A Favorite Painting Technique Book

     The Simple Secret to Better Painting by Greg Albert inspires and teaches me something every time I pick it up. This book comes home from the public library every now and then so that I can find a new idea in it--or remind myself of helpful ideas that are easy to forget as I paint. 

     Today's post is rewritten from an entry I made in 2013. This super book came to mind today as I drove to the library, so I picked it up while I was there and decided to post about its wisdom again for new readers--and longtime readers as well.

     Greg Albert's "simple secret" is the wonderful lesson of variety within balance, which I consider a metaphor for a meaningful life as well as a basic principle for painting and other visual arts. His simple secret, which he calls the one central rule for design is: "Never make any two intervals the same." There is a wealth of valuable information contained in his applications of this rule. If you have any interest in the visual arts or in any facet of design, this book is worth reading and rereading.

"Sea Oats"

     Mr. Albert uses painting examples to expand his simple rule to intervals of distance, shape, tonal value, color, and more--no sort of interval should be the same, he maintains. This advice is helpful at all stages of a creative process. Here's an example. One of my recurring mistakes is to paint too much in mid-tone values--without fully realizing it along the way--rather than to include enough areas of more intense dark and very light values to balance the mid-tones. 

     In my more recent paintings, I started with a tonal value sketch, but sometimes still ended up with insufficient contrast. During my revision process, the value range often has needed to be extended. Mr. Albert's rule is a reminder to include a broader value range as well as to make sure that the areas (or "intervals") of dark, light, and mid-tone should not be the same in overall size. A previous post about a painting called "Sea Oats" shows one example of revision that included adding some very light clouds and brightening light areas on a dune as well as deepening just a few very dark highlights.

Hanna Park reference photo

"Hanna Park Heron"

     Another painting that required some added interval variety was "Hanna Park Heron"  (the colors in the photo of the painting are less intense than in the actual painting), shown here with the original reference photo (more about this painting was posted earlier also). Notice how the reference photo's background vegetation repeats types of plants, shapes, colors, and sizes equally--not ideal for artistic composition. Then, notice the additions of the two light grey dead trees to change that sameness and to provide strong verticals across from the large palm trunk. You will be able to spot other changes from the reference photo and to consider my possible reasons for them.

Question of the day: What does an idea like "variety in balance" bring to mind for you?

Blog Hop, Part II--My Creative Process

A great blue heron, seen at  Jacksonville's Hanna Park

Somewhere in Michigan (a scene from memories)

     Thanks again to Mary Paquet for the invitation to contribute to the blog hop project by responding to four questions. I continue here with the two last questions (see my previous post for Part I). And don't miss Jo Castillo's post on Monday, Dec. 15; I "tagged" her to be next in the blog hop and know that you will enjoy her lively creative sense and fine art works.

3) Why do I create what I do?

     I have always enjoyed sewing, knitting, and crocheting, but did not believe I had any talent for the visual arts I so admired. My love for color and for the beauty of the natural world kept tugging me toward giving landscape work a try.

Castaway Preserve Cedar

Castaway Preserve Palms

     Finally, about 11 years ago, I signed up for a week-long class in acrylic painting at the John C. Campbell Folk School in North Carolina--expecting to enjoy playing with color and making creative messes, then to toss them and return home renewed and relaxed. Well, with an excellent teacher and time to practice and learn, I painted pieces that I really liked. No tossing occurred, and I was hooked! Now, with more workshops and lots more practice behind me, some pieces even sell. More importantly, I find continued delight in creating acrylic landscapes and learning more all the time. Another Folk School class this year started me in silk painting as well--a fluid, often unpredictable medium that gives me additional pleasure. Creating art is a whole new world for me and a rewarding pursuit in semi-retirement.

Jacksonville Beach

Jacksonville Beach

4) How does my creative process work?

     While considering this question, I used the little search box at the top of my blog and entered "painting process". Oh, my--I have written many posts that include discussion of the creative process in general and of the particular processes involved in individual paintings or silk scarves.

An early work--A favorite retreat near Warwick, NY

Silk scarf (using resist)

Silk scarf (natural blending--no resist)

     So, what are the common threads in varying processes for individual pieces? For processes in making the silk scarves, please see recent posts on that topic.
     
     Nearly all landscape paintings begin with a photo or a cluster of reference photos. Since I am endlessly fascinated with coastal North Florida scenes and want to convey the beauty and serenity I find in exploring out-of-the-way places in this area, I study angles of light, color (how to capture the incredible range of greens?!), and take notes to accompany the photos I take from various angles and distances.

     In the studio, the next considerations are composition (including tonal balance--the lights and darks) and color palette. In our area, good composition almost always involves leaving out some of the lush growth and sometimes other elements. Sketching--very roughly--a few possible versions of a scene, sometimes moving the point of view or focal point, helps me decide on a final version. Here are some previous posts that discuss composition.

     Choosing a limited number of colors helps both in unifying a painting and still gives an incredible range of possible hues. I don't try to match the actual scene so much as try to capture a feeling while staying in a realistic color range. Sometimes I go for low contrast and cool serenity, sometimes warmer, lively vistas. Again, here are some previous posts with more about color and palette for interested readers.

      Revision is the other most crucial piece of my process. The beauty of acrylics (especially for a learner like me) is that they dry quickly and cover well. I can paint over an area that does not please me, take out a superfluous bush, or whatever. Sometimes before a major change, I try it out by cutting a shape out of construction paper that approximates the change, tape it to the canvas, and squint to judge the effect on the composition.

     When wrestling with a piece that is not cooperating, it helps to remind myself that any work is a valuable learning experience (taking myself too seriously is fatal). At times, I put a painting away for a time and work on something else. A fresh look later on often yields a solution.

Question of the day: Do you enjoy hearing about the creative process or watching artists work? Or would you rather simply experience the art for yourself with no background or explanation given?

A Favorite Book About Painting--and Life

     The Simple Secret to Better Painting by Greg Albert inspires and teaches me something every time I pick it up. This book comes home from the public library once every few months so that I can find a new idea in it--or remind myself of ideas that are easy to forget.

     Greg Albert's "simple secret" is the wonderful lesson of variety within balance, which I find a metaphor for an important secret to a meaningful life as well as to painting in ways that (hopefully) delight viewers. I hope he would not mind me mentioning his simple secret, which he calls the one central rule for design: "Never make any two intervals the same." Trust me that there is so much valuable information contained in the way Greg Albert spells out applications for this rule that I cannot and will not "give away" his secret in this brief blog post. If you have any interest in the visual arts or in any facet of design, this book is worth reading and rereading. I think its possible applications go way beyond painting alone.

     Mr. Albert uses painting examples to expand his simple rule to intervals of distance, shape, tonal value, color, and more--no sort of interval should be the same, he maintains. This advice is helpful at all stages of a creative process. Here's an example. One of my recurring painting mistakes is to trend too much toward mid-tone values, rather than to include at least small areas of more intense dark and very light values. I have no idea why that happens (an excess of caution, maybe?), but during the revision process, the value range often needs extending. Mr. Albert's rule is a reminder to include a broader value range as well as to make sure that the areas (or "intervals") of dark, light, and mid-tone should not be similar in overall size. A previous post about a painting called "Sea Oats" shows one example of revision that included adding some very light clouds and brightening light areas on a dune as well as deepening just a few very dark highlights.

     Another painting that required some added variety was "Hanna Park Heron" (sorry the colors here are not as intense as in the actual painting) , shown here beside the original reference photo (more about this painting was posted earlier also). Notice how the reference photo's background vegetation naturally repeats types of plants (shapes), colors, and sizes--not ideal for artistic composition. Then, notice the additions of the two light grey dead trees to change that sameness and to provide strong verticals across from the large palm trunk. You will be able to spot other changes from the reference photo and to consider my possible reasons for them.

     











Question of the day: Are you mostly a hands-on learner, or do you (like me) rely on well-illustrated books to learn and grow?

Favorite Paintings Part II--Works from 2008 & 2009

     In this reflective end of the year time, we will look back today. Several months ago, I posted some of my personal favorites among older paintings and will continue that theme today. Since painting is relatively new in my life, the "oldies" don't go very far back. However, it feels as though I have learned  and grown significantly in the last 3 or 4 years and (although others may not notice a dramatic difference) can see improved elements in some more recent work. Of course, art works always have a mind of their own, so that unexpected results--for good or ill--can come along anytime. The process, the journey, and the sheer scary fun of trying are worth the ride no matter how various pieces turn out. I never fail to learn from every painting session.


     I won't repeat the background and reflections from the earlier favorites post. However, one insight from my mentor Linda Blondheim is worth recounting today. I once told her that a painting teacher had said to us students that she was sometimes ashamed of her early work and didn't like to think of the pieces people had bought back then still being on display. Linda agreed with me that the artist's feelings seemed sad and shared her own outlook. Of course, Linda has learned a great deal and grown as an artist over the years, but every time she has painted, she did the very best she could at the time. So, she is pleased if those works were appealing to buyers--or even if not--and truly values each of them. A healthy, motivating outlook, I think.

     The earliest of these three pieces is the 18" x 24" vertical creek view with the egret seen above. As the piece developed, I liked the fantasy feeling of the under painting in the streaky water and not-quite-realistic trees, so kept that aspect intact and called it "Creek Bend Fantasy". The second is the largest piece I have made so far, on a 22" x 28" canvas, called "Serenity"--also showing a creek bend where it pools. Both have garnered fans and favorable comments over several shows and in shops. The third painting, an 18" x 24" work called "Hanna Park Heron" sold at the very first Open Studio Reception in our home to friends who treasure it as a reminder both of many years of happy family outings in North Florida's Hanna Park and as a tribute to the majestic great blue heron who frequents the large pond behind their house. Descriptions of the process of creation for each piece and other details are in earlier posts; simply click on the links if interested.

     Thank you, dear readers, for your patience with my uneven posting schedule in recent months; I am recovering very well from hip replacement surgery and hope for more conversation with you in 2013. That partly depends on circumstances beyond my control; i.e., ME and my love for procrastination. I will do (some version of) my best :>). 

     May all of you enjoy a hopeful, peaceful Christmas and a joy-filled New Year.

Question of the day: Are you able to manage Linda Blondheim's positive, encouraging view of your past efforts? 

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?