Newest Painting Is Complete--"River View at Kingsley Plantation"

     I felt a little rushed to complete this 18" x 24" acrylic on gallery-wrapped canvas in time to deliver it to Paddiwhack Gallery for a special exhibit. However, I am quite pleased with the result. "River View at Kingsley Plantation" utilized my cabbage palm painting photos and study, mentioned in the most recent previous post. It may not seem like a big deal to everyone, but creating the palm trunks and especially the palm canopy (and even the part of a canopy visible on the far right) required special study and careful work.

     Then, the first try after my studies produced a very nice canopy on the furthest palm away from the viewer (which appears in the middle of the three seen), but I painted much of it out and started again. That canopy had been very high on the canvas and was not seen in full (in other words, the viewer of the painting saw maybe the lower two-thirds of it at most). On e-critique advice from Linda Blondheim and on further reflection myself, I concluded that for good composition and better balance, that entire palm canopy needed to be lower so that it would be seen in full. Other changes from the main reference photo (seen below)--made to enhance the composition--included painting in a more interesting sky, adding a kite, which is one of Florida's gorgeous soaring shore birds, and simplifying the tall grasses.  My literal rendition of the bulkhead along the river at the Kingsley Plantation National Parks historic site bothered Linda. She would have preferred a softer, more organic, curving line, perhaps of the mud flats that line the river bank at low tide. I did consider her suggestion to replace the bulkhead, knowing that it would certainly work well. However, in the end, I stayed with the straight  bulkhead as it is, partly because viewers who have visited Kingsley Plantation have seen it there and partly because something about the sharper angles appealed to me as a change from some of the softer composition edges I have used in other pieces. 


     You can see other changes from the actual scene that I made in the painting. But, you can also see that this particular photo already represented a composition that appealed to me without major rearrangement. Compared to the times that I have used a reference photo that had appealing elements but was not composed well and required major revision in painting, beginning with a solid photo composition is much simpler and more satisfying.

Question of the day: Do you personally prefer fairly realistic--or even near photo-realistic paintings--or some other type such as impressionistic or abstract?

"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?

The Encouragement of Past Achievements

     In the previous post, I mentioned having hit a fallow time in my painting. Browsing images of some of my past paintings was helpful--especially the works that were most difficult to complete. The dune bridge piece pictured here was very stubborn and resisted my efforts to produce a harmonious composition for some time. Looking at it now and recalling the many wrong turns I took in painting "Spring Breeze" reminded me of the wisdom of the saying "this too shall pass". I have felt reluctant to paint, unproductive, and just plain unable before. So, feeling that way should not be scary now and certainly is no excuse for hopelessness. 

     Linda Blondheim's e-critique service helped me rescue this piece from what seemed like an impossible mess. Some of the fixes she suggested did not work; others were ideal. Some of the adjustments I tried on my own were helpful; others were disastrous. But, with persistence, the sort of painting I envisioned creating finally emerged. In the visual arts, some revisions can't be evaluated until you see them in relation to everything else in the composition. Fortunately,  acrylic paints permit painting out unsatisfactory areas and covering them with new shapes, colors, and forms. I would be lost without the possibility of "do-overs".


     The main problem with what you might call the "first draft" was a lack of balance, I think. Keeping the viewer returning to a central focal point gives a work its power, and the wildflowers competed with the foot bridge for awhile. Also, being too literal about the slope of the dunes I had photographed for reference left me with too little variation in the line of the dunes. Since the horizon is inescapably straight, I needed to exaggerate the height of the left side dune and add more undulations to the dune outline (without overdoing it) as a contrast to that straight line. One trick I used to "try on" various dune lines was to cut a paper outline and tape it over the piece--then a different outline, etc., until it looked about right. 


     So, looking back on creative challenges I have faced and coped with in the past helped me get past the funky time and get back to work. "Spring Breeze" and other works remind me of the inevitable ups and downs of the creative process. This is not the first time I have felt as though I have forgotten how to paint, nor will it be the last time. All I need to remember is that the frustration has always been a temporary speed bump and that with faith and patience, the joy of creating will return.
Question of the day: Can you recall a troublesome season you experienced that you were able to work through in time? Can you draw strength from those memories to help you face new challenges?

Handling A Fallow Time for Creativity

     A few weeks ago, I showed you this photo from our trip to Maryland and commented that the clouds to the north at this Chesapeake Bay park were a dramatic contrast to the clear sky to the south at the very same moment, shown in another photo on that post. Recently, my creative skies have been on the cloudy side. Not totally bleak, mind you; there had been plenty of beauty in life just as there is in this scene. However, the creative process--my painting in particular--had gone somewhat stale.


     During the last couple of weeks, I have not felt like painting, and when I forced myself to the easel, the results were not satisfying. In addition, instead of being relaxing and absorbing, the painting process felt tense and unproductive. I gained renewed admiration and respect for professional painters, writers, and many others who create for a living and do not have the option of taking a break from the process as I did. Their self-discipline is inspiring--and difficult to emulate.


     When farmers let fields lie fallow for a season, the soil can renew and the new crop planted afterwards is healthier and produces better. It is definitely too early to tell if my (relatively brief) fallow creative season will lead to anything remotely similar. The good news is that the lull is apparently past for now, and painting is fun again. I am working on several pieces that I will show Linda Blondheim soon via photo images for her illuminating e-critique response. Whatever blocked the creative painting process resulted in unsatisfactory efforts for a time, but now it feels as though I have pushed through those particular difficult areas and am moving forward. 


     Possible responses to fallow periods include spending time away from the activity, as I did, or trying an oblique approach to the work. I could have shifted to goal-free sketching or tried a series of brushwork or other basic exercises to loosen up and move on. That might have been better, but for some reason seemed too much "like work". I am fortunate and thankful that giving myself a break from painting helped me return with joy. It did require getting behind myself and pushing at first, but the fuzzy feeling has passed and the clouds are parting.
Question of the day: How have you coped with the inevitable enthusiasm gaps in your work or hobby activities?

New Salt Marsh Painting--"Castaway Island Palms"

     The first of two 9" x 12" paintings I am working on from my exploration of Castaway Island Preserve might be finished. At least, it is very near finished and is ready to show you. The small palm hammock in the mid-distance across the salt marsh drew me to the scene. Paintings always take on a life of their own, and this one somehow became a bit darker and softer than my original vision, which seems fine. It hangs in my studio where I'll contemplate it occasionally to decide whether or not to make any further adjustments.


     I have been fortunate to have had the advice of two excellent painters on this piece. I began the work in Roger Bansemer's helpful two-day workshop, described in a previous post, and brought it home maybe 2/3 finished. A companion piece, also from a Castaway Island scene, got a rough start there, too--at least in its basic layout--and is now on my easel to be re-engaged.


     Linda Blondheim, my dear friend and mentor--and best painting teacher I have ever studied with--has also advised me as I worked to complete this piece. Given that she lives and works in Gainesville, Florida, a good 75 miles away from Jacksonville, our time together is limited. However, she offers an e-critique service which is extremely well-done. Periodically, I send her images of works in progress and ask questions about them. Her responses are encouraging, insightful, and precise, guiding the process without imposing her own style. She is that rare art teacher whose guidance helps students achieve their own vision to the best of their ability.


     The palette for this painting and its eventual companion piece is: ultramarine blue, cerulean blue, Indian yellow, cadmium yellow light, cadmium red, Payne's grey, buff, and white. This is the first time I have used Indian yellow, an orangy, yet not overly bright blend and enjoyed learning something of its mixing potential. Following Roger Bansemer's practice, I toned the canvas with a rub of burnt sienna before beginning. Once that is rubbed partly off, the resulting background is a mid-tone, which can help the painter judge tonal relationships as she adds first the major dark areas and then the lightest lights, and builds from there. In a departure from my usual technique, I let some of this undertone show through rather than completely covering it with full-strength paint. Handling the light in the scene was tricky, given a day that had been partly cloudy with a somewhat directionless glow and very subtle shadowing. Our weather has been unusually dry here in North Florida until recently; the marsh is undoubtedly much greener and thicker than when I last visited Castaway Island Park. I am reasonably pleased with the way this painting captures the light and mood of the day I was there.
Question of the day: Wouldn't life be sadder and poorer without compatible teachers and mentors?

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?

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 and Growing--Painting of a Salt Marsh

This painting, on 12" x 16" gallery wrapped canvas, has been a long time coming. I have felt stuck and put it away a few times. As I worked on it in May, it reached "near completion". Yet, I was uncertain about the best solution to a couple of issues. The foreground grasses were problematical, sometimes seeming too bland; then a change would overdo the variation in tone and color. Bland wasn't good, but I did not want the foreground to distract from the egrets (intended to be a focal point) or from allowing the viewer's eye to move about the scene. You may want to enlarge this image to get a better view of the egrets and other details.

Knowing that I would be working with my painting mentor Linda Blondheim again in June, I waited for her advice. I mentioned her e-critique service for painters in two February posts, the last time we worked together. Between her suggestions and some experimenting on my part, the piece is now in a good place. There will still be minor color adjustments with transparent glazes on the lightest grass tips and perhaps on the tree mass furthest forward on the right. These will be subtle enough that they will not show much in a photo. So, I decided to go ahead and show it to all y'all.

Although the reference photo was taken one January, that was a mild winter (unlike this year!), and the salt marsh did not look completely winter-like yet. Also, some of the color changes I made to pump up the visual interest of several areas slanted the scene toward a late autumn in look. We have hiked the wooded and marshland trails in Fort Caroline National Monument several times, both on our own and with family members visiting from other parts of the country. Every trail turn reveals new natural beauty in this park, part of an immense preserve spanning thousands of acres near the mouth of the St. Johns River here in Jacksonville, Florida.

Question of the day: Isn't it interesting how some creations seem to come together in a flash (not only for painters, but for all creative individuals), and others unfold slowly?

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 and Growing--Signing on for a Critique Service & a Work in Progress

I have just begun working with an exceptional painter, teacher, and mentor, Linda Blondheim, via her e-critique service. The photo shows one of the works in progress I sent to her for suggestions. I know which parts of this painting I feel need to change and what I still plan to do with it--it will be fascinating to hear her reflections. Hopefully, in a couple of weeks or less, I will be posting the finished version for you to see.

I have taken several classes and workshops from Linda in her charming studio, out in the countryside near Gainesville, Florida. Every time, I came away encouraged, energized, and bursting with new skills and insights to apply to my painting. Although she is too busy to offer such classes right now, she still teaches via the Internet. One of these days, I will take one of her e-classes, but her e-critique service fits my schedule and needs better this winter and spring. Each week, I will e-mail Linda images of a few pieces I am working on along with particular questions I have about them. She will then analyze and critique them, returning not just her verbal commentary, but scanned images of the works with alternate possibilities sketched in. Then, I can get back to work. Linda is respectful and understanding when I decide not to follow a suggestion, but most of the time, her pointers are right on target and help guide my process in a direction that feels right for me. If you would like information about her many services and products for artists, click on "artist resources" on her web site.

One of the teaching qualities I appreciate most in Linda is her sensitivity to each student's own style and vision. Some art teachers seem to think that all the students should precisely imitate their style and technique, sometimes even their subject matter. That approach may be helpful to some students, but drives me right out the door. Of course, I know that I have a lot to learn, and I humbly work to improve and grow with every session at the easel. However, the best sort of teacher for me is one who guides and encourages me to develop freely in my own unique creative direction.

Question of the day: What inspirational teacher or learning experience stands out for you?