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Currently Reading

I am working my way through Color by Victoria Finlay.  This book explores the historical background of colors.  I have thus far enjoyed the histories of ochre, brown, black, and white.  Finlay does a nice job balancing between history and anecdote to make it an entertaining read.  The book is dense at times, truthfully this is my second attempt at it. None the less, I find it well worth the effort.  For example- I didn’t know yellow pencils were painted yellow because the graphite originated in China and the color yellow made them look “oriental” .  I also just finished a section on how white lead paint was used in the early days for both painting and makeup.  As we now know,  many pale young women died of lead poisoning.

Color, Victoria Finlay, 2002, The Ballantine Publishing Group

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LARGER

I have finally started working larger.  It was time to explore my landscapes on a new scale.  The larger size allows me to loosen up a bit and have a wider range of mark making.  I am still using a painting knife regularly, but I now incorporate brushwork as well.  These can no longer be “alla prima” paintings and now I must readjust my work habits to paint in multiple sessions.  This means planning more carefully how the surface is built so that I can allow for adequate drying time.  This also means putting an unfinished painting aside for a week.  The downside is the anxiety I feel about just wanting to finish the thing.  The upside is that it forces me to sit back and take more time evaluating the painting in progress.  Transitioning into a new way of working is always challenging, but that which is challenging always inspires growth.

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iPad Paintings

So I recently acquired an iPad (thanks Ben) and the most useful tool I have found on it so far has been the Sketchbookx Application (this is the free version).  It is a drawing and painting application that allows me to select brush size, opacity, color, etc.  There are pencil and marker tools as well.  I am still learning all of the different things I can do with it.  There is definitely a digital “look” to the finished product.  However, it’s useful for sketching out ideas or studies quickly and easily.  As an artist, it is always fun to try new tools and see how they integrate into studio work.  Another option I have toyed with is importing pictures of in-process paintings to this application and playing with ideas for the next step.

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October Afternoon

20″ x 24″

acrylic on canvas

 

This is a bit of a departure for me, but I am having fun with my acrylics.  I have been using brushes again and playing with a loose, painterly approach.  Obviously a lot of autumn in my recent work- how could I not be inspired by the season?  This piece feels particularly personal to me.  I recall the afternoon I took this photo vividly. One benefit to working from photos is being able to relive the memory in creating the painting.

 

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Fish Creek Sunset

10″ x 16″

acrylic on paper

I have been playing with acrylics lately because I have been teaching them a lot and have found myself inspired by my students.  This image is from a photo I took last time I was teaching at the Peninsula School of Art.  I took an hour to hike through the State Park after class and despite being very cold, I found some inspiring views.

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Impressionism

I just wrapped up a 3 week class on Impressionist style landscape painting at the Cedarburg Cultural Center.  Being on a bit of a break from my regular studio work, I felt like channeling my inner impressionist yesterday.  Working from photographs I took at Peninsula State Park earlier this month, I whipped up some autumn paintings in acrylic.  I tried to force myself to stay loose and intuitive with the paint.  I tried to relinquish some control of mixing and detail.   I had fun and  I know that this will certainly inform my work going forward.  The classes I teach inevitably change me as an artist for the better.

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On Teaching

This photo was taken in Peninsula State Park last weekend.  I was up in Fish Creek for a class on acrylic painting at the Peninsula School of Art.  At Peninsula they format their classes as multiple day-long workshops.  This format is incredibly beneficial to the students because they are literally on an art retreat.  They have the time to become immersed in what they are doing.  It is a retreat for me as well.  I feel fortunate that I was able to spend the weekend talking painting with a group of passionate art students.  After class I took this walk in the park to reflect on the day and its lessons.  Also, I just had to grab some photos of the changing colors for my reference library!

This month I find myself teaching more than I think I ever have.  In the month of October I literally have at least one class every day with maybe a few exceptions.  Granted, this has lead to a slow down in my own studio work.  However, so much energy dedicated to talking about painting is giving me a chance to reflect and refocus.  When I do return to art production I know that it will be with a clear head.  I am spending this time reading, writing, sketching, and of course teaching.  My schedule will lighten by mid November and I look forward to winter months cooped up in my studio.  It is sort of a cliche’ to say, but I learn so much from my students and I cannot wait to implement the lessons I am learning to my own work.

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Pastel Landscape Process

Inspired to do a larger pastel piece, I worked on a 22″ x 24″ sheet of red Canson paper to create this drawing.  I took photographs along the way to illustrate the process.  First I began with a simple value focused watercolor underpainting.  It’s important to not overwork this step and stress the paper.  In landscape, I almost always start with sky.  Once the sky is established it is easy to build in front of it.  I may have to tweak colors in the sky later for cohesiveness, but I shouldn’t have to do much.  The most difficult part of this piece was the large expanse of grassland.  It was hard to be consistant without it being too boring so I tried to vary of the colors and marks.  However in doing so I walked the line of making it too “chunky” and imaginary.  After  a few days work on this piece I am happy with the end result, the balance of warms and cools, of ground and sky.

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Reflections on an Art Fair Summer

When the festival season is over for me (in 2 weeks) I will have 9 festivals under my belt.  By far the most I have ever done in one summer.  There has been a huge learning curve and I have tweaked my display at almost every show.  I have also kept notes on which festivals I will do again next year and which ones I won’t.  I had good festivals and bad festivals, but there is more to it than sales.  There were festivals this year I did not sell a thing at- but I am still considering returning to these festivals next year because it was good exposure, an art educated crowd, or just plain fun.  Next summer will likely be more concise in terms of my festival schedule.  I may also branch out a little further into Illinois or Minnesota.  Fellow artists have proven to be a priceless resource in providing pointers and recommending other shows.  Even when I was not selling I was learning, making connections, and gaining exposure.  This weekend is Mount Mary Starving Artist Festival (which will be a very different kind of show for me).  Following that is Hidden River the 14th-16th.  I will stay cautiously optimistic about these coming weeks!