep the clean, crisp look, I would leave it untouched from the original palette knife application.

After my frantic painting, I stepped back and realized that the painting was transformed. Without planning it, the painting was no longer about the tree, it was about the storm. With just a few strokes of my hand, the storm now emerged and the tree was only an observer, watching the drama unfold.

What I learned that day is to be open to change. I allowed myself to be flexible and experienced a shift in perspective. Even after working hours to see it one way, only a minute revised my idea. If I had not been open to the whims of chance, Storm Watch Below Mount Wilson would not be as successful.

6X6 Squared

2011-03-28T17:58:00.000-07:00

Rider at Red Rock

I recently painted three 6X6 square paintings for the Randy Higbee show and Rider at Red Rock was juried into the show.

Even before I went to Vasquez Rocks with the California Art Club for a paint out, I had an idea for this painting. The rock formation is a very large, dramatic diagonal shape so it can look strange if completely silhouetted against the sky. I knew I didn't want the composition to show all of the rock so instead I cropped it so that small triangles of sky would appear at the top two corners.

The other problem when painting this geographic formation, is the scale of the rocks. Without any reference point it isn't possible to comprehend the massive size of the rocks. I told George Malone, who organizes the paint outs, that I needed a horse and rider to come by. At about 11:45, as if right out of a movie, two riders came down the road and one made it into my painting.

You can see Rider at Red Rock and many other 6 Inch Square paintings through April at the Randy Higbee Gallery at 120 Kalmus in Costa Mesa, CA.

Painting Roses at the Old Mill

2011-03-25T14:02:00.000-07:00

Tea Rose

Cold or warm, March is the time to paint flowers in Southern California. Sunny or raining if you don't get out while the flowers are in bloom, you miss them for another year.

So I was lucky to be at the Old Mill in San Marino last weekend to see the lovely pale yellow roses cascading down the wall around the back door. Wasting no time, I came back the next day to capture the flowers before they started to fade. The dark wood door and window provided the framework for the painting. The pale yellow of the flowers were a lovely contrast against the bluer green of the leaves. The variety of textures; the ragged wall, the soft flowers, the sharp windows, the shaded back patio of the Old Mill, provided a delightful spot to paint.

Descanso Water Lillies

2011-03-22T15:29:00.000-07:00

Descanso

The Spanish word descanso means rest, relaxation. After spending the day at Descanso Gardens, I confirmed that its name is well deserved. Just inside the entrance, I found a pond with ducks, lily pads and flowers. I couldn't resist walking around to some of the other areas but that first little pond called me back. The colors in the water lilies, the reflections in the water and the flowers on the bank composed a restful scene.
I first applied the dark colors. In the water, you can see that the vertical brushstrokes, then I put in the lily pads and accents using a palette knife going across the darker water. I was careful not to get carried away with the colors in the water lilies; sometimes an accent of color is all you need.
After packing up, I couldn't resist taking another walk. I strolled up the hill to the Boddy House and visited Trish Kertes who is showing her paintings there. On the way down I took a side trip to the lilac garden just to smell the lilacs. Yummmm!

20th Annual Oil Painters of America National Exhibition

2011-03-17T18:39:00.000-07:00

Morning Hits the Rocks

I am very excited to announce that Morning Hits the Rocks has been included in the upcoming Oil Painters of America 20^th Annual National Juried Exhibition of Traditional Oils. The show takes place at Devin Galleries in Coeur d'Alene, Idaho from June 10th to July 9th along with a six day celebration of art which includes painting demos, lectures and gala events.

I hadn't received any notification about the national OPA show (usually not a good sign) but thought I would check on the website to see if the jury process had been completed and the participants announced. Imagine my enormous joy when I found my name among the artists whose work would be shown in this important show. I am humbled to be included with so many wonderful artists and their masterful works.

Dana Point Harbor Boats

2011-03-11T12:12:00.001-08:00

Dana Point Harbor Boats

The ocean is infinitely changeable. As I was posting this painting of a tranquil, sunny day in Dana Point, I could not help but think of the fury unleashed onto Japan by the massive tsunami which hit the coast there yesterday. This image of docked boats couldn't be more of a contrast to that terrible disaster.

The hot sun mirrored the boats reflection as a juvenile heron (I think it is a heron) strolled the quiet dock. He only stayed a moment before taking to the sky in search of a meal. Thinking back to that day I recall the smell of the ocean, the still water lapping against the boats, the sounds of seagulls calling out. After witnessing the scenes of destruction in Japan, I am grateful for the chance to enjoy days like this and thankful for my very good fortune.

Painting Reflections in Water

2011-03-09T12:39:00.001-08:00

Echo Park Reflections

There are some days which represent the essence of a place and yesterday was one of those days in Los Angeles. Marian Fortunati and I braved the morning traffic to paint with the SFVAC at Echo Park. It was warm, sunny and beautiful. The last time I was at this park was for the Lotus Festival about ten years ago. Although now gone, at one time it contained the largest planting of lotuses outside of Asia.

I have been on a roll painting lakes and their reflections so I found a wonderful spot looking toward a finger of land which extended into the lake. With its profusion of palm trees it formed an interesting shape against the sky and that shape was mirrored in the lake. I could also see some of the surrounding city in the background and through the trees. The buildings would add some interesting accents of color.

As I was painting, not only the birds came by to see what I was doing but many locals stopped to say hello and offer encouragement. Packing up I basked in the sun and the unsolicited praise. Thank you LA.

Interesting Shapes

2011-03-07T10:39:00.001-08:00

Deciding what to paint is an interesting process. I recently talked about how I pick a plein air painting as inspiration for a larger studio piece, Painting from a Plein Air Study, but my latest studio work was taken from a photo, not a painted study.

Photos pose different problems and being aware of these issues can improve the final painting. With a plein air study, I have already edited out the unnecessary objects which confuse the composition but a photograph still contains every single detail so try to look past those overwhelming details. Without the luxury of an edited image, I focus on composition and I especially look for unusual shapes.

I remembered a photo I had taken at Dana Point during the San Clemente Plein Air Competition 2009. When I found the photo, it was better than I remembered with a cross armature (see my sketch outlining the structure of the composition).

I loved all the quirky details of the image, the bird, the garbage can, the barrel, the peeling paint but I remembered not to be distracted by the details. Ultimately, it was the interesting shapes that convinced me this would make a wonderful larger painting. A cross armature is a very strong structure and after doing the sketch, I decided the horizontal arm would be even more dramatic using an elongated canvas.

Remember, when picking a photo to use for a larger painting, first consider the composition, look for interesting shapes, emphasize the structure and edit the details.

Beachcomber

2011-03-01T22:17:00.000-08:00

Beachcomber

The final painting I did during the Calvin Liang workshop was of the Beachcomber Restaurant at Crystal Cove State Beach. It is a local landmark and a favorite subject for many artists. I chose it because the colors are so fun and I enjoy painting buildings. I like the hard edges and interpreting the perspective.

It is tempting to paint everything in focus, with sharp edges, but often it is best to let the viewer's imagination fill in the details. Calvin reminded me that the suggestion of a window will create a stronger image than painting the complete shape. On the windows of the turquoise building note how the bottom half fades into the building without any sharp edge. I especially wanted to down play the windows because the shape of the building is what is important. The windows only add interest not structure. This device can be used not only for windows and buildings but also trees, light poles and all vertical objects. Softening the edge toward the bottom of an object is a technique which suggests detail without confusing the whole.

For me the most important aspect of being an artist is to constantly learn and grow. Workshops are a wonderful way to connect with other artists, work on new techniques, improve existing skills and remember misplaced rules. I think of a workshop like an oil change for an artist, it breaks everything up and gets me humming.

Setting a Higher Standard

2011-02-24T12:14:00.000-08:00

I paint plein air often. It is a French term which translates as 'in the air' but the reality is not as glamorous. I carry all my gear for painting oils outside to a remote location and, in theory, create a masterpiece. But yesterday didn't go as planned. I ventured out to paint with a plein air group which meets once a month. The weather was cool but beautiful and I set my easel up in a lovely clearing at the edge of a pool of water. From the start I struggled, but finally at around lunch, I produced a painting which looked something like the scene I was painting. I had fun painting; it wasn't bad but this morning I wiped it down.

Early in my career I rarely wiped away any of my efforts, but in recent years I have become more and more critical of my work and willing to abandon paintings that are not working. I get a perverse pleasure in destroying a painting which I consider not good enough. My joy has to do with the knowledge that I am better than the failed attempt I just destroyed. I know that tomorrow I will paint something I like.

Setting a higher standard for my work has a number of effects. It has helped to improve my painting, I have a sense of satisfaction with the work I produce and I don't have stacks and stacks of bad paintings to store(not possible given the size of my studio). So what is the down side? There aren't any.

I am not suggesting that you destroy every painting you think needs some tweaking, I am talking about the ones which despite your best efforts are never quite right. It is better to move on to something new than waste hours trying to make something work that never will. The trick is in recognizing the difference.

But how does an artist decide if a painting is a keeper or one that should be destroyed? I think the key is to view your painting from a detached perspective. Compare your latest attempt to paintings you love. How do you feel when you look at them and then how do you feel about the painting you just did. If I start to list the things I need to change then I realize this is a candidate for the wipe-down. How many changes are on my list will decide if it is a keeper or doomed.

The first and most important thing I look at is the composition. If I am happy with the composition there is a good chance the painting can be saved, if not it's adios; no exceptions.
Next, I consider the values and colors. How strong are the values and do I like the way the colors are interacting. Again, if I need to redo too much of the painting to be satisfied, I figure wiping it down is easier than reworking the painting.
Is the painting unique in some way? Is it painted in a location I have never been before or one I may never come back to again. Is there something unusual about that specific time? A unique storm cloud, a once in a lifetime event or is it just another painting of a nice tree.

The first time I ever wiped down one of my paintings was painful. I had spent hours trying, without success, to make it work. Every time after that I felt more and more empowered. I forced myself to understand the difference between what works and what doesn't and to act on that knowledge. It is a very important step to take. Being your own critic takes practise but it will accelerate the improvement of your work and who deserves that more than you?

January Bold Brush Contest

2011-02-22T19:02:00.001-08:00

Hangin' at the Mini Mart

I just got the good news that Hangin at the Mini Mart is hangin' with the other great art in the FAV 15% for the January BoldBrush Painting Competition. This is a monthly competition sponsored by the great group who also hosts my website at FineArtStudioOnline.com (FASO for short).

I hope you will take a look at all the winners. There is an overabundance of talented artists who participate and I am thrilled to be included with so many outstanding paintings.

Painting with Neutrals Verses Colors

2011-02-20T13:11:00.000-08:00

Laguna Beach

I recently had an experience which made me think back to the workshop I took with Calvin Liang in November. I have not posted the paintings from that workshop and wanted to revisit that influential experience.

There are many helpful tools which I took away from the workshop, (my other posts are listed below) but I didn't yet talk about how surprised I was by Calvin's subtle use of color. Based on the paintings I had seen by Calvin Liang, I had expected him to paint a certain way. Instead, what I saw was a complicated use of neutral shades. His use of color reflected the subtle shades of the overcast days in Laguna during the workshop, yet his paintings were never dull.

So here is why I am again thinking about my workshop experience. I spoke with another artist who believes that all painting should be predominantly made up of neutrals with only a very small amount of strong color. He went even farther by saying if an artists didn't paint that way the paintings where not any good. I have a somewhat different view. I realize that simply making a painting more colorful is not the answer but a balance of neutrals and color is needed. I don't think either way is right or wrong but that the use of color verses neutral is something which should be considered with every painting. The percentages can shift as I dictate, not because of any set rule. It is a valuable option to add to my toolbox.