Growing--Cypress Swamp Painting Is Finished

The final version of this painting of a cypress swamp based on photos from our visit to a wildlife preserve in Punta Gorda, Florida may not look dramatically different to you from the "in progress" view in a previous post. However, in "person", the adjustments are quite noticeable. The background was developed more fully, then a wash of greyish blue softened it and pushed it back so that the cypress trunks stood out more. Additional texturing draws attention to the trunk furthest to the right, where the ripples from a critter that briefly surfaced create a subtle center of interest.

Although this 8" x 10" acrylic piece on canvas board started as a study, I have invested a fair amount of effort in its development as it became more interesting to me. I hope that it represents the tranquility and beauty of our precious wetlands for viewers, as it does for me.

Thank you to all of you who continue to check in regularly. It looks as though my postings will continue to be irregular for the next couple of months, but I will post as often as I can.

Question of the day: Why do swamps get such a bad rap in stories and movies, always serving as a setting for sinister activity, when they are actually quite wonderful?

Learning and Growing--Cypress Swamp Work in Progress

I just got back to this cypress swamp piece today after working on a new, larger landscape painting for awhile. I had mentioned in my last post that I was using Linda Blondheim's e-critique service in the early stages of this 8" x 10" study. She was complimentary of the overall composition at the point I showed you last time, but asked, "What do you plan as the focal point?" Even though I was liking it in that form, with the simple pattern of cypress trunks against a soft background, it did need something more to draw the viewer's eye. The reference photos (seen in the previous post), as you may recall, came from our visit to Babcock Wilderness Adventures, a tour of extensive, varied preserve areas near Punta Gorda, on Florida's Gulf Coast.

I experimented, just lightly sketching one or more egrets or other wading birds in various spots in the scene, but they seemed "too much" somehow. I liked the simplicity and relative emptiness of the piece and wanted just a hint of something more. But what? Walking past the pond in our neighborhood just as a frog, turtle (or some critter) put a nose up gave me an interesting idea. Perhaps I could suggest the rich underwater life in this swamp without showing any particular creature by painting in some ripples to suggest that a frog, fish, or maybe even a gator had broken the surface of the otherwise still water. So, here is a start in that direction, which I hope will add a subtle hint of life.

I will continue to texture the nearest cypress trunk to the ripples (right foreground). Now that a subtle center of interest will be there, I will reinforce that with more contrast and texture and will tone down the trunk in the left foreground just a bit to avoid competing. There is also more work to do (as you can see) in developing and filling in the background and in completing the water and reflections. This one is developing slowly, given its relatively small size, but I am completely enjoying the process and am in no hurry. Given that I may paint the scene in a larger format later, I believe that taking care with composition and values now will be well worth it. Even if this is the only version ever, it is providing a pleasant creative journey.

Question of the day: Do you suppose that the tranquility of the cypress swamp I am representing has influenced my mood and pace in this work? The process has not caused any frustration--unlike some other slow-to-fruition works. Thank you, Florida Wilderness.

Learning and Growing--Painting Process for a Study of a Cypress Swamp

This work-in-progress is an 8" x 10" study using reference photos (I have posted two of them) from our visit to Babcock Wilderness Adventures, near Punta Gorda, Florida, on the Gulf Coast. I am considering what to paint on a 30" x 40" canvas waiting in the closet, which is larger than anything I have attempted so far. So, I am planning a few studies to try out some possibilities.

I first made full-page black and white copies of a couple of my photos to help me see the layout clearly. I love color so much that I have trouble seeing the "values" in a potential composition. "Value" refers to the relative lightness or darkness of objects, as if on a grey scale, and interesting value variation is a crucial element in good composition. Failing to consider value relationships can lead to a bland result, even if colors are varied and pleasing. I decided to make the sky and some of the background just a half-tone darker than they look in the photo so that the sunlight on the cypress trunks would draw the eye as the lightest areas in the piece. The reflections in the water also needed to be darker for the contrast and sense of mystery I hoped to achieve.

The actual scene has a cluttered appearance that is fascinating in nature, but not necessarily good in a painting. So, I decided to concentrate on the powerful cypress trunks themselves, to have some semi-abstracted vegetation on the far bank, and to leave most of the rest out. That one diagonal line in the photo is appealing, but just stole the whole show in my preliminary sketches (even though it was not intended to be a focal point), so I regretfully left that out, too.

I'll say more about the palette colors and later composition decisions when I post the final version--it is nearly done. Today, I wanted to show you the way I revised the scene before painting. Given that I was leaving out so much, the piece needed (in my opinion) a few more cypress trees. So, I played "cut and paste" with the photocopies until I had a pleasing arrangement of five trees, receding to the far bank. A rough line drawing helped in assessing placement.

Linda Blondheim provided very useful advice, as I was using her e-critique services during the early stages of this study. After getting the piece to the stage in the photo above, I had put it away while I completed a larger work and now am ready to finish it. Linda's question, "What do you intend as the focal point?" had me experimenting with a few possible finishing details. Soon, I will show you the result.

Question of the day: I love to hear about other people's thinking processes--in any context, whether is has to do with art or not. Do you find that interesting, too?

Exploring--Babcock Wilderness Adventures in Punta Gorda, Florida

Last week, Mark and I visited Punta Gorda, Florida, on Charlotte Harbor, a large bay off the Gulf of Mexico. Although it was much chillier than normal there (but a good 8 - 12 degrees warmer than we would have been at home in Jacksonville), we had a pleasant, relaxing visit to this beautiful area. We have explored other Gulf Coast cities and towns, but Punta Gorda was new to us. By far our favorite vacation outing was to Babcock Wilderness Adventures, a 90,000 acre working ranch and farm with an extensive nature preserve.

The history and present operation of the ranch fascinated us, but I won't report all that in this post. Interested readers can visit the Babcock Wilderness web site for more information.

The guided "swamp buggy" tour, lasting over 90 minutes, traveled through a variety of habitats, from sweeping Florida prairie, to deep woods, to silent cypress swamp. According to our guide, we were particularly fortunate in the number and variety of animals and birds we saw that day--many quite close. Several deer, one with a very young fawn, quietly watched us watching them, alert but showing no fear. Alligators who had found sunny spots on that cool day moved only a wary eyeball as we stopped to view and photograph them. Wild hogs and the unique Florida Cracker cattle breed are both protected here and gleefully ran to the bus (the hogs) or sauntered over (some of the cattle) to take corn feed from our guide. The photo ops were numerous, and I'll show you some of the animals and scenery in a future post.

Today's photos show a few of the magnificent birds we saw. The Great White Egret is taller than those we see in North Florida, but is otherwise very similar to ours. The Sandhill Crane blends so perfectly into the dry winter brush that we could spot it only by its characteristic facial markings. The male wild turkeys, apparently entering mating season, proudly displayed their tail feathers and strutted their stuff. Our visit seemed perfectly timed for sightings of these and many other birds, including ibis, red-tailed hawks, turkey vultures, and bald eagles.

Question of the day: What area within a four or five hour drive of your home would you like to explore, and what would you do and see there?

Growing--Our Art Studio Reception Was Great!

The Open Studio Reception in our home on Sunday afternoon was all that we had hoped for--and more. I am humbled by and grateful for all the friends and neighbors who came and supported the event. Over 50 people came and, so far, 7 paintings are sold, with at least one other person considering a purchase. She actually took notes on her favorite pieces so that she could

spend a few days making a decision. Common wisdom among artists is that the primary purpose of this kind of event is to introduce one's work to people and that we should not expect any (or very many) sales. So, I feel particularly fortunate for the solid interest shown by our guests. UPDATE: I have now added an index to all blog posts about planning and holding an art reception. Access it here.

If i had had more small pieces, like the 5" x 7" marsh studies and Plitvice National Park study (from our journey to Croatia), I could have sold more--they sold quickly. I also sold two of the three 9" x 12" paintings available, Magnolia on Purple and Cypress Swamp. Several times at the reception, someone told me that they would have liked to buy one of the pieces that had already sold. How affirming is that? I'll remember them and their preferences when I create something new with a similar feeling to the paintings they would have purchased so that I can let them know more work is available.

Also, amazingly, one 12" x 16" piece and one 18" x 24" piece sold. You have seen those as well--the former shows deep reddish wildflowers against a white fence at Jacksonville Beach, and the latter captures a blue heron at Hanna Lake Park. The couple who called the next day to say that they had decided to buy the Hanna Park Heron were attracted to the painting for itself and for two other reasons: they have a beloved blue heron like the one in the painting who frequents a wetlands area on their property, and they have happy memories of many camping outings in Hanna Park. How delightful is that? Regular readers have seen these in previous posts. If you want to view some of my paintings, simply enter the word "painting" in the search box above left, and posts that show or discuss paintings will appear.

More photos and stories from the reception will appear in the next post. For now, I want to post this much and then need to go give blood shortly. By the way, I am in the back yard photo in an aqua jacket and print skirt. The paintings for sale were displayed in various rooms of the house, as you can see above the chair in the living room.

Once again, let me thank you, blogging friends, for your helpful support and encouragement as I planned this (for me) scary new undertaking. You all bring me joy as well as new insights and ideas--thank you.

Question of the day: What joys and gifts have blogging friends given you?

Learning & Growing--Art Classes & Cypress Swamp Painting

I recently showed you a painting of an iris, adapted from a reference photo taken by someone else and wrote about some of the difficulties I encountered. Well, I have done it before. Today's painting, of a cypress swamp (or marsh), is also adapted from someone else's photo, this one from a nature magazine. I am sorry that I cannot credit the photographer (even though my rendering is quite different from the photo). Since this painting was mostly completed in a painting class using reference material the instructor provided, I no longer have information on the photo or the magazine. Given the strong dark tones and bright contrast in this painting, I hope that it looks something like the real thing on your monitor (it is a bit too yellow on mine).

My landscape painting mentor and friend, Linda Blondheim, is an excellent teacher, both tough and sensitive. She listens to her students' expression of what they would like to achieve in a painting and (if that vision is achievable) helps them get there--a rare teaching gift. Looking at this cypress swamp piece reminds me of the enriching day and growth as an artist I experienced in a design and composition workshop with her a few years ago. By the way, all the best artists I know are self-described learners and are continually pushing themselves to grow and to achieve new directions and goals.

I was privileged to study with Linda again recently at a full day workshop learning about using values well in the landscape ("values" in art refer to the whole range of darks to mid-tones to lights). I know that this is one area in which I need improvement--I get so taken up with the brilliance or the subtlety of colors in nature that it is difficult for me to judge values sometimes or to balance them in an interesting way in a composition. Among other topics, she introduced the Notan system for making values "sing" in our work. It was especially meaningful to work with her earlier this month because her schedule requires her to stop in-person teaching for a time, and I am thrilled I could be in her final workshop (for now--all her students hope that she will return to teaching in the future).

For anyone who would like painting instruction from Linda, she is continuing on-line teaching, both individual and class instruction, and her e-classes are excellent. In fact, her next class unit will be an expanded version of the one-day values workshop I experienced. For more information, go to HER WEBSITE and click on "artist resources" at the top.

Even if you are not looking for painting classes, her remarkable paintings and fascinating articles about her beloved North Florida, its history, farms, ranches, wetlands, and preserves are well worth a visit to that website (click on the link above). If you think all of Florida looks like Miami or the Gulf Coast, you will be amazed to see the paintings her lifetime of exploring has inspired.

Now, about the above painting, an acrylic on a 9" X 12" canvas panel from a workshop with Linda a few years ago. Like many of my accounts of the painting process, the story of this piece is a tale of mistakes along the way and hurdles overcome. The basic composition, under-painting, and some of the finishing were complete by the time I left the workshop. Under Linda's guidance, it was looking fairly good then. Linda had scanned a good quality copy of the magazine photo for me to bring home as i completed the scene, but I had difficulty getting it to look real. Finally, an insight struck as I studied the copy of the photo for the millionth time. The photographer either had used flash or had other additional lighting on the stumpy cypress knees in the foreground so that there was a combination of natural back lighting and dramatic light falling on the foreground. Although that made for a striking photograph, trying similar tones in my painting made the scene look phony. Softer, mid to dark tones in the foreground made a real improvement.

Question of the day: What is your current growing, learning edge?