"Sea Oats" Painting Revisions

     "Sea Oats", a 12" x 16" acrylic painting, is still a work in progress, but I think some current revisions have improved it. The newer version seen above now hangs on the studio wall for consideration. This piece will be part of a special exhibit I will have at Paddiwhack Gallery in Gainesville, Florida in less than a month. In spite of some on-going personal obstacles to getting maximum work done right now, I am determined to complete this painting and one larger piece in time to hang in Paddiwhack's honored front nook for a six week mini-show with other recent works. A previous post showed you the first exhibit I brought to this amazing store back in the spring of 2011.

     Some of you were very complimentary about the earlier version of "Sea Oats" I showed you awhile ago--seen below--but it wasn't quite satisfactory for me. It was too "pink" for my taste (others will differ on palette preferences, of course) and lacked punch. My mentor, Linda Blondheim, agreed, calling it a "pretty enough" picture, but also feeling that it was somewhat bland. 

     So, having added more tonal contrast, a more interesting sky, and more variation in the tones of the grasses and sea oats on the dune, I am happier with the piece. I have also reduced the power of the pink areas, substituting some quiet golden glow. Still am considering some minor adjustments, and may (or may not) change the placement of the birds (which will be sharpened a bit once their location is definite). Since I have signed up for one more week of Linda Blondheim's excellent e-critique, we will see what she thinks of this work once I have one other, larger piece ready for her assessment as well. She is a super teacher and guide and always understands that I may or may not include all her suggested revisions in the final form. As I have confessed to you before, I always have trouble knowing when a painting is finished (or finished enough, given that one could continue revising indefinitely--a process that eventually begins to detract from the vitality and impact of a work). So, Linda's assessment is also tremendously helpful in making that decision to sign a painting, give it a protective coat of medium, and consider it ready for prime time.

Question of the day: In any undertaking, do you agree that the assessment and revision process is almost as significant as the original concept for a good outcome?

Work in Progress--Dune, Ocean, and Sea Oats Painting

This North Florida dune painting has been difficult for me to assess and complete. The reference photos were taken in dim conditions, so I am trying to recreate the brighter glow of some late afternoons at the beach just from my memory and from more recent walks on our Atlantic Ocean beaches. However, none of the days I have gone recently have had the atmospheric and light conditions I remember from a certain summer day. Late day photos I have taken in other locations along the shore have been some help, but haven't solved all the problems.

As many of us who make any sort of thing (art work, cake, cabinet, poem, garden, scrapbook, tin whistle, song, quilt, . . . ) know, some creations are more satisfying than others. I always struggle with each painting, but some really please me when they are finished. Others, less so. I have learned from experience that a piece I do not like as well as others may still appeal to someone else. In a previous post, I described how a painting delighted a client of the Trends Home Decor shop (although I did not mention that I had never liked that piece much and once considered painting something else over it!). She ignored all the other pieces I had in the shop and bought my least favorite. Viva la difference, n'est pas?

So, here's the thing. I have this particular work in progress (a 12" x 16" acrylic painting on gallery wrapped canvas) hanging on the wall and feel strongly that it needs further revision. I also know that it will probably never be a favorite among my creations, so have to resist overworking it and ruining any good qualities it might have. Interestingly, when I photographed it, looking at the photo gave me a bit of distance, and the piece didn't seem quite so bad.

The more distant beach line still needs work. It has been very hard to get the right perspective, to show how the dune slopes down onto the beach in the near right corner compared to the glimpse of the shoreline farther away, past the edge of the dune. I also may have made the sky too blue and bright for a late afternoon, although it sometimes looks this way, and I really don't want to grey it down much. Finally, this stretch of dune had a much thicker stand of sea oats, which would be an unattractive visual mess if exactly duplicated on canvas. I'd like to add a few more stalks, smaller and less prominent than those featured here, but don't want to overdo it.

Any suggestions you might have would be very welcome. Please don't just flatter the piece (you readers are all so sweet and kind); it does need some revision. What do you think?

Question of the day: How critical are you of your own creations and production? To what extent does your self-criticism work in your favor, and when does it hinder you?

Beach Scenes Are Enhanced by Shadows

Now that we have returned from a refreshing week away, I return to the shadow theme with a few examples of beach scenes.

Reflecting about the importance of shadows in painting (and in any visual experience or art form), I realized how crucial shadows have been in some of my recent beach scenes. Views of the ocean or other large bodies of water and expanses of shoreline can be fairly bare and lacking in obvious shadows. Although such scenes can serve as excellent subjects for serene, minimalist art works, including an object or objects, either natural or built on a beach or dune, creates opportunities for drama in contrast of the lights hitting the objects and the darks of shadow areas.

Particularly at the ocean here in Northeast coastal Florida, the sunlight can be very intense, casting strong, deep shadows. Here are three examples. Each of them has appeared in a previous post or two; clicking on the links will provide more information about them.

In the smallest, 6" x 12" painting, "Away from the Crowd", a bright red beach chair contrasts with the softer natural hues and draws the eye. But try to imagine the exact same scene on an overcast, misty day--or with the sun directly overhead so that the shadow would not extend out. The scene would still be nice, but some movement and interest would be lost. Further, notice the subtle dimensionality in the clouds due to the warmer, brighter light on the sunny side.

In the 12" x 16" vertical, "Dune Shadows", I was most interested in the patterns of the fence and its shadows on the rolling surface of the dune. Again, it seems that the scene would be more static and less interesting without the clear shadow design.

Finally, the 18" x 24" "Spring Breeze" demonstrates the extent to which a bright day at the ocean creates contrasting darks and lights. If the sun were straight overhead, the sand would be more monotonal; the foot bridge would be plainer, and the clouds would again be flatter-looking. Even the sky would have less color variation and less apparent depth.

Question of the day: Do you find yourself drawn to scenes with strong light and shadow contrasts or to quieter views with subtler contrast?

Learning and Growing--Painting Process on Dune and Beach Piece, "Spring Breeze"

Today's post is designed for readers interested in my landscape painting process and in composition design in particular. The photos above show earlier stages of "Spring Breeze", with the final version at the top. The lower left photo is quite early, with some elements, like the sky and footbridge, more developed and others, like the wildflowers, just barely indicated. It was a real challenge to get the balance and focal point to work well on this piece. My painting mentor Linda Blondheim provided invaluable advice during a couple of months of using her e-critique services. With her guidance, I gradually added more curve to the path--even the second version of the path in the photo on the right changed further later on. The evolution of the path illustrates how landscape artists sometimes need to adjust features in the actual scene for a more pleasing composition. The first version reproduces the way the path actually looked in my reference photo, but adding curves and more variation provided a much more graceful lead into the scene. In a departure from my usual process, I painted the footbridge in a fairly detailed form early on because I was strongly drawn to the sharp shadows cast by the railing. Since that area was my intended focal point, I worked to render the bridge in correct perspective from the beginning.

I have no idea how often I painted out and revised the wildflowers on the left side. Although they are a major element, I wanted them to balance, but not compete with, the footbridge and its interesting shadow pattern. An important step in solving the overly even seesaw look of the foreground was to make the left side dune higher. At one point, I cut some scrap paper into a much higher dune shape, taped it (with masking tape) to the canvas, and emailed that image to Linda. She agreed that a higher dune made the composition more interesting than having so many elements on roughly the same level, but suggested going a bit lower than the line of my cut-out. However, I hesitated before revising the dune so radically because Jacksonville Beach dunes are not that steep. We landscape painters vary, I think, in the degree to which we are willing to change the actual scene when we work from nature or reference photos. For several days, this work-in-progress stood on the fireplace mantel for consideration while I worked on other paintings. The need for a greater variation in line won out over realism. Also, since steeper dunes grace some nearby beaches, the change was not completely out of line.

If some of you are interested, I will talk about the process of painting the sky and clouds in "Spring Breeze"in a future post. It can be difficult to achieve a semi-transparent, wispy effect with acrylic paints, so sharing our methods could be fun.

Question of the day: More of a reflection than a question this time: For me, achieving an interesting balance of compositional elements in a painting, with both dynamic tension and restful features, seems like a metaphor for a set of life skills we all need. What do you think?

Learning--Reference Photos for New Landscape Painting Projects

Each of these photos is slated to serve as a reference for a new coastal North Florida landscape painting. The sandpiper feeding in the foam spun by Atlantic Ocean waves is started on a 9" x 12" canvas board. So far, the major change from the photo is to swap positions of the bird and seaweed debris--didn't want our feathered friend skittering right out of the painting :>). The major challenge of this piece will be to render a pleasing, faithful impression of the sea foam and the wet shimmer on the sand. Even in the photo, that ridge of foam looks a bit unreal--so stay tuned for how my wrestling with it all turns out. It will be great for my learning process to work on this scene.

I think I mentioned the other photo a few posts ago when we had some fun conversation (thank you, thank you, commenters!!!) about a dune scene that left the viewer no clear way to cross over to the beach. This scene shows one of many dune-preserving boardwalks on Jacksonville Beach, the only permitted way to cross our precious dunes in order to protect them and the life forms they support.

Right now, I have just begun to sketch possible compositions for the new dune scene. The photo cuts the composition almost in half vertically--not acceptable. Secondly, I am not happy with the way the foot bridge competes for attention with the white fence. So, I have been juggling the elements in thumbnail sketches in a way to feature the foot bridge, the intended focal point. Once the plan for the composition is ready, I will consider the palette--will punch up the color and contrast some, but still keep it natural and a bit soft. Lots to think about for this one. It's time for me to paint something new in an 18" x 24" size (or possibly even larger). Dune Crossing may be the one.

Question of the day: If you are an artist or have a creative hobby, what is your planning process? Are you more intuitive and inclined to pursue that flash of inspiration spontaneously; do you have a meticulous planning or preparation process; or are you somewhere in between?

Learning--North Florida Beach Painting, Final Version

Here is a better photo of the 16" X 12" dune and beach scene from a reference photo taken on a calm day at Jacksonville Beach in coastal North Florida. A few posts ago, I described the painting process and the revisions in this piece from a combination of my own ideas and the expert advice I received from my mentor Linda Blondheim's e-critique service. An added hint of low waves breaking just over the sight line of the dip in the dunes is one small change not in this photo. Since I forgot to take another picture before I added the final coat of satin finish medium to the painting, I am posting this photo. It is much more difficult to get an accurate photo after the medium is on, given slight reflective areas under any normal lighting conditions. Dune Shadows is now signed, sealed and ready for sale.

I loved getting your comments on the previous post. My favorite comments reflected a preference for a previous version with more of an opening in the dune grasses. Even though that is a gentle criticism of the final version, I didn't mind at all. The fact that some of you were disappointed that there was no longer an obvious way down to the beach struck me as a very positive reflection on the painting. What I hear in those comments is that viewers are actually putting themselves "into the picture", and I am delighted by that. Besides, no one is supposed to cross over the dunes as they are protected, both for the sake of the natural vegetation and critters living there and to help prevent erosion (not that a mental crossing when viewing a painting hurts anything).

I have a nice set of photos of a wooden walkway nearby, one of many crossings up and down the miles of gorgeous beach on our city's off-shore island. When I figure out what angle I'd like and how best to compose the scene, I'll start on a painting just for all y'all who want to run into a painting and onto that beach. Thank you for giving me the idea for a new work.

Question of the day: Isn't feedback wonderful? I love hearing reactions to my work, even thoughtful negative ones (in moderation :>) as I continue my lifelong learning journey.

Learning and Growing--Critique Service Results on Dune Painting

On February 1, when I posted this 12" x 16" painting as a work in progress (the small photo), it was ready for comments from my painting mentor, Linda Blondheim. You can scroll down to that post for more information about Linda's teaching services and a link to her website. I had signed up for her e-critique service for the month of February and have found it immensely valuable in the development of five paintings. I was aware of several changes this piece needed, and Linda suggested other modifications--most of which I included in the revision. By the way, I photographed the earlier version in much brighter light, so please don't think that the whole painting is darker now. If you'd like to see more detail, you can click on the photos to enlarge them.

The work seems about finished to me, but you will notice that it is not yet signed. That means it will rest for awhile so that I can live with it and decide if any further tweaking is desirable. As I have mentioned before, knowing when to stop revising is both crucial and difficult in any art form. The piece is based on reference photos from a June visit to Jacksonville Beach, Florida, looking out at the Atlantic Ocean over the dunes. All along Jacksonville's offshore islands, the dunes are protected so that natural vegetation and critters can thrive; beach visitors may cross to the beach only on boardwalks.

For those of you who are interested, here are the main details of the revision. Probably the most noticeable change is the stronger, darker fence. Since it is the focal point, it needed more drama in size and tonal value. Even those of you who paint may not guess what gave me the most trouble in this piece--it's the top half of the dune on the right. In the earlier version, the tall grasses drew attention to themselves and distracted both from the fence and from the bright wildflowers that I considered a secondary focal area. As Linda and I considered various possible fixes, I first painted the grass out completely but did not like the look of the dune completely bare either. My final solution was to cover more of that dune with grasses, carefully keeping them soft, nearly uniform, and neutral in tone so that they would blend with the dune and not pull attention away from more important areas. Other changes in tonal balance (degrees of dark and light) on the horizon line, on the sunlit left dune top, and in the foreground increased the interest and drama of the scene. The ocean is deliberately kept as a quiet area, somewhere for the viewer's eye to rest, as one looks out toward an interesting, but not overly dramatic, sky. The painting now captures my impression of that lovely June day.

Question of the day: In your creative projects, do you enjoy the ups and downs of the process, or do you feel impatient for completion?

Learning--Winter Beach Painting--Patterns in the Sand

Not too long ago, I posted an entry about winter walks on the beach. This painting, Tide Pool Patterns, evolved from photos on a winter walk several years ago. That day, the Atlantic was in a rare indigo mood (the water color is never exactly the same from day to day, changing sometimes subtly, sometimes quite dramatically), and the waves were crashing very white. The receding tide had left shallow pools and interesting patterns and ridges in the sand. I think the earlier hours had been fairly windy, because the beach was more stirred up than sometimes. The view was interesting to me almost in an abstract sense, and I hoped to create a very simple, somewhat empty (if that's the right word) scene where the tonal contrasts, some strong, some subtle, and the abstract design would be the focus.

As in many paintings, this one did not look right for quite awhile. When I painted the wavy patterns in the sand as they actually appeared, it did not work on the canvas because they slanted so sharply that they gave the impression of going steeply downhill. Not wanting to lose the texture and diagonal interest and yet needing a more realistic look, I fought the angles and patterns for several painting sessions until the sand appeared flatter. In the foreground, I sprinkled salt on the wet paint to create some sparkly dimension on a few of the ridges of sand. Even clicking on the detail photo probably doesn't show you that texture, but it's kind of nice. I feel fairly pleased with the final result, which I hope conveys a feeling of peace contrasted with the energy of the background waves.

Question of the day: Isn't it interesting what makes for visual interest and how central a part different kinds of contrasts play in what is pleasing to the eye?

Exploring--Our North Florida Winter Beach Plus Bidding Update

I wish you all a very joy-filled holiday season. Although we try to keep our Christmas season low key and focused on what really matters, it is still a fairly busy time. Because of that, our little Shih-Tzu, Maggie, and I have not been to the beach in the last few weeks. Missing the wide sweep of sand with timeless waves rolling in, I decided to post a few Jacksonville Beach photos with today's greetings.

These are early winter shots, taken on two different November days, quite late in the day. The sun setting behind homes and buildings casts long shadows on the sand. The beach in one photo is littered with broken shells, kelp and other marine vegetation, tossed up by wind-driven waves at high tide on a stormy day. Looking up the beach, you may be able to see the Jacksonville Beach Pier in the distance.

Now, a month later, fewer people would be wading in the cooling water, and the only swimmers would be visitors from Canada or Minnesota or someplace like that. They've come al the way to Florida for the warm weather, and by golly, they're going to jump in that ocean even though both the air and North Florida's Atlantic waters are chilly.

OK, I've talked myself into it. Instead of missing the beach, I promise myself to walk there sometime this week, even for a short visit. It will be good for my peace of mind and spiritual center.

Question of the day: If this is a busy time for you, what quiet, centering moments do you plan to include in the next few weeks?

Bidding for the 9" x 12" original painting, Purple Iris Solitaire, remains at zero, so it looks like a low bid will take it. Deadline for bidding is noon on Monday, December 14. Bidding starts at $12; a bid of $20 or more will win you free shipping in the US and $5 off international shipping. Scroll down for more details and a photo of the painting.

Learning--Blogging and Landscape Painting

Thank you for your positive response to the last post. Today, I am posting a related article, also a repeat of a post from this past May. I hope you enjoy it and promise something brand new next time.

Did you learn something new today? Whether simple facts or complex new abilities, new learnings enrich life, keep us mentally and emotionally young, and just plain add fun to our creative everyday lives. I am a compulsive learner on many levels and love to gain new insights and skills. Some of my most rewarding learnings have followed attempts to understand or do something I assumed I would not do well. Taking that risk is stimulating, sometimes humbling, and always enlivening (at least in the long run), no matter what the result is.

This blog is one example of a personal learning adventure. As a minimally computer-literate person, I faced a steep learning curve in order to begin posting. Those of you who are computer-adept would have found my approach hilarious, involving everything from perusing library books to asking friends to viewing on-line video how-tos. Numerous notes and lists later, I took the heart-pounding dive off the . . . well, so far, what I have done is probably analogous to slicing into the pool from the edge; this is hardly the high dive of blogging. However, it represents an achievement for me, both in learning the basics of blogging and in publishing the thoughts and adventures of an introverted self for y'all readers.

I wonder: If blogging had been simple for me, would it have been as rewarding as it is now? In time, I hope to advance to more variety in format and to including appropriate links for interested readers, and more! (Note: I have learned to insert clickable links since I wrote this--progress!) It's a shame you can't all watch over my shoulder to chuckle (in the nicest possible way, of course) at my ongoing efforts in techno-communication. Truthfully, the process is not always fun for me, but my small triumphs are satisfying--and, hopefully, are also beneficial flexing for my maturing brain.

Oh, about the photo above, you ask? A few years ago, I took a wonderful painting course. Awkwardly wielding an artist's brush for the first time since elementary school, I discovered a whole new source of creative expression and satisfaction. With zero expectation that I would produce anything even worth keeping, I was astonished to like some of the paintings I made in the class. Now, that's a sign of a world-class teacher! I'll describe that learning adventure in future posts. In the meantime, you can view an effort from about a year ago--my response to exploring Big Talbot Island (see a recent post about that unique beach below).

Question of the day: What new learning adventure intrigues you? What fears keep you on the side of that pool? Why not give it a try?

Exploring--Right Near Home--Return to Big Talbot Island

I hope you will indulge me as I repeat a couple of posts from the beginning of this blog. Since there are many new readers (and most readers, I suspect, do not read all the posts going back to the beginning), I will occasionally repeat a post that has generated some interest. Welcome back to Big Talbot Island State Park.

Wherever we have lived, I have enjoyed playing tourist near home. It doesn't cost much (sometimes is free, especially if one can walk or bike there) and often reveals delightful new surprises. We are fortunate to have many friends and family members from other parts of the USA or other countries who come to stay with us. Spending time showing them our home town and surroundings takes us places we might neglect to experience otherwise. How many of us hear about nearby interesting places we would like to explore and yet postpone doing that month after busy month?

Here's a thought. Even if you don't have visitors, promise yourself an outing sometime soon. Choose a place and put it on your calendar. Or step out the door right now, stroll around for a few minutes or more with all your senses on high alert. Take a camera and make like a tourist. What if you were paying money for your "lodgings"--wouldn't you explore the area?

Or, imagine yourself hosting a visitor from someplace quite unlike your region. If it is hard to see the farms around you with fresh eyes, pretend you are guiding visitors from Saudi Arabia. Wouldn't they be amazed at the rolling hills or vast plains in lush greens or rich golden tones? Or if your city neighborhood is seeming drab and uninteresting, imagine giving small-town visitors a tour of the ethnic food stalls and lunch counters in some surrounding blocks. Wouldn't they love hearing multiple languages and savoring the varied aromas and flavors?

We had lived in Jacksonville, FL for several years before a visit from a brother who lives in Cleveland, Ohio prompted me to explore Big Talbot Island State Park. A stark contrast to the endless, wide Jacksonville beaches most visitors flock to, the shore of Big Talbot is a quiet, somewhat ghostly walk along low bluffs. Over time, the battering of storms and storm tides has toppled and sculpted oaks, pines, and other vegetation into a unique atmosphere (begging for artistic photographers--and for us amateurs, too). The shady, wooded trail from parking to an overlook is short and easy, and another short trail leads to a path down the bluff to the shore. There are other hiking trails in the Big Talbot Park preserve, through heavily wooded areas dripping with Spanish moss or along the fascinating, varied habitat of salt marshes--bird-watching and just breathing deeply made an afternoon here feel like an extended vacation.

Question of the day: Why did I wait for an out-of-town visitor to explore this nearby natural wonder? What will you explore for the first time or see in a new way soon?

Exploring & Growing--Landscape Painting, Jacksonville Beach scene

I have showed you some of my landscape paintings in previous posts and have described the creative process for each. If you wish to see them, you can view posts from June 12 & 17 and May 1 & 7 or simply enter "landscape painting" in the search box above. The June entries showed how my individual composition decisions used and yet modified the scene in the original reference photo. 

I have a painting of a grey heron at a lake in Hanna Park, here in Jacksonville, Florida almost finished and am excited that I will be showing it to you soon. That painting also grew away from the original reference photo as I worked and struggled with the vision I had for it. Although I am very happy with each of those finished pieces, I can recall vividly how I despaired along the way, wondering why the painting refused to gel--why it seemed determined to remain clumsy and unsatisfactory.

Today's painting is a different case. Although you will see differences--a painter almost never simply copies nature, this photo and painting are more closely related than usually happens. Exploring Jacksonville Beach with our little beach-loving Shih-Tzu one mild late winter day, I saw early flowers blooming by a white concrete fence. I took several photos and decided that the one above would make a lovely medium-sized painting. It required minor adjustments only to make a painting I am very fond of. Some paintings require extensive sketching, planning, adjusting, and revising to grow into a vision I like. Then again, sometimes, all I need to do is to observe nature and go with the flow.

Question of the day: When creativity comes easily, do you ever wish it happened that way every time? Would that really be for the best?

Savoring and Growing--An Evening at the Beach

Walking on the beach, or simply gazing out over the ocean profoundly restores my soul. Monday was a fairly hot, clear day here in North Florida--good beach weather many people would say. I don't much like sweltering in the sun, however, so usually either go to the beach in the cooler seasons, spend most of my time in the ocean when the temperature climbs above 80 degrees, or go in the hours toward sunset. 

Our sweet little shih-tzu, Magnolia (usually called Maggie), also just loves the beach--to the point that we have to spell the word when we talk about going because she gets so excited about the possibility. She starts a joyful dance and spin-around routine at the sight or smell of my battered red and white striped beach bag. However, I don't like to take her in the heat and relentless sunshine of mid-day any more than I like it for myself. Early evening is a perfect time for her to race around in the sand, as in today's photo. 

Yesterday, the three of us set out for the beach (about a 15 minute drive from home) at about 7 p.m. and were home again by 8:45. There was a lovely breeze off the water--by 8:30 it was almost chilly. Several ships and a shrimp boat were visible far out on the horizon. Other than that, it was a rather ordinary evening: a pleasant sunset but too few clouds for spectacular color, no dolphin sightings, only the rather sad sight of an old sea turtle, which had apparently died near shore, now revealed by the receding tide. 

Yet the sound of the surf, the happy shrieks of children, the young couple with a tiny, very new baby proudly posing with her for pictures against the ocean backdrop, and the fresh smell of the sea breeze all were magical to me. We returned home feeling as refreshed as if we had been on vacation. I am thankful for the restoring natural beauty around us and hope that you have special places for renewal as well--and that you take the time to enjoy those places, even if just for an hour or two. It's not expensive or time-consuming to love life and live it fully, but it does require creative awareness and the willingness to do the things that bring us peace and joy.

Question of the day: What place or activity restores your inner peace?