WORKSHOP DEMOS

The giant eye is on a 5"x7" bozzetto.  I give workshop participants the option of doing some small practice pieces of facial parts and studies of color ideas before starting their first painting.  This is the demo of the structure of the eye I did showing some ways of introducing color into the area.  The other demo is an example of some interesting compositional ideas.  I like the composition, not very thrilled with the painting.  Worth doing again for a better outcome.  Tomorrow I should be able to make a slide show of the completed student paintings.

CLOSE BUT NO CIGAR!

I don't know where this expression originated but it seems to be appropriate for how I feel about the final results. The color didn't photograph very well and the odd dark shape in the lower right hand corner is the arm of my chair that I used to prop up the painting to photograph it. Still, I think I am on to something with this technique but I am not happy with this image. Her nose is too long, so it ruined the face for me. I think I removed too much of the ink. You can't see the effect of the bleach enough. This will probably see collage or gesso in the future. I think I will do the next one by totally covering the page with full strength ink and draw with a chalk pencil then bleach out leaving more of the ink behind. This painting is a full sheet. I think I will work on quarter sheets until I have the right combination.

Our branch library is closed for renovation, so I returned my books to the main library in downtown San Mateo. When I walked in there were arrows on the floor leading to a Friends of the Library 1/2 price sale. Well, I practically swooned! All the art books were marked $1 up to $3 and then they were sold at half of this ridiculously low price. I decided to be nice and leave a few books for other people. I paid a whopping $5.25 for my bag load of books which included a hard bound 1961 original edition of Faber Birren's "Creative Color". Signed copies of this book are going for $129 but, alas, no signature could be found. Since I already have this book, I will have to find a creative way to pass it on. Any ideas?

2ND BLEACH PAINTING EXPERIMENT

After completing the first bleach painting, I wondered what would happen if I used different dilutions of ink and bleach. That's what this painting is investigating. I let the computer do the hard work and broke the image down into 4 values, printed out the results and used that as my guide. I drew the shapes of the values in with a charcoal pencil and then painted away. This ink is decidedly blue when diluted. I let stage one dry, then went about bleaching out the ink areas. I diluted the bleach about 50/50 and it seemed to work. There was practically no odor, so this is a good discovery. I played around with a little stamping. I can't seem to help myself! I'm not sure if I took too much off or not. Tomorrow I will be sitting at Gallery Concord, so I will take my paints and put the color in. If you are in the area, stop by and say hi.

RUINED...WIPED OUT...RE-PAINTED!

Well, the glazing got away from me and I lost the light. Decided to use alcohol and wipe out the highlights. Bad idea. This is how you learn, the hard way! Well, the lifting was blotchy and the glazing had a seamless quality so the two didn't go together. I then decided to go more opaque and that finally killed the delicate glazed appearance that I liked in the beginning.

So now I can throw the thing away, go completely opaque or I can try and lift off much of the acrylic with alcohol. I opted for the last idea. The good news when you have ruined something is that what every you try next, it can't really harm anything. What a freeing feeling. I am intrigued with the idea that alcohol dissolves acrylic, so I wanted to see how this works. I put some alcohol in a dish and used a sponge roller to soak it up then I ran the roller over the painting a number of times. I took some paper towels and rubbed as much acrylic off as I could. This is the stage I took the first photo.

When the surface was dry, I reintroduced some charcoal. Next I brushed a coat of glazing medium over the surface, lifting the smeared charcoal in places. I worked back into the image with some additional glazing of a few colors, used a few stamps and then drew a little with a Japanese brush pen with permanent ink.

I like the final result. It is more mysterious, gritty and painterly than the first idea.

LAST DAY OF WORKSHOP: TEXTURE!

The last day of a workshop is bitter sweet. Texture is my favorite element and I always get a kick out of sharing my ideas and seeing what they come up with. Here is the result. Enjoy this great slide show.

It was a great week and I enjoyed working with this fun group of energetic. Thank you for a wonderful teaching experience. One of the greatest benefits for me is making new friends. I look forward to staying in touch.

DAY 4 VARIATIONS: COLOR

Here is a painting I did as a demo. One of the students put too much red gesso on his paper so I transfered the extra and covered an failed painting that had lots of texture already on it. I finished the painting with oil pastels. Texture to the max!

Day 4 is color and we were working with Faber Birren's 7 forms of color. Lots to wrap your mind around. Everyone jumped in and gave it a try. Light bulbs started to go on and some interesting paintings were developed. The slide show follows.

DAY 3 VARIATIONS WORKSHOP: LINE SLIDE SHOW

Wednesday featured the element of LINE in all its manifestations, including perceived line. You can see texture is sneaking in although Friday is our Texture element day. I think I infect people with the texture virus. Watch out! I'm not sure there is a cure for it. The enthusiasm and comradarie are running high and all are producing great work. Here is a slide show of the paintings from Wednesday.

Tonight was a reception for the opening of the Minnesota Watercolor Society Fall Show. I was honored to be the judge of the show. It is always a difficult task as there were so many good paintings. I had the opportunity to meet the winning artists and make a few comments regarding their winning painting. If you happen to be in the Bloomington, MN. area, make the trip to the gorgeous Bloomington Art Center and check out the show. You get to do a little judging yourself and vote for your favorite piece.

Tomorrow is our last day of the workshop. I will miss this fun energetic group. Can't wait to see what they do with Gesso!

DAY 2 VARIATIONS WORKSHOP SLIDESHOW!

Here are the two demo paintings I painted today. One is on Tyvek and the other is traditional watercolor paper with some aluminum foil shapes, some acrylic medium resist and Dr. Martin's Hydrus liquid watercolor with GAC200 mixed in to adhere to the foil. You can make watercolor acrylic by adding acrylic medium to it.

Everyone was really into the assignments and did some fantastic work (as you can see in the slide show). Not everyone had their paintings at a finished stage, so I will be adding some more to the show tomorrow. Also, I am slow at learning names. I have left some names off for now and probably made a mistake or two assigning names to paintings. I was excited about the work and wanted to show it off tonight, but I will make additions and corrections to the slide show tomorrow. Be sure and check back! In the meantime, sit back and enjoy....

MINNESOTA "VARIATIONS" WORKSHOP DAY 1: SHAPE AND VALUE DRAWINGS

From San Diego, I flew to Minneapolis on Sunday. Today we started "Variations" workshop with 15 enthusiastic participants. Everyone is excited and working hard. I am seeing some great drawings and ideas emerging. Creating shape drawings in various modes fills the morning, then the afternoon is working on various value patterns for these drawings. Tomorrow starts the painting process. I can't wait to see what everyone comes up with. This is as much fun for me as it is for the workshop students. I will be doing a demo and then everyone will get to work. I will do my best to take some photographs to post tomorrow night.

Here are some variations and value patterns I created from one of my drawings to give you an idea of today's lesson. We are all working from the same image this week. Does she look familiar? I did a few paintings of this image the last few weeks as a warm up for the workshop.

YES, VIRGINIA, YOU CAN PAINT ON FOIL

Here is the final result of the painting I started the other day. The GAC 200 worked beautifully. I used Golden Liquid Acrylics diluted a little with water and then full strength in subsequent layers. I purchased the GAC 200 at an art supply store that carries all the Golden Acrylic products. It helped hold the acrylic to the foil. The fun part was brushing alcohol on the painting and rubbing some of the acrylic away, then glazing over. I also sprayed some on the background and the hair. I had a strong urge to add some of the oil pastels on top but decided to save that for my next painting. I also think I want to crumple the foil a bit before gluing it down. I got a little carried away with the neck. I wish I had brought the shoulders up higher. I have been reading a book on Modigliani and you can really see the influence.

RESURRECTION!

Today I decided to photograph my gesso transfer process for the new book. While I was covering up old, ugly paintings with white gesso, I decided to try an idea I had from the Brommer workshop. I covered another painting with red gesso with the intention to proceed with a collage on top. I think I need to re-photograph the transfer process because the photos are at awkward angles. I guess I need to put things on the floor and shoot down or stand on a ladder and shoot down.

There is something so liberating about resurrecting a piece of good paper with a bad painting on it from the scrap heap and turning it into a painting I like. By the time I finished, I'm not sure the red base influenced anything, but I had a great time working on it. I kept remembering Jerry Brommer's words of keep layering until you like what happens. There are a number of layers in play here. I also finally played around with a new product that was given to me as a gift by Kathy McChesney when I was teaching in Solano Beach. These water soluble oil pastels are called Portfolio (found in Michael's) and made by the people who bring us Crayola. It is a student grade product but WHAT FUN! Kathy does the most amazing paintings with them. I never figured out how to combine them with what I was doing until today.

I went to the website at www.portfolioseries.com and found some wonderful student work, and interesting projects by art teachers. One project, (under acrylic), was wooden chairs painted in the style of a famous artist. The kids did amazing work. Makes me want to create an entire set for myself. If you are looking for a dynamite way to create something exciting on a budget, check it out. Oh well, must stay on task Kudos to the talented kids and their dedicated, inspirational art teachers.

BROMMMER WORKSHOP DAY 4: GESSO ADDED TO THE MIX!

Today we collaged the paper first, let it dry, covered it with diluted gesso...let that dry...then drew our image in and added paint. The entire week, line was to be the dominant element. I used lots of printed material from magazines and books underneath the Japanese rice papers. The gesso helps to obscure the collaged materials and creates an interesting surface to draw and paint on.

In the middle of the night I had this idea to do a collage starting with black gesso and then working towards lighter values. Here is my first go at this idea. I drew the image on the dry black gessoed surface with diluted white gesso in a needle nose bottle. It would be fun to try this idea with other gesso colors. I have red and gold. It comes in many other colors,

The ideas we have been working with this week are not in any of Gerald Brommer's published books but he has a new DVD through Cheap Joe's with this workshop material on it. Naturally, I bought a copy. It turns out the Gerald has seven different workshops he presents to groups around the country and is working on another. It is inspirational to see someone that is 82 so active, energetic, creative and dedicated as he is. I want to be like him when I grow up.

GERALD BROMMER WORKSHOP DAY 3: HEAVY TEXTURE PLUS LINE

Each day just gets better and better. I am very much attracted to this way of working. I hope to do a lot more in the future and have some greater insight into additional methods and ways of combining materials that I never thought of before. I have all the books but somehow they never sunk in. Probably sensory overload. There is only so much we can absorb at a time. I need to revisit lots of my books.

Today we built up the surface with collage paper, using brown bag or brown craft paper for the dark value. Covering the entire surface with layers of paper, then drawing and painting into the wet collage, especially adding white gouache which does amazing things on this surface. Then let it dry and then adding more line, paint, etc. Here are my two efforts for the day. I think this is the first workshop I have ever taken where I wanted to mat and sign anything I did. Amazing!

I am soaking up all of Gerald's wonderful stories and wisdom as well as his great techniques. He has traveled and taught for so many years that he has great little interesting adventures and experiences that he shares.

Tomorrow we will put gesso over the textural surface and paint on that. Gesso? I think I have died and gone to heaven!

LINE AS SHAPE & PATTERN

While packing a box to ship to Lubbock for the workshop I am giving next week and packing supplies for the Gerald Brommer workshop I am taking this coming week, I came across the start of a painting with the Frenchman. I had drawn this image onto the paper with red ink. I decided to see how the Permanent Masking fluid would work on this paper. Using a calligraphy pen point with a flat nib, I covered the red lines to preserve them. I followed with a pale yellow wash and went from there. I used a wider nib and a ruler to keep my lines straight, I patterned some of the sections with stripes. The resist is very subtle on this paper and in some areas doesn't show up at all. This is my printer paper which doesn't seem to have much sizing in it or on it. I have some other papers to try it on. Overall, I am pleased with this one. I kept to 4 colors and their mixtures. Gamboge, Thalo, Permanent Red and Hansa Yellow Deep (Yellow Orange). It was very helpful to have my value pattern all worked out. I stayed with it most of the way. I was able to remove the color to create a black and white image in the computer. Comparing it to my value sketch, I am happy to say it measures up quite nicely! By outlining the shapes with a line I effectively combined two elements. Using line as pattern is another combination of design elements. Pattern is a form of texture. In fact, each element can be combined with each of the other elements to create an amazing array of ideas.

I look forward to sharing with you the Gerald Brommer workshop this coming week. He will be focusing on Collage and Line!!!!!!! How perfect is that? I am looking forward to meeting him and learning from one of the true master teachers. In fact he has been a teacher's teacher for many years. I know it will make me a better teacher as well as learning some exciting new ways of working.

"NEW" TIMES TWO!

Thinking up blog post titles can be as much fun as creating titles for paintings. The first "new" thing is that my redesigned web site is up and running. Click on the blog title to check it out. One of the best changes is that I can update it myself. It is also more interactive, so viewers can leave comments. Kevin is now ready to help other artists with a custom web site that they can self manage. $200 is his going rate but since I provide dinner every night, I get the deep family discount (free!) I have some rearranging of paintings to do and some workshops to add. Hopefully I will get to that by the weekend.

The second "new" thing is I am starting to work on the examples for the next chapter in my book. LINE is an interesting element and a big favorite of mine. It is most often used as an accent in a painting. Except for Asian Brush Painting, line is rarely the dominant element in a painting. I was searching for a new idea when I thought of reversing the process I used for my line painting in the Nick Series where I redrew the image over and over with successively smaller brushes and darker paint. In this painting I used Permanent Masking Medium. It acts like maskoid but can't be rubbed off. I changed brush sizes and started with pale yellow and went progressively darker with the paint. I did a final line drawing with a dark line. I think it reads as LINE as a dominant element and I am intrigued with the possibilities for this product. I would like to try it again. That's what is so wonderful about experiments. There is no attachment to the outcome and it leads to planned ideas based on the unexpected results.

LAST OF THE COLOR STUDIES (FOR NOW!)

Here is the last of the quartet of color studies. This one is ANALOGOUS COLORS (3 or 4 colors next to each other on the color wheel) As a random pick, I got Red Orange/Orange/Yellow Orange. I actually mixed the RO and YO together to get the orange as I didn't have one in the Hydrus line. My 3 forms of color trio was TINT/TONE/BLACK. I tried to stick to this but in the end I couldn't stand the total blackness of the side of the face so created a SHADE by brushing Red-Orange on top. I really like the result. I wound up "cheating" on my value plan, as well, as I was painting. In truth, this is the way to work. It pays to have a plan when you start but an artist needs to respond to what is happening on the page and make adjustments which may deviate from the plan to make the best painting possible. When I was a very inexperienced painter, many years ago, I remember being baffled by the expression "let the painting talk to you". It's exciting when you get to the stage that you not only understand this expression but have an engaging "conversation" with your painting.

THREE DOWN, ONE TO GO!

I redid the painting from the last post on traditional watercolor paper and I like it much better. I am actually using white and black pigment from the Dr. Martin's Hydrus liquid colors and I am pleased with the result. With GREY/TONE/SHADE, the tone parts look bright as long as I don't lower their intensity too much. I am a big believer in doing a painting a second or even third time until I get it right. Trying to rework watercolor just creates more problems than it fixes for me. I prefer a total do-over.

The second painting was my Split Compliment of Red/Blue Green and Yellow Green using the 3 forms of WHITE/HUE/TONE. I fudged a little with the hues because I wanted to try the Daniel Smith Watercolor Stix on this new paper I have. The colors I used were Quin Coral for the Red, Sap Green for the yellow green and Thalo Green, blue shade for the Blue Green. That's close enough. I actually like this one. It's pretty bizarre but fun. A little like a Baboon's bottom! The watercolor stixs actually worked much better on this paper than the tube paints I tried earlier. That means I shall take this paper with me for travel sketches in color. The stixs are good items for travel. I just touched a wet brush to them and painted directly on the paper.

The third painting used another Split Compliment combination of Yellow Orange with Blue and Violet. Faber Birren thinks that Split Compliments work best when there are two Tertiary colors and only one primary or secondary color. This one has only one Tertiary (yellow orange) but I am pleased with the results. The 3 color forms were TINT/TONE/SHADE.

I didn't get the last of the four paintings done today but it is nice to have something planned for the next day. It makes getting started so much easier. Tomorrow's painting will be with analogous colors. That should have a totally new look for Monsieur.

TINT AND TONE EQUAL IRIDESCENCE

I have been re-reading Faber Birren's book from cover to cover in order to fully comprehend his ideas. He has a very formal way of expressing himself and often it is difficult to totally process the concepts. Putting words to visual expression is very tricky I am finding out. It turns out that Birren's contribution to color as it applies to painting was mostly in the area of figuring out how to express luminosity, iridescence and luster along with chromatic light effects and mist, etc. Much of this is strange to apply to a portrait but the attempt creates some very unusual results. I don't think you can really get an iridescent face but I decided to do something with the formula in today's painting. The general idea is to have the majority of the painting in the mid value range fairly neutral with TONES and then have small touches of TINTS. Instead of having the TINTS as part of the features, I decided to super-impose these squares on top of the image just for the fun of it. By masking off the areas for tints, I was able to paint more easily. I created the TONES by mixing complements. I have my palette arranged according to Stephen Quiller's recommendations for perfect compliments. It makes life so easy when it is established this way. All of his palette is pure hues so it works very smoothly with Faber Birren's 7 forms of color triangle. This color effect is all about INTENSITY of color and controlling the VALUE range. INTENSITY is the degree of purity of hue versus neutralizing or dulling it down. The confusion of intensity comes when you lighten the hue but don't dull it. Theoretically it maintains it full intensity but not full SATURATION which has to do with the pigment load, not the purity. I understand the concept. I just think there could be a better term to describe the situation. I like PURITY myself but the term INTENSITY is here to stay.

Art has it's own specific language and we have to be consistent in order to communicate these visual concepts. Many years ago when I was a freshman at Washington University in St. Louis in one of my first classes, the professor gave a talk. I remember thinking it sounded like English but I didn't understand a thing he said! I hadn't learned "art speak" yet. I'm still working on it!

THE CHALLENGE

It seems like there are challenges everywhere I turn. First of all, the internet signal to my computer keeps cutting out. Just when I want to post to the blog, no connection! Irritating to say the least.

The second challenge is really comprehending all the color ideas in Faber Birren's book, "Creative Color". My copy dates back to 1961. I think it may be out of print. It was the text for the college class I took in color. I am rereading it and trying some of the exercises. Above is the latest "Frenchman" painting trying to get LUSTER effect. This is the use of HUE, SHADE, BLACK combination of color forms. It turns out that DOMINANCE is critical for the effect. A small amount of pure hue surrounded by dark shades or black give the optical illusion of luster. Luster is generally "seen" in metal or fabric, not skin. In a portrait the effect isn't exactly lustrious but a beautiful glow. Rembrandt did it best! I think this version from the "Vern" series worked better. At the time I was translating a beautiful landscape painting by Wolf Kahn into a color scheme for a portrait. Now I realize that it followed the HUE, SHADE, BLACK formula which produced this beautiful glowing light. My latest version isn't as dramatic and has a much warmer set of colors but I think it works. I did lose the "intensity" of the yellow when I glazed the painting with red. A little watercolor crayon should bring it back.

The next painting will be pure hue surrounded by gray or neutral tones to capture "luminosity". I have attempted this before with limited success.

FABER BIRREN'S COLOR CONCEPT

In response to Rhonda Carpenter's request for more information on my last post, I will describe what I am trying to accomplish.

Faber Birren devoted his life to the study of color. Perhaps the most complicated of all the elements of design. In his book "Creative Color", he devised this schematic shown above where you have HUE (PURE COLOR) WHITE & BLACK in an equilateral triangle. If you combine HUE with WHITE you create a color called a TINT. If you combine HUE with BLACK you create a color called a SHADE. Lastly, if you combine WHITE with BLACK you get GRAY. He places each of these between the HUE, WHITE AND BLACK. In the center is what is called a TONE. A TONE is created when you mix GRAY (BLACK & WHITE) with a HUE or when you neutralize a HUE by adding it's compliment. By adding a compliment you are in effect combining all three primary colors in some ratio. Even a small addition of the 3rd primary creates a dulled color. So, you can see that this "triangle" has lines connecting each to the other where there is some common element. The idea that he had was to draw a straight line through three connecting "words" and create a painting using only these aspects of color. Why? You would have a natural harmony because each element has a relationship with one of the others. This is also a way to establish mood.

So, within this concept, a HUE must be a pure color. Many tubes of paint are mixtures and already TINTS, SHADES OR TONES. Magenta was one of those colors that was already altered. It would not work with the HUE/TINT/WHITE painting, as I found out. I should have known in advance but it isn't always easy to see the subtle alteration of a color. Watercolor makes this idea more difficult because the TINT is created by adding water instead of white pigment. At what point does HUE become TINT? I don't really know but will use my best judgement. Another factor making watercolor so challenging for this project is the transparent nature of watercolor. With color glazing I am getting tones when I don't want them. An opaque paint such as acrylic would be much easier to create the effects. I struggle on! Above is my watercolor version of WHITE/TONE/SHADE.

Color can be parsed very mathematically but I am not interested in "exact". I am satisfied with "approximate". I am intriguied by the concept and the visual result of following these color design formulas. If I get a general approximation of the effect by following the guidelines, I am not going to stress over a minor infraction.

Just to complicate the matter further, consider the aspect of DOMINANCE. If there are three items to work with, they could be used equally or one could dominate and the other two could be very minor or one could dominate, one could subordinate and the third could be very minor....think "PAPA, MAMA, BABY" or two could be equal and the third could be minor. When you switch the players around into the different positions you see why one lifetime isn't enough to grasp it all!

I have set the challenge for myself to paint the same image using a different combination of HUE, TINT, WHITE, GRAY, BLACK, SHADE & TONE and see what it looks like. The more I understand the more I have a powerful tool to express my ideas.
I am not going to try for all the variations of dominance within each grouping.

Rhonda,is your head spinning yet ? Aren't you sorry you asked!