The colors outside are finally showing in some spots around my neighborhood and I'm anxious to get out and paint but don't think thats going to happen anytime soon. I'm making good progress with my knee and all the other stuff going on.
Test results for anemia are encouraging as this new med pack is doing it's job and I finished up yesterday with a very painful physical therapy session for my knee that has bursitis. Once this bursitis goes away, I hope I NEVER have another attack. It's the same knee that had the broken patella a couple of years ago. I'm going to do everything possible to keep my knee healthy for sure. At least now I can walk a bit, sit a bit and get some things done like the ton of clothes piled up in my laundry room. Today I'm going to walk to the mailbox and see how that goes. If that works, I'm going to get myself out to the studio tomorrow. I also hope that I'll be able to sit at the computer and share some art things I've been reading.
I miss keeping the girls more than I thought I would. Strange how life makes it's twists and turns and all the things you though you knew about yourself change. Some pleasent and some not so.
Hope you all are going well.
Friday, November 9, 2007
Wednesday, October 24, 2007
Rehab for me
Well, it's rehab for me. I'm falling apart. I haven't been able to post because I can't sit at the computer. My iron level has fallen back down to 6 which is not horrible, but since I know it will only get worse, I'm going to a new hemotologist in Macon, Dr. Denton. More tests, are to come in so I sit and wait on that. But, that's not why I can't sit at the computer. I fell on the same knee I had the broken patella two years ago and have been having fits with it. I thought I was going to be okay, but as the days wore on, I decided to get some help. I went to a bone surgeon in Griffin and the xrays show that my bones look good, so he thinks it's just bursitis. ???? He gave me a shot of corazone last Friday, but the knee is still not good and I can't walk normal. For a couple of days I used a walker and then decided that I might want to try to walk it out. I'm set up to go to rehab and see if they can work out the stiffness and give me some exercises. Needless to say, I'm not painting.
Hope everyone is enjoying the rain we have been having this week. Hopefully I'll be better in a few days and can get back to painting and posting. In the meantime, here is some information about workshops at Art Works in Pine Mountain, Georgia. Sorry this did not get posted sooner, but please contact Art Works and let them know if you are interested in any of these classes or have something you would like to see offered.
Hope everyone is enjoying the rain we have been having this week. Hopefully I'll be better in a few days and can get back to painting and posting. In the meantime, here is some information about workshops at Art Works in Pine Mountain, Georgia. Sorry this did not get posted sooner, but please contact Art Works and let them know if you are interested in any of these classes or have something you would like to see offered.
Greetings fellow artists,
We promised to let you know when we got our class schedule ready & here it is!! Call the number below for
more information or to register for a class. Stop by and see what we've done to the place. . .we think you'll
be as excited as we are. Please help the art center grow by sharing this email with any friends & family who
may be interested. We look forward to creating with you!!
ART WORKS
134 McDougald St. Pine Mountain, Ga
Ph 706-663-8979
One Day Art Workshops
•’Metal Clay? You Bet!’ (PMC/Art Clay)
Introduction to the Magic, Saturday, October 6, 10 - 3, Fee: $60
Instructor: D. Jackson Quillen , PMC Level 2 Certified
Let Debra introduce you to this malleable metal clay made from reclaimed, micron sized particles of pure silver held together by a non-toxic, cellulose based organic binder. Students can stamp it, mold it, carve into it & more. Add silver paste & silver in a syringe as you create a one of a kind pendant. Fire away the binder with a simple, inexpensive butane torch you may already have at home, & you’ll have a 99.9% fine silver pendant! Max of 8 students, min of 5
•‘Watercolor Crash Courses!’
Callaway Chapel, Sunday, October 14, 2:00-6:00, Fee: $55 includes all supplies
Great Blue Heron, Tuesday, October 30, 9:00-2:00 (one hr for lunch), Fee: $55 includes supplies
Instructor: Brenda Stevens
Brenda has developed a unique & condensed method of teaching. Students can experience the exciting medium of watercolor immediately as no drawing skills are needed. Mix colors and learn the basic techniques of watercolor on an original drawing, created just for this workshop. You will be taught step by step, & in just four hours, you will finish a small painting. You will be amazed! Max of 10 students, min of 4
•Lampworking-the Art of Glass Bead Making
Tuesday, October 30, 9-2, Fee: $70
Wednesday, October 31, 9-2, Fee: $70 (take both days for $125)
Instructor: Jan Hochreiter
In just five hours you’ll learn the basics of melting glass over an open flame while wrapping the glass around a mandrel to create an assortment of unique lampworked beads. Learn to pull stringers and embellish your beads. Later incorporate the beads into a unique necklace, bracelet or earrings. Max of 4 students, min of 3
•‘Mosaic Madness’
Saturday, October 27, 10:00 - 3:00, Fee: $70 supplies furnished
Instructor: Beverly Roberts
Students receive step-by-step, hands-on instruction while creating a mosaic piece of art. Cut & shape colored glass pieces, glue to make your design and grout. Upon completion of this class, participants should be able to apply these same techniques to create mosaic pieces using a variety of materials and surfaces. As time is limited, please bring your lunch or be prepared for a short lunch break (some of the restaurants deliver!). Max of 8 students, min of 3
•’Autumn Leaves & Watercolor’ (bring a small collection of colorful leaves)
Thursday, November 1, 9:00-2:00 (one hr for lunch), Fee: $55 all supplies included
Instructor: Brenda Stevens
Capture the warm, vibrant colors of Autumn. Your instructor will demonstrate a few basic
watercolor techniques and explain guidelines for mixing color. Students select a leaf and with the
instructor’s help, make a small painting of that leaf. Some drawing and painting skills are helpful but not required. All supplies are provided. 9:00 - 11:30, Intro and Demonstration, Exercises in Color and Technique, & Drawing Made Simple, 11:30 - 12:30 Lunch, 12:30 - 2:00 Paint your Leaf. Max of 10 students, min of 5
•’Painting & Stamping’ for Two’
A class allowing parent & child to experience art together.
Saturday, November 3 or 10 , Fee: $40
Instructor: April Dean
Cut out your own stamp or use ours to design two shirts: one for the parent and one for the child. Embellish with paints and markers to create your one of a kind (or two of a kind!) unique shirt. Go with a holiday theme and be the hit of the seasonal get togethers! April has lots of experience with fabric painting; she’s an incredibly talented artist, a patient & attentive teacher. Create a shirt, create a shared memory! Max of 7 ‘teams’ (1 parent/1 child), min of 5
&nbs p; &nbs p; ; •’More of Metal Clay? You Bet!’
Saturday, November 3, 10:00-3:00, Fee: $60
Instructor: D. Jackson Quillen
In this class you will paint a leaf with silver paste, let it dry & repeat the process several times. Then you will attach a bail for hanging & embellish with syringe silver & colorful stones to create a reversible pendant. The leaf burns away leaving the details of the veins on one side, the other side is the one you embellished. Fire away the organic binder and you’ll have a one of a kind, 99.9% fine silver piece of jewelry. Max of 8, min 5
•’Jewelry Re-Design’
Wednesday, November 7, Fee: $50
Instructor: Faith Birkhead
Go through your old jewelry box and find three pieces of jewelry that can be combined to re-create a unique, new piece of jewelry. Example: a lonely earring, a broken string of beads, old chain, etc. Supplies needed for reconstruction will be provided. Bring a friend or your teenager to share in this fun class. Wear your new creation during the holidays & impress your friends! Max of 10, min 5
•’Basic Color Theory’
Tuesday, October 23, Fee:$60 morning, $60 afternoon or $100 for the entire day (intermediate level)
Instructor: Cheryl Mann Hardin (the artist who painted the sunflower mural on our new art center)
9am-noon Focus on color theory of pigments. Learn to identify & mix tints, tones & shades of the various hues in watercolor, oil, acrylic & pastel. Emphasis on achieving more interesting & pleasing compositions by planning color schemes. More advanced students also study color theory of light & how to interpret & represent light in their artwork.
1pm-4 Students will create a small ‘plein air’ painting using the medium of their choice during an outdoor painting session. Location to be announced. Bring your own supplies for this advanced workshop.
Workshops make GREAT GIFTS for the HOLIDAYS & we have gift certificates available!
Comming in January & February
•Stained Glass •Drawing for Beginners
Instructor: Jan Hochreiter Instructor D. Jackson Quillen
•Still Life in Oils , Beginners & up •Jewelry Making
Instructor: Sharon Nelson, AIS Instructor: Faith Birkhead
•Pottery, Hand Building for Beginners •Fused Glass Pendant
Instructor: Faith Birkhead Instructor: Jan Hochreiter
Monday, October 8, 2007
Jackie Karabaich Painting Featured on KC Magazine Cover
Some of you may remember Callaway Painter Jackie Karabaich who lives in Kansas City. She absoultely loves to travel to Callaway Gardens to paint and this past year came to paint the azaleas with the group that took the L. Diane Johnson plein air workshop. Recently she sent me news about one of her paintings being selected for the cover of Kansas City Magazine. Hopefully you will be able to see the pdf file I'm attaching that gives all the details and of course a wonderful photograph of Jackie too.
Here is the link to the article! Enjoy, congratulations Jackie! Way to go!
Here is the link to the article! Enjoy, congratulations Jackie! Way to go!
Monday, October 1, 2007
A Touch of Tuscany at Hollis Gallery in October
A selection of oil paintings based on my recent trip to Tuscany will be on display at Hollis Gallery, 1401 Williams Street, Chattanooga, TN October 9 - November 16. I will be set up in the gallery painting on Friday, October 12. A Tuscany themed reception will be held Saturday afternoon, October 13. Hope you can come!
Durinda
Tuesday, September 25, 2007
Tell us what you think.
When you have time,leave a comment. That way we all will be able to see your comments and you can leave a link to your website which will increase traffic to your site plus it gives the search engines yet another reason to index you and your art. It's also a great way to let your fellow painters know you have seen them as a featured artist or congratulate them on awards, news or add your comments. If at any time you would like to become a contributing author/editor, just drop me a line. One of the joys of being an artist is to be able to share information learned with our fellow artists. Being an artist can sometimes be a solitary activity, but it doesn't have to be.
I hope some of you are making plans to paint outside. If you are and want some company, just post your location and I'm sure someone will want to join you. I'll be painting at Callaway this weekend if anyone wants to join me.
I hope some of you are making plans to paint outside. If you are and want some company, just post your location and I'm sure someone will want to join you. I'll be painting at Callaway this weekend if anyone wants to join me.
Workshop tips
Sometimes workshop tips are lost from memory really fast so a good habit to get into is to create a workshop binder. That way you can save all the great information given to you in one place and you can add to it as you attend other workshops just by placing dividers or breaking down information into categories like color, composition, exercises, materials, etc. Then you might want to start a general category just to save quick tips and perhaps transfer them to a slip of paper that you can keep at your easel.
You can add to your workshop binder all the great tips you learn from your fellow artists as well as clippings from magazines. I enjoy clipping and saving images of art I like, fellow artists business cards, exhibit invitations that show paintings by the artist, anything art really. If you are like me, soon you will need to split all this great information into other binders. It's a great way to quickly find what you want and also to pull out and take a walk down memory lane.
Here are a few workshop tips from one of my binders:
* Finish what might change first. For example, wiggly children, shadows, cut flowers.
* Paint easiest thing first. If you start with the hardest thing, you might get discouraged, but if you start with what is easiest for you, you might find what you think is the hardest actually falls into place.
* KISS. We all know the kiss rule "keep things simple silly" Simplifying the elements of a painting usually results in a clearer and more focused image. Cut down on the number of colors you use and the values in the beginning.
* Paint the shapes of shadows and light. Look for the shapes of shadows and light around the objects you are painting. Painting the negative shapes can sometimes speed the painting of the actual objects you are painting.
* White isn't always white. Keep your whites lower in value than you think or see they actually are. This allows you room to bring the value up for highlights or other areas you really want whiter whites.
* Shadows seldom are dark dark passages of blackness. Think what the shadow is covering and paint the darker value. If it's green grass, then the shadow can be a darker green with reflections and influences from the sky and other surrounding objects.
*Check your contrast. How's your light vs. dark? Do you have a variety of shapes, sizes, strong passages, muted passages, lost edges, found edges, hard edges, soft edges. Contrast in color is also a good tool to use. Try surrounding a color with its complement and it will pop.
You can add to your workshop binder all the great tips you learn from your fellow artists as well as clippings from magazines. I enjoy clipping and saving images of art I like, fellow artists business cards, exhibit invitations that show paintings by the artist, anything art really. If you are like me, soon you will need to split all this great information into other binders. It's a great way to quickly find what you want and also to pull out and take a walk down memory lane.
Here are a few workshop tips from one of my binders:
* Finish what might change first. For example, wiggly children, shadows, cut flowers.
* Paint easiest thing first. If you start with the hardest thing, you might get discouraged, but if you start with what is easiest for you, you might find what you think is the hardest actually falls into place.
* KISS. We all know the kiss rule "keep things simple silly" Simplifying the elements of a painting usually results in a clearer and more focused image. Cut down on the number of colors you use and the values in the beginning.
* Paint the shapes of shadows and light. Look for the shapes of shadows and light around the objects you are painting. Painting the negative shapes can sometimes speed the painting of the actual objects you are painting.
* White isn't always white. Keep your whites lower in value than you think or see they actually are. This allows you room to bring the value up for highlights or other areas you really want whiter whites.
* Shadows seldom are dark dark passages of blackness. Think what the shadow is covering and paint the darker value. If it's green grass, then the shadow can be a darker green with reflections and influences from the sky and other surrounding objects.
*Check your contrast. How's your light vs. dark? Do you have a variety of shapes, sizes, strong passages, muted passages, lost edges, found edges, hard edges, soft edges. Contrast in color is also a good tool to use. Try surrounding a color with its complement and it will pop.
Monday, September 24, 2007
Inventory Fun
If you don't already have a good way to keep up and inventory your paintings and you have Microsoft Access for Windows, long time photographer/pastelist Rick Lee invites you to use a database that he created to keep up with his work.
You can download a free copy at his website from this page:
Rick Lee's Free Database
If you do have Miscrosoft Access for Windows, check to see which version and download the one that fits. Once you get it downloaded, you will see that Rick has included several pages of his work that you can just edit or delete that will help you get started with your own painting pages. I particulary like his automatic price calculator which uses the square inch method of pricing work.
I did have all my paintings inventoried using Rick's program, but lost all my information when my old computer crashed. This was a HUGE lesson for me, so do as I say and not as I do... when I tell you to save your work to a disk often. I've gotten so careful I have two disks that I save my work to. Ever so often I just pop in my disk and save then pop in my second disk and save again. I sleep better. :)
You can download a free copy at his website from this page:
Rick Lee's Free Database
If you do have Miscrosoft Access for Windows, check to see which version and download the one that fits. Once you get it downloaded, you will see that Rick has included several pages of his work that you can just edit or delete that will help you get started with your own painting pages. I particulary like his automatic price calculator which uses the square inch method of pricing work.
I did have all my paintings inventoried using Rick's program, but lost all my information when my old computer crashed. This was a HUGE lesson for me, so do as I say and not as I do... when I tell you to save your work to a disk often. I've gotten so careful I have two disks that I save my work to. Ever so often I just pop in my disk and save then pop in my second disk and save again. I sleep better. :)
Saturday, September 22, 2007
New Articles
Hi All!
I just posted two new articles using Squidoo.com titled:
Acrylic Painting: Two Secrets
There's a little "quiz" along with insights about two aspects of creating a piece that looks much like an oil painting.
Another comprehensive piece is titled:
Packing For Your Plein-Air Excursion
And to you who are new to painting of any kind, here's one for you!:
So You Want to Become an Artist?
My top five suggestions for getting started. I will go into more detail in the future related to color. Stay tuned:)
Enjoy!
Diane
I just posted two new articles using Squidoo.com titled:
Acrylic Painting: Two Secrets
There's a little "quiz" along with insights about two aspects of creating a piece that looks much like an oil painting.
Another comprehensive piece is titled:
Packing For Your Plein-Air Excursion
And to you who are new to painting of any kind, here's one for you!:
So You Want to Become an Artist?
My top five suggestions for getting started. I will go into more detail in the future related to color. Stay tuned:)
Enjoy!
Diane
Thursday, September 20, 2007
Got taste?
Henri Matisse once said
Katina Radwanski
Don't know how many of you got to meet Katina this past spring painting at Callaway, but she is truly a great person with an exceptional talent. Take a look at some of her work here and enjoy:
Catherine (Katina) Pastis Radwanski
www.cpastisradart.com
www.tanneryrowartistcolony.com
" Before, I had no taste for anything. I was filled with indifference toward everything that people wanted me to do. But the moment I had this box of colors in my hands, I had the feeling that my life was there."While my life is full of so many other things I enjoy and I am truly blessed with a wonderful life, I just don't think I'd enjoy the other things in my life if I didn't have my art living with me DAILY. When I can't paint, I read about painting and when I sleep I sometimes paint in my dreams. I'm so thankful for my art passion, thankful for my art friends and thankful for the resources available to us in this century that can keep us growing and excited about the next project we will do. Right now I am working on a set of six 12x12 oil paintings that will hang together. I've never done anything like this before and it's exciting.
Katina Radwanski
Don't know how many of you got to meet Katina this past spring painting at Callaway, but she is truly a great person with an exceptional talent. Take a look at some of her work here and enjoy:
Catherine (Katina) Pastis Radwanski
www.cpastisradart.com
www.tanneryrowartistcolony.com
Wednesday, September 19, 2007
Edward Hopper
In the July 2007 issue of Smithsonian magazine there is a wonderful article on the works of American artist Edward Hopper. In October of 2003 the High Museum in Atlanta did an exhibit of some of his works and I went to see what all the fuss was about. I was stunned with his work but also fascinated by a book I bought that day called "Edward Hopper: A Journal of His Work".
Page after page I viewed copies of his personal journal, his ledger, his thumbnail sketches and his thoughts about his paintings. Thirteen carefully lettered ledger books recorded each of his paintings. He made a sketch of each work, recored the date, size, places exhibited, current owner, notes on palette, sometimes a physical description and more rarely, the price. After he married, his wife Jo became his manager and she maintained his journals for him using the same format he had started and she filled the journals with lists of newspaper, and magazine articles, gifts, purchases, exhibitions and an account of trips and prizes.
The business side of making art is sometimes a boring task, but one that has to be done unless you are one of those artists that just leave things like this up to chance. If you leave it to chance, chances are you will not have what you need when called upon. Keeping all your records in an orderly fashion actually will save you time in the long run.
I have two thoughts on making record keeping easier. First, I know it has to be easier when you have a business manager and second, if you have to do this chore alone, at least make making it a work of art like Hopper did, and many others like him, would help keep you in a creative zone. Hope you enjoy looking at this scrapbook.
The Smithsonian American Art Museum presents An Edward Hopper Scrapbook.
Page after page I viewed copies of his personal journal, his ledger, his thumbnail sketches and his thoughts about his paintings. Thirteen carefully lettered ledger books recorded each of his paintings. He made a sketch of each work, recored the date, size, places exhibited, current owner, notes on palette, sometimes a physical description and more rarely, the price. After he married, his wife Jo became his manager and she maintained his journals for him using the same format he had started and she filled the journals with lists of newspaper, and magazine articles, gifts, purchases, exhibitions and an account of trips and prizes.
The business side of making art is sometimes a boring task, but one that has to be done unless you are one of those artists that just leave things like this up to chance. If you leave it to chance, chances are you will not have what you need when called upon. Keeping all your records in an orderly fashion actually will save you time in the long run.
I have two thoughts on making record keeping easier. First, I know it has to be easier when you have a business manager and second, if you have to do this chore alone, at least make making it a work of art like Hopper did, and many others like him, would help keep you in a creative zone. Hope you enjoy looking at this scrapbook.
The Smithsonian American Art Museum presents An Edward Hopper Scrapbook.
Tuesday, September 18, 2007
Your personal color profile
Another one of my passions is decorating my home. Choosing new colors to paint rooms is a delight and I absolutely love to try out new color combinations by switching out pillows, changing lamp shades, new drapes, bed linens,... you get the picture. Sometimes you can walk into a home and get the feel you are back a couple of decades say the orange and avocado era or the country blue and pink era. Color absolutely can date a house, clothes, makeup, automobiles, well, just about everything. Yesterday I noticed my neighbor had changed out a harvest gold toilet. I bet that bathroom looks different today. I wonder what color they put in. Bet they went white.
Thumbing through one of my decorating books I found a personal color profile test. I took it and found that I really like warm colors best. Maybe color profiling doesn’t have anything to do with painting and maybe it has everything to do with painting. You decide. I just thought it was an interesting test. Then I went and took a look at some of my latest paintings to see if they fell into any one category. Of course painting from life you first go with the local color, the color everything actually is, but if you are like me, I don’t choose to paint some things I see in nature the exact color they are, but rather go with punching up the color or playing down the color to get the harmony I want. At least that’s what I’m always striving for. I don’t think my painting has everything to do with my personal preference, but I do see that my mood certainly influences my colors. I think I’m in an ultramarine blue mood. Not sure what that says about me.
Color Characteristics: (from Better Homes and Gardens color schemes made easy)
Warm colors: Active colors move forward, communicate vigor, cheer you, excite passions, stimulate appetite, promote conversation, and evoke emotions.
Cool colors: Passive colors recede into the background, cool you down, calm your nerves, lift your spirits, promote introspection, and generally are soothing.
Neutral colors: Open-minded colors are easy on the eyes, symbolize a down-to-earth attitude, make you feel safe and secure, and work well with other colors.
Bottom line, there is a place for every color in the rainbow. L. Diane Johnson has an interesting article on painting a landscape for a client. While I don’t believe that everyone should buy or have paintings painted to fit a certain spot, Diane’s approach certainly assures a quality of success that I think we all can learn from, not just with color but understanding your clients needs and being willing to go the extra mile.
http://www.ldianejohnson.com/articles/commission_demo1/
Thumbing through one of my decorating books I found a personal color profile test. I took it and found that I really like warm colors best. Maybe color profiling doesn’t have anything to do with painting and maybe it has everything to do with painting. You decide. I just thought it was an interesting test. Then I went and took a look at some of my latest paintings to see if they fell into any one category. Of course painting from life you first go with the local color, the color everything actually is, but if you are like me, I don’t choose to paint some things I see in nature the exact color they are, but rather go with punching up the color or playing down the color to get the harmony I want. At least that’s what I’m always striving for. I don’t think my painting has everything to do with my personal preference, but I do see that my mood certainly influences my colors. I think I’m in an ultramarine blue mood. Not sure what that says about me.
Color Characteristics: (from Better Homes and Gardens color schemes made easy)
Warm colors: Active colors move forward, communicate vigor, cheer you, excite passions, stimulate appetite, promote conversation, and evoke emotions.
Cool colors: Passive colors recede into the background, cool you down, calm your nerves, lift your spirits, promote introspection, and generally are soothing.
Neutral colors: Open-minded colors are easy on the eyes, symbolize a down-to-earth attitude, make you feel safe and secure, and work well with other colors.
Bottom line, there is a place for every color in the rainbow. L. Diane Johnson has an interesting article on painting a landscape for a client. While I don’t believe that everyone should buy or have paintings painted to fit a certain spot, Diane’s approach certainly assures a quality of success that I think we all can learn from, not just with color but understanding your clients needs and being willing to go the extra mile.
http://www.ldianejohnson.com/articles/commission_demo1/
Monday, September 17, 2007
Finishing a painting
Thomas S. Buechner has written a book called "How I Paint, Secrets of a Sunday Painter". At the end he gives a few thoughts on finishing a painting I thought I might pass on to you. I know many of us do some of the same things and you may have things you would like to add.
To see some of his paintings go to http://www.tombuechner.com/index.html
Note to mailing list: To view past blog messages or to make a comment on the public blog, click here.
"When I think a picture is finished, I put it in another place, away from the subject on which is is based. The paint is still wet, palette and brushes are still hand. It is in a different light and on its own. I am no longer busy with matchng some reality. The question now is how to make it better, stronger, more to the point, maybe even striking. Ater all, it is destined to go out into the world all by itself.
What have I made? Is it just anothe sample of my craft? Does it have anything to do with the idea I started with? Pictures do have a life of their own, and a death, too. The more I look at something, the more I see, and discover. Changing course to some degree is inevitable, but if the whole picture isn't going in the same direction, to the same purpose, it is likely to fall apart, and my tolerance for flotsam is shrinking fast. What to do?
First, I decide what the picture is really about and then what I can get rid of, what is not contributng to the central idea, what is distracting. Usually, these problems are caused by small contrasts that divert attention, such as shifts in color or value, or intricate details painstakingly observed and proudly rendered. I painted them because I saw them, but that's not reason enough. You can spot a deer by a movement in the woods; you don't have to see the fuzz on its antlers to know it's there. Extraneous matter in a painting can really weaken the impact. I either paint it out or reduce the contrast.
Second, I review the way space has been made to see if I can heighten the illusion. Have I used the warm colors to pull forward, the cools to push them back? Have I used stronger contrasts in the foreground, weaker ones in the background? Have I used less detail as forums receide? Have I used perspecive effectively? Sequence of brushstrokes?
Third, I cheack how attention is focused. The eye is just like a self-focusing camera lens in that it must have an edge, a contrast, on which to focus. Where are the strongest contrasts in dark and light, warm and cool, color, edge sharpness, and paint texure? Do the contrasts make sense in terms of spatial relationships? A ship on the distant horizon with too-red sails will certainly attract attention--and ruin any sense of aerial perspective. Contrasts have to be appropriate to the space they are in, but they must also work in an abstract sense; they are the only means by which we can attract attention and deliver content.
Fourth, and finally, I look for a situation or two where a couple of final, exquisitely deft strokes will convinece everybody that I know what I'm doing."
To see some of his paintings go to http://www.tombuechner.com/index.html
Note to mailing list: To view past blog messages or to make a comment on the public blog, click here.
Friday, September 14, 2007
Art in The Mountains
Count this as your special invitation to attend. I hope Saturday and Sunday will be great weather days for all involved. I plan to do some plein air demo's during Saturday. Some others on this mailing list may be doing the same thing in conjunction with the Southern Rivers Guild so I hope to see you there.
Note to mailing list: To view past blog messages or to make a comment on the public blog, click here.
Thursday, September 13, 2007
Marlin Adams Portrait DVD
Marlin Adams, Professor of art at Gordon College in Barnesville, Georgia has just released a new Portrait Painting DVD. I'm excited about this DVD and have ordered mine. If you have not seen his work or attended one of his classes I encourage you to visit his web site at www.marlinadamsart.com and keep up with his class schedule from there.
At the present time you can send a check or money order for the new portrait DVD to
Marlin Adams at 316 Jackson Ave., Thomaston, GA. 30286 in the amount of $85.00 plus three dollars for mailing. Credit card options will also be available from his web site soon.
Wednesday, September 12, 2007
Gallery Agreements for Artists: Part 1
HELLO CALLAWAY ARTIST COLLEAGUES!
Those of you who are in or entering into gallery representation, the following is the first of two messages related to the core of gallery agreements. "We agree on this", "We agree on that."
Gallery agreements are generally referred to by artists as "contracts." This is not a contract. [Google the definition of both for clarification on any of these terms.]
Most of the time, it's the gallery who gives YOU an agreement to sign. It's rare, but necessary for YOU to have an agreement prepared for yourself for THEM to sign. The point is, that an agreement is not a one-sided document, but for the benefit of both parties. This is not target practice but a business. Both should agree and be on the same side so everyone benefits.
I am NOT an attorney. You should secure one when you are faced with an agreement. However, I have gone through this process many times and know some of the things that are important, even critical to both parties. Most importantly, which ones artists generally overlook, that give deference to the gallery rather than equality for both.
You are both businesses. The gallery is a business, and you are a professional business person (see Definitions: Professional vs. Advanced Artist - for complete definitions). Both gallery and artist are on the same level. Both want to make a profit. Both are on the same plain. One is not higher nor lower than the other...you are a business TEAM – on par with each other. Whether you are a seasoned professional dealing with galleries and venues for years, or a first-time entrant, the playing-field is the same. Prices and some negotiations may differ, but it’s a TEAM game. Don’t forget this fact.
INSIDE THE AGREEMENT
Let's take a close look at just a few elements contained in a standard gallery agreement. One of the first things to do is to establish the expectations of both yourself and the gallery. Speaking about these things verbally with the gallery owner then getting into writing will settle many of the things stated in any agreement.
"Let's Do Lunch"
You will see or hear me repeat this several times: take your gallery owner to lunch! Why? Because it’s better than trying to talk on-the-fly or making an office appointment. Lunch offers a level playing field. And when you are paying, it reiterates that YOU are a business-owner too.
Let's address some of the general features here:
Advertising
Discuss the gallery's policy on advertising. That is, will the gallery pay for all of the ads (brochures, postcards, newspaper, TV and radio spots) that are associated with marketing your art? Or, will you be responsible for paying some of the marketing and advertising (called "co-opting")?
The answer to this question can directly impact the gallery to artist commission split. The more the gallery pays for, the lower your commission is likely to be. If you will be splitting some of the costs, your commission may be higher. Either way, look closely at the numbers. You want an actual split - not for you to carry the whole weight of advertising. Remember, the gallery sells the work of many artists and derive income from all (not to neglect their staff, lighting, rent or other related to carrying a business.) You only have YOUR work to sell. And mostly originals at that. Therefore, look for equity and balance. If you are having a solo show with a gallery, you and they can split the difference unless they are a totally wonderful gallery and carry all that expense (which used to be the norm.) However, you should not be expected to lower your commission to carry all of the gallery’s artists and marketing expenses. Can you discern the difference?
It's important to address this up-front so there is no doubt who will be paying for what. Be careful of this: if the gallery says they don't pay for advertising, yet require a high commission from you: buyer beware. This does not happen often, but become knowledgeable of all the numbers compared to what you both will do in terms of ad dollars to be spent.
What are the targeted sales revenues for your work? Does the gallery require that you sell "x" number of pieces per year or expect/anticipate a dollar amount of sales be met? They may not have a set goal for your work, but it's a good idea to ask about and discuss this facet of the business. If you don't there could be mis-communications down the road. Keep everything up-front!!! Sometimes this is difficult, but very necessary to maintaining a good business relationship.
Shows
How many solo and group show events does the gallery offer or expect of you per year? There should be at least one solo, and one or more group shows you'll be a part of each year. This is not necessarily true today, but should be. Don't be vague on this issue. Both the gallery and you NEED to nail-down dates in tandem with the agreement for the first year. After that (second year) you’ll both have a data-point to work from for the second agreement. (Second agreement?...Yes, agreements in general should be for one or two years, which means each year you can negotiate on this and other points.)
If you can only handle one solo show every two years or can offering grand sales for two years, let the gallery know. Either way, the number of solo shows per year should decided upon and clearly stated in the agreement.
Marketing Materials
Will you or the gallery pay for collateral material? This can be anything from postcards to formal invitations to your solo shows, general brochures, magazine ads, biographies and the like. Find out what the gallery will cover and what costs you will be expected to pay.
Clientele
Ask the gallery about the size of their corporate and collector list. This information cannot guarantee sales of your work, but can offer you an idea of the size/scope of their clientele they have already built for potential sales. If their scope of collectors for the type of work you do is not great enough, you may consider working with another representative based on this factor alone.
Absorb this bit of info which is enough on your plate for now. Next time, I will address even more essential aspects of the gallery/artist agreement.
Great Painting,
L. Diane Johnson
Those of you who are in or entering into gallery representation, the following is the first of two messages related to the core of gallery agreements. "We agree on this", "We agree on that."
Gallery agreements are generally referred to by artists as "contracts." This is not a contract. [Google the definition of both for clarification on any of these terms.]
Most of the time, it's the gallery who gives YOU an agreement to sign. It's rare, but necessary for YOU to have an agreement prepared for yourself for THEM to sign. The point is, that an agreement is not a one-sided document, but for the benefit of both parties. This is not target practice but a business. Both should agree and be on the same side so everyone benefits.
I am NOT an attorney. You should secure one when you are faced with an agreement. However, I have gone through this process many times and know some of the things that are important, even critical to both parties. Most importantly, which ones artists generally overlook, that give deference to the gallery rather than equality for both.
Sideline: I continually advocate artists pay for one hour of an attorney's time (one who works with creatives) to hammer-out some of these issues. It will pay you dividends in the end to do this. Worth every penny they charge and will carry you through several agreements.FIRST
You are both businesses. The gallery is a business, and you are a professional business person (see Definitions: Professional vs. Advanced Artist - for complete definitions). Both gallery and artist are on the same level. Both want to make a profit. Both are on the same plain. One is not higher nor lower than the other...you are a business TEAM – on par with each other. Whether you are a seasoned professional dealing with galleries and venues for years, or a first-time entrant, the playing-field is the same. Prices and some negotiations may differ, but it’s a TEAM game. Don’t forget this fact.
INSIDE THE AGREEMENT
Let's take a close look at just a few elements contained in a standard gallery agreement. One of the first things to do is to establish the expectations of both yourself and the gallery. Speaking about these things verbally with the gallery owner then getting into writing will settle many of the things stated in any agreement.
"Let's Do Lunch"
You will see or hear me repeat this several times: take your gallery owner to lunch! Why? Because it’s better than trying to talk on-the-fly or making an office appointment. Lunch offers a level playing field. And when you are paying, it reiterates that YOU are a business-owner too.
Let's address some of the general features here:
Advertising
Discuss the gallery's policy on advertising. That is, will the gallery pay for all of the ads (brochures, postcards, newspaper, TV and radio spots) that are associated with marketing your art? Or, will you be responsible for paying some of the marketing and advertising (called "co-opting")?
The answer to this question can directly impact the gallery to artist commission split. The more the gallery pays for, the lower your commission is likely to be. If you will be splitting some of the costs, your commission may be higher. Either way, look closely at the numbers. You want an actual split - not for you to carry the whole weight of advertising. Remember, the gallery sells the work of many artists and derive income from all (not to neglect their staff, lighting, rent or other related to carrying a business.) You only have YOUR work to sell. And mostly originals at that. Therefore, look for equity and balance. If you are having a solo show with a gallery, you and they can split the difference unless they are a totally wonderful gallery and carry all that expense (which used to be the norm.) However, you should not be expected to lower your commission to carry all of the gallery’s artists and marketing expenses. Can you discern the difference?
It's important to address this up-front so there is no doubt who will be paying for what. Be careful of this: if the gallery says they don't pay for advertising, yet require a high commission from you: buyer beware. This does not happen often, but become knowledgeable of all the numbers compared to what you both will do in terms of ad dollars to be spent.
Sideline: Many artists leave the money/charges up to galleries, then take gas when the gallery asks for a higher commission or for you to pitch in cash to defray advertising costs.You cannot afford to do this. You are a sole-proprietor business-person. As such, you have less (generally speaking) capital to devote to any promotion but your own work...yes, the gallery may. You are in business to promote YOUR work, not the gallery itself. Nevertheless, it behooves you to always include your gallery reps in your advertising to reach the widest market. The thing you need to be cautious of is that any gallery does not use you to promote them alone. This is particularly true if you are a high-end artist. However, again, there are trade-offs. You both need each other and both need to market each other equally for each to succeed financially.
What are the targeted sales revenues for your work? Does the gallery require that you sell "x" number of pieces per year or expect/anticipate a dollar amount of sales be met? They may not have a set goal for your work, but it's a good idea to ask about and discuss this facet of the business. If you don't there could be mis-communications down the road. Keep everything up-front!!! Sometimes this is difficult, but very necessary to maintaining a good business relationship.
Shows
How many solo and group show events does the gallery offer or expect of you per year? There should be at least one solo, and one or more group shows you'll be a part of each year. This is not necessarily true today, but should be. Don't be vague on this issue. Both the gallery and you NEED to nail-down dates in tandem with the agreement for the first year. After that (second year) you’ll both have a data-point to work from for the second agreement. (Second agreement?...Yes, agreements in general should be for one or two years, which means each year you can negotiate on this and other points.)
If you can only handle one solo show every two years or can offering grand sales for two years, let the gallery know. Either way, the number of solo shows per year should decided upon and clearly stated in the agreement.
Marketing Materials
Will you or the gallery pay for collateral material? This can be anything from postcards to formal invitations to your solo shows, general brochures, magazine ads, biographies and the like. Find out what the gallery will cover and what costs you will be expected to pay.
Clientele
Ask the gallery about the size of their corporate and collector list. This information cannot guarantee sales of your work, but can offer you an idea of the size/scope of their clientele they have already built for potential sales. If their scope of collectors for the type of work you do is not great enough, you may consider working with another representative based on this factor alone.
Absorb this bit of info which is enough on your plate for now. Next time, I will address even more essential aspects of the gallery/artist agreement.
Great Painting,
L. Diane Johnson
Tuesday, September 11, 2007
Callaway Workshop opportunities
Note to mailing list: To view past blog messages or to make a comment on the public blog, click here.
Taking Your Photography to the Next Level: Creative Photography Beyond the Auto Mode – Raptor ShootSaturday, September 15, 2007
9:00 a.m. – 4:00 p.m.
This course is for the beginner or experienced digital photographer interested in moving into the world of creative photography. Learn the fundamentals of photography and explore many of your camera’s features. Practice these skills in a Birds of Prey photo shoot.
Fee: $60.00*; includes lunch and syllabus.
Mastering Exposure: Intermediate Topics in Digital Photography – Raptor Shoot
Saturday, October 6
9:00 a.m. – 4:00 p.m.
This workshop is designed for the experienced digital photographer interested in using the camera’s advanced features to get perfect exposures in every shooting situation.
Fee: $60.00; includes lunch and syllabus.
Bring your digital camera, owner’s manual, plenty of charged batteries, and storage media. Dress casually in layers for the weather and wear comfortable shoes.
Mastering Flash Photography: A Limited Enrollment Workshop in Advanced DSLR Photography
Saturday: 9 a.m.-3 p.m. and Sunday 9 a.m. – 1 p.m. November 10 – 11, 2007
This two-day workshop is designed for the experienced DSLR photographer interested in mastering flash photography. We’ll cover the equipment, concepts, and theory of flash photography and present a number of flash techniques. Finally, there will be a demonstration of digital post-processing techniques using PhotoShop CS2 to enhance and prepare portraits for printing.
Fee: $110.00 includes syllabus & Sat. lunch.
No refunds unless your slot can be filled.
Bring your DSLR camera, external flash, camera & flash owner’s manuals, tripod (optional), laptop computer (optional) and plenty of charged batteries.
Chinese Brush Painting Series
Chinese brush painting emphasizes the beauty of simplicity, flowing brush strokes and graceful designs and reflects the time-honored principles of Chinese philosophy and culture. Learn to work with bamboo brushes, using water color on rice paper. No previous art training required.
Instructor: Tehwan Tso has been teaching Chinese brush painting for over 20 years.
Classes are open to all ages. Students under 9 should sign up with a parent. The 2nd family member receives a 20% discount on class fee. All tools and supplies are available for purchase. The beginner’s set ($30) includes 2 large bamboo brushes, 1 small bamboo brush, 1 brush rest, 1 color mixing plate, 4 tubes of Chinese water color, 20 sheets of 11”x14” rice paper, and 1 portfolio. Returning students may bring their own supplies and pay $5 consumable fee.
Hydrangea Blossom
August 25, 2007
10:00 a.m. – 2:00 p.m.
Composed of many little flowerets, orchestrating the abundance, hydrangea is very attainable by any beginners. Let it be the sneak preview of the plum blossom. Indulge yourself with this elegant simplicity.
Fee: $60 plus materials
Romancing the Roses
Saturday, September 22, 2007
10:00 a.m. – 2:00 p.m.
Decorate our life with moments of romance. Remind ourselves to stop and smell the roses. Let our heart be awakened by their fragrance. Entrust our feelings to the roses as we paint.
Fee: $60 plus materials
Brilliant Sunflowers Brush Painting
Saturday, October 20, 2007
10:00 a.m. – 2:00 p.m.
Let’s paint the brilliant sunflowers to our heart’s content. Grow them on paper from the buds to the full bloom under the command of our brushes. Watch them sway in the wind.
Fee: $60 plus materials
Plum, Peach and Cherry
Saturday, November 10, 2007
10:00 a.m. – 2:00 p.m.
Flowers on the branches, with or without budding leaves, cherry stems hold them out, the same flowers in different trees. Capture the earliest blossoms in the spring, heralding many blooms.
Fee: $60 plus materials
Art and Garden Workshop Series
Mosaic Garden Art
Saturday – Sunday, September 15- 16, 2007
9:30 a.m. – 12:30 p.m. both days
Keep color in your garden all year long! Learn a quick and easy technique to create a unique mosaic turtle or frog sculpture. Participants take home a garden ornament and the skills and knowledge to make more mosaics. No experience necessary.
Instructor: Joel Landsberg,“The Glass Bichon” Folk Art and Garden Mosaics
Fee: $45.00
Pine Needle Baskets
Saturday – Sunday, October 6- 7, 2007
9:30 a.m. – 12:30 p.m. both days
Learn how to use pine needles from longleaf pines to make baskets and various other items using coil basketry techniques. This beginner’s class will cover the basic skills needed to make a pine needle basket. When your project is complete, you will have a basket reflecting your own taste and design. Minimum: 4; Maximum: 12
Instructor: Talitha Norris, Opelika, AL
Fee: $65 all supplies included
Fall Watercolor Landscapes
Saturday, October 13, 2007
9:00 a.m. – 4:00 p.m.
Join artist Ralph Taylor as he shares the secrets of fast flowing landscape painting. You will complete at least three paintings in the “wet on wet” method and learn methods of using more pigment and color in your paintings. Open to all skill levels. Supply list will be sent with registration confirmation.
Instructor: Ralph Taylor, Phenix City, AL
Fee: $65
Gourd Bird Houses
Saturday, October 20, 2007
10:00 a.m. -12:00 noon OR 2:00 p.m. – 4:00 p.m. Register for one session only.
Invite a flying, pest-eradicating fleet to your garden with the addition of a gourd bird house. Purple martins happily nest in dried gourds and feed on insects. You will create and decorate a gourd-eous bird house and learn more about gourd art.
Instructor: Billie Strickland, Claxton, GA
Fee: $40 all materials included
Create your own Dream Catcher
Saturday, October 27, 2007
9:30 a.m. – 11:00 a.m.
Native Americans believe that the night air is filled with dreams. The dream catcher catches dreams as they flow by. Good dreams pass through, sliding gently down the soft feathers. Bad dreams get tangled in the dream catcher and perish with the first light of a new day. Construct your own dream catcher to take home.
Instructor: Tauna Pierce, Environmental Education Callaway Gardens’ Birds of Prey
Fee: $35 all materials included
Rubber Stamping 101
Saturday, November 17, 2007
9:30 a.m.-12:00 noon.
Stamping is a popular, relaxing hobby and is great for making scrapbook pages more original. Learn basic stamping techniques using My Acrylix™ stamps. You’ll take home lots of products to work with, as well as some great artwork. Completed projects include all-occasion and Christmas cards. All supplies provided and you will take home a Paper Sampler, inkpad, acrylic stamp with block and a marker.
Instructor: Barbara Hudson, Close To My Heart® Consultant, LaGrange, GA
Fee: $45.00
Cool Season Flower Box
Saturday, November 17, 2007
10:00 a.m. – 12:00 noon
Winter truly is the “cool season” for gardening - less weeding, watering, and insect problems; more time to take in the beauty! Learn about layering bulbs and annuals to have a symphony of color to carry you through the grey days of winter. You will create a flower box to take home!
Instructor: Katie Cook, Interpretive Horticulturist, Education Department
Fee: $35 all materials included
Holiday Wreath-making Workshop
Saturday, December 1, 2007
9:30 a.m. – 12:00 noon Immerse yourself in the holiday spirit by rolling up your sleeves and creating your own wreath from fresh greenery. Our experienced staff will help you with the design and mechanics. Join us to make as many wreaths as your jolly fingers can handle! Make one for your home or make two, one to keep and as a gift. Bring pruners!
Instructors: Patricia Collins and Katie Cook, Callaway Gardens’ Education Department
Fee: $40.00 per wreath
Christmas Centerpiece Workshop
Saturday, December 8, 2007
9:30 a.m. – 12:00 noon
Create an evergreen holiday arrangement for a tabletop or mantle. We’ll adorn a form with sprigs of fresh pine, juniper and cedar that will last through the holiday season. Berries, seeds and fruits will complete the design to bring holiday cheer to any home. Bring pruners!
Instructors: Patricia Collins and Katie Cook, Callaway Gardens’ Education Department
Fee: $40.00
Take a Hike!
Hiking and walking trails have a natural, uneven surface and are not wheelchair accessible. Wear hiking boots or sturdy walking shoes and bring drinking water to carry. In case of inclement weather, hikes and walks may be canceled.
Autumn Twilight Walk in the Gardens
Saturday, September 29
7:00 - 9:00 p.m.
Bring a flashlight!
Age limit: 8 years and older
Meet: Overlook Pavilion
Length: 2 miles; easy
Fee: Free with Gardens Admission
Registration is not required.
Columbus Day Fall Color Hike
Monday, October 8
10:00 a.m. – 12:30 p.m.
Age limit: 10 years and older
Length: 2.5 miles; moderately strenuous
Fee: $5 for members; $6 for nonmembers
Registration required; directions sent with confirmation letter.
Full Moon Night Walk in the Gardens
Saturday, October 27
6:30 - 8:30 p.m.
Bring a flashlight!
Age limit: 8 years and older
Meet: Overlook Pavilion
Length: 2 miles; easy
Fee: Free with Gardens Admission
Registration is not required.
Veterans’ Day Springhead Hike
Saturday, November 10
10:00 a.m. – 3:00 p.m.
Pack a light lunch for the trail.
Age limit: 10 years and older
Length: 5.5 miles; moderately strenuous
Fee: $7 for members; $8 for nonmembers
Registration required; directions sent with confirmation letter.
Far from the Malls Hike
Saturday, December 1
10:00 a.m. – 2:30 p.m.
Pack a light lunch for the trail.
Age limit: 10 years and older
Length: 5.5 miles, moderately strenuous
Fee: $7 for members; $8 for nonmembers
Registration required; directions sent with confirmation letter.
22nd Southern Gardening Symposium
Friday, January 18 – Sunday, January 20, 2008
The Southern Gardening Symposium brings professional speakers, a complete one-stop gardening marketplace, exciting optional workshops, and the delight of rubbing elbows with knowledgeable garden enthusiasts to Callaway Gardens!
No matter your expertise – novice or professional – you’ll have fun and learn loads from the likes of bulb guru Brent Heath of Brent and Becky’s Bulbs; nurserywoman and garden designer Jane Bath; rare plant aficionado Scott McMahan; container gardening guru Lisa Bartlett; landscape designer Garry Menendez; free-lance garden writer Jo Kellum; Arkansas Extension Horticulture Specialist and radio personality Janet Carson; and rock garden enthusiast and author Bobby Ward. Space is limited so register early to ensure your spot. Call 1-800-225-5292 (ext. 5153) for more information.
Fee: $257 per person (based on double occupancy for two nights). For reservations call 1-800-CALLAWAY (225-5292).
For more detailed information about our Education Workshops and Hikes, visit callawaygardens.org and click on Education
Pine Mountain, Georgia
1-800-CALLAWAY (225-5292)
www.callawaygardens.org
Taking Your Photography to the Next Level: Creative Photography Beyond the Auto Mode – Raptor ShootSaturday, September 15, 2007
9:00 a.m. – 4:00 p.m.
This course is for the beginner or experienced digital photographer interested in moving into the world of creative photography. Learn the fundamentals of photography and explore many of your camera’s features. Practice these skills in a Birds of Prey photo shoot.
Fee: $60.00*; includes lunch and syllabus.
Mastering Exposure: Intermediate Topics in Digital Photography – Raptor Shoot
Saturday, October 6
9:00 a.m. – 4:00 p.m.
This workshop is designed for the experienced digital photographer interested in using the camera’s advanced features to get perfect exposures in every shooting situation.
Fee: $60.00; includes lunch and syllabus.
Bring your digital camera, owner’s manual, plenty of charged batteries, and storage media. Dress casually in layers for the weather and wear comfortable shoes.
Mastering Flash Photography: A Limited Enrollment Workshop in Advanced DSLR Photography
Saturday: 9 a.m.-3 p.m. and Sunday 9 a.m. – 1 p.m. November 10 – 11, 2007
This two-day workshop is designed for the experienced DSLR photographer interested in mastering flash photography. We’ll cover the equipment, concepts, and theory of flash photography and present a number of flash techniques. Finally, there will be a demonstration of digital post-processing techniques using PhotoShop CS2 to enhance and prepare portraits for printing.
Fee: $110.00 includes syllabus & Sat. lunch.
No refunds unless your slot can be filled.
Bring your DSLR camera, external flash, camera & flash owner’s manuals, tripod (optional), laptop computer (optional) and plenty of charged batteries.
Chinese Brush Painting Series
Chinese brush painting emphasizes the beauty of simplicity, flowing brush strokes and graceful designs and reflects the time-honored principles of Chinese philosophy and culture. Learn to work with bamboo brushes, using water color on rice paper. No previous art training required.
Instructor: Tehwan Tso has been teaching Chinese brush painting for over 20 years.
Classes are open to all ages. Students under 9 should sign up with a parent. The 2nd family member receives a 20% discount on class fee. All tools and supplies are available for purchase. The beginner’s set ($30) includes 2 large bamboo brushes, 1 small bamboo brush, 1 brush rest, 1 color mixing plate, 4 tubes of Chinese water color, 20 sheets of 11”x14” rice paper, and 1 portfolio. Returning students may bring their own supplies and pay $5 consumable fee.
Hydrangea Blossom
August 25, 2007
10:00 a.m. – 2:00 p.m.
Composed of many little flowerets, orchestrating the abundance, hydrangea is very attainable by any beginners. Let it be the sneak preview of the plum blossom. Indulge yourself with this elegant simplicity.
Fee: $60 plus materials
Romancing the Roses
Saturday, September 22, 2007
10:00 a.m. – 2:00 p.m.
Decorate our life with moments of romance. Remind ourselves to stop and smell the roses. Let our heart be awakened by their fragrance. Entrust our feelings to the roses as we paint.
Fee: $60 plus materials
Brilliant Sunflowers Brush Painting
Saturday, October 20, 2007
10:00 a.m. – 2:00 p.m.
Let’s paint the brilliant sunflowers to our heart’s content. Grow them on paper from the buds to the full bloom under the command of our brushes. Watch them sway in the wind.
Fee: $60 plus materials
Plum, Peach and Cherry
Saturday, November 10, 2007
10:00 a.m. – 2:00 p.m.
Flowers on the branches, with or without budding leaves, cherry stems hold them out, the same flowers in different trees. Capture the earliest blossoms in the spring, heralding many blooms.
Fee: $60 plus materials
Art and Garden Workshop Series
Mosaic Garden Art
Saturday – Sunday, September 15- 16, 2007
9:30 a.m. – 12:30 p.m. both days
Keep color in your garden all year long! Learn a quick and easy technique to create a unique mosaic turtle or frog sculpture. Participants take home a garden ornament and the skills and knowledge to make more mosaics. No experience necessary.
Instructor: Joel Landsberg,“The Glass Bichon” Folk Art and Garden Mosaics
Fee: $45.00
Pine Needle Baskets
Saturday – Sunday, October 6- 7, 2007
9:30 a.m. – 12:30 p.m. both days
Learn how to use pine needles from longleaf pines to make baskets and various other items using coil basketry techniques. This beginner’s class will cover the basic skills needed to make a pine needle basket. When your project is complete, you will have a basket reflecting your own taste and design. Minimum: 4; Maximum: 12
Instructor: Talitha Norris, Opelika, AL
Fee: $65 all supplies included
Fall Watercolor Landscapes
Saturday, October 13, 2007
9:00 a.m. – 4:00 p.m.
Join artist Ralph Taylor as he shares the secrets of fast flowing landscape painting. You will complete at least three paintings in the “wet on wet” method and learn methods of using more pigment and color in your paintings. Open to all skill levels. Supply list will be sent with registration confirmation.
Instructor: Ralph Taylor, Phenix City, AL
Fee: $65
Gourd Bird Houses
Saturday, October 20, 2007
10:00 a.m. -12:00 noon OR 2:00 p.m. – 4:00 p.m. Register for one session only.
Invite a flying, pest-eradicating fleet to your garden with the addition of a gourd bird house. Purple martins happily nest in dried gourds and feed on insects. You will create and decorate a gourd-eous bird house and learn more about gourd art.
Instructor: Billie Strickland, Claxton, GA
Fee: $40 all materials included
Create your own Dream Catcher
Saturday, October 27, 2007
9:30 a.m. – 11:00 a.m.
Native Americans believe that the night air is filled with dreams. The dream catcher catches dreams as they flow by. Good dreams pass through, sliding gently down the soft feathers. Bad dreams get tangled in the dream catcher and perish with the first light of a new day. Construct your own dream catcher to take home.
Instructor: Tauna Pierce, Environmental Education Callaway Gardens’ Birds of Prey
Fee: $35 all materials included
Rubber Stamping 101
Saturday, November 17, 2007
9:30 a.m.-12:00 noon.
Stamping is a popular, relaxing hobby and is great for making scrapbook pages more original. Learn basic stamping techniques using My Acrylix™ stamps. You’ll take home lots of products to work with, as well as some great artwork. Completed projects include all-occasion and Christmas cards. All supplies provided and you will take home a Paper Sampler, inkpad, acrylic stamp with block and a marker.
Instructor: Barbara Hudson, Close To My Heart® Consultant, LaGrange, GA
Fee: $45.00
Cool Season Flower Box
Saturday, November 17, 2007
10:00 a.m. – 12:00 noon
Winter truly is the “cool season” for gardening - less weeding, watering, and insect problems; more time to take in the beauty! Learn about layering bulbs and annuals to have a symphony of color to carry you through the grey days of winter. You will create a flower box to take home!
Instructor: Katie Cook, Interpretive Horticulturist, Education Department
Fee: $35 all materials included
Holiday Wreath-making Workshop
Saturday, December 1, 2007
9:30 a.m. – 12:00 noon Immerse yourself in the holiday spirit by rolling up your sleeves and creating your own wreath from fresh greenery. Our experienced staff will help you with the design and mechanics. Join us to make as many wreaths as your jolly fingers can handle! Make one for your home or make two, one to keep and as a gift. Bring pruners!
Instructors: Patricia Collins and Katie Cook, Callaway Gardens’ Education Department
Fee: $40.00 per wreath
Christmas Centerpiece Workshop
Saturday, December 8, 2007
9:30 a.m. – 12:00 noon
Create an evergreen holiday arrangement for a tabletop or mantle. We’ll adorn a form with sprigs of fresh pine, juniper and cedar that will last through the holiday season. Berries, seeds and fruits will complete the design to bring holiday cheer to any home. Bring pruners!
Instructors: Patricia Collins and Katie Cook, Callaway Gardens’ Education Department
Fee: $40.00
Take a Hike!
Hiking and walking trails have a natural, uneven surface and are not wheelchair accessible. Wear hiking boots or sturdy walking shoes and bring drinking water to carry. In case of inclement weather, hikes and walks may be canceled.
Autumn Twilight Walk in the Gardens
Saturday, September 29
7:00 - 9:00 p.m.
Bring a flashlight!
Age limit: 8 years and older
Meet: Overlook Pavilion
Length: 2 miles; easy
Fee: Free with Gardens Admission
Registration is not required.
Columbus Day Fall Color Hike
Monday, October 8
10:00 a.m. – 12:30 p.m.
Age limit: 10 years and older
Length: 2.5 miles; moderately strenuous
Fee: $5 for members; $6 for nonmembers
Registration required; directions sent with confirmation letter.
Full Moon Night Walk in the Gardens
Saturday, October 27
6:30 - 8:30 p.m.
Bring a flashlight!
Age limit: 8 years and older
Meet: Overlook Pavilion
Length: 2 miles; easy
Fee: Free with Gardens Admission
Registration is not required.
Veterans’ Day Springhead Hike
Saturday, November 10
10:00 a.m. – 3:00 p.m.
Pack a light lunch for the trail.
Age limit: 10 years and older
Length: 5.5 miles; moderately strenuous
Fee: $7 for members; $8 for nonmembers
Registration required; directions sent with confirmation letter.
Far from the Malls Hike
Saturday, December 1
10:00 a.m. – 2:30 p.m.
Pack a light lunch for the trail.
Age limit: 10 years and older
Length: 5.5 miles, moderately strenuous
Fee: $7 for members; $8 for nonmembers
Registration required; directions sent with confirmation letter.
22nd Southern Gardening Symposium
Friday, January 18 – Sunday, January 20, 2008
The Southern Gardening Symposium brings professional speakers, a complete one-stop gardening marketplace, exciting optional workshops, and the delight of rubbing elbows with knowledgeable garden enthusiasts to Callaway Gardens!
No matter your expertise – novice or professional – you’ll have fun and learn loads from the likes of bulb guru Brent Heath of Brent and Becky’s Bulbs; nurserywoman and garden designer Jane Bath; rare plant aficionado Scott McMahan; container gardening guru Lisa Bartlett; landscape designer Garry Menendez; free-lance garden writer Jo Kellum; Arkansas Extension Horticulture Specialist and radio personality Janet Carson; and rock garden enthusiast and author Bobby Ward. Space is limited so register early to ensure your spot. Call 1-800-225-5292 (ext. 5153) for more information.
Fee: $257 per person (based on double occupancy for two nights). For reservations call 1-800-CALLAWAY (225-5292).
For more detailed information about our Education Workshops and Hikes, visit callawaygardens.org and click on Education
Pine Mountain, Georgia
1-800-CALLAWAY (225-5292)
www.callawaygardens.org
Monday, September 10, 2007
More on field studies
Scott Burdick is another painter that I enjoy keeping up with. Recently he did an interview for American Artist magazine speaking about using field studies to complete larger studio works and I found this quote really helpful in the way of encouragement to all of us.
Last Wednesday I had a class of 12 children who came to the Thomaston Upson Arts Council gallery to learn more about Monet and try their hand at creating art like Monet. During the lesson we talked about Monet and how much he enjoyed working outside and especially how much he enjoyed creating his garden with just the right flowers in just the right places so he could paint them in their happy places. Then we talked about Monet's water lily studio paintings which were certainly NOT small studies, but rather room size paintings that would fill almost any wall in my house. I didn't get photos of their finished construction paper paintings, but plan to do that tomorrow to share with you.
It's good to know that the plein air painters of today are not getting so hung up on the label "Plein Air" that they forget they can create wonderful studio works. To see more of Scott Burdick's paintings, go to http://www.scottburdick.com/
.::.
Note to mailing list: To view past blog messages or to make a comment on the public blog, click here.
“Painting en plein air is the fun part of being an artist,” Burdick says. “Going out and exploring, learning about the location—you see how the sun changes, how the light is different in a particular place. Even though those paintings aren’t the ones that get sent out and bought by the collectors, for artists, the studies are the real fun. But you are cheating yourself if all you do is studies. The great artists all did studies, but they are known for their big incredible masterpieces done in the studio, which were only possible because of their studies.”
Last Wednesday I had a class of 12 children who came to the Thomaston Upson Arts Council gallery to learn more about Monet and try their hand at creating art like Monet. During the lesson we talked about Monet and how much he enjoyed working outside and especially how much he enjoyed creating his garden with just the right flowers in just the right places so he could paint them in their happy places. Then we talked about Monet's water lily studio paintings which were certainly NOT small studies, but rather room size paintings that would fill almost any wall in my house. I didn't get photos of their finished construction paper paintings, but plan to do that tomorrow to share with you.
It's good to know that the plein air painters of today are not getting so hung up on the label "Plein Air" that they forget they can create wonderful studio works. To see more of Scott Burdick's paintings, go to http://www.scottburdick.com/
.::.
Note to mailing list: To view past blog messages or to make a comment on the public blog, click here.
Wednesday, September 5, 2007
Painting with construction paper
I hope some of you have been able to take advantage of the cooler mornings we’ve had lately in Georgia to get out and paint. I’ve had so much going on at my house the last couple of days I haven’t had a chance to pick up a brush or study. Today I will begin teaching at the Thomaston Upson Arts Council gallery a series of lessons I am calling “A Walk with Monet”. I’ve done this a couple of times before and I always enjoy seeing the children (and adults) get excited about painting and learning about Claude Monet and impressionism. I hope to be able to show you some of the work the children are creating as the work gets completed each Wednesday for the next four weeks.
You might enjoy getting a preview of what we will be doing today to help understand composition, color and a basic understanding of impressionistic painting. The photo below was taken several years ago after I did this same class to a group of ladies living at West Village assisted living facility in Thomaston, Georgia. They were so proud of their completed paintings they hung them down the hall leading to their rooms. Doing classes like these are very rewarding and I’d encourage all of you to take this idea, expand on it, and share it with groups you think might enjoy them. If you do, share your results with the group via email to the Callaway Painters Yahoo Group or send it to me and I’ll post it on the blog for you.
It’s no surprise to me that the students end up teaching and showing me things I never thought of before, so I look forward to each session. Basic instructions are below. All during the two hours we are working I’ll be talking about how this exercise helps us when we actually get down to painting with real paint, a bit about Monet and friends and showing books written about impressionism answering questions and just having fun.
Copies of this message are sent to the Callaway Painters email list, so if you are viewing this message from your email and can't see the images you can go to http://callawaypainters.blogspot.com and see this and all past messages in the archives.
You might enjoy getting a preview of what we will be doing today to help understand composition, color and a basic understanding of impressionistic painting. The photo below was taken several years ago after I did this same class to a group of ladies living at West Village assisted living facility in Thomaston, Georgia. They were so proud of their completed paintings they hung them down the hall leading to their rooms. Doing classes like these are very rewarding and I’d encourage all of you to take this idea, expand on it, and share it with groups you think might enjoy them. If you do, share your results with the group via email to the Callaway Painters Yahoo Group or send it to me and I’ll post it on the blog for you.
It’s no surprise to me that the students end up teaching and showing me things I never thought of before, so I look forward to each session. Basic instructions are below. All during the two hours we are working I’ll be talking about how this exercise helps us when we actually get down to painting with real paint, a bit about Monet and friends and showing books written about impressionism answering questions and just having fun.
~ take colored construction papers and tear into a variety of shapes and sizes
~view and select an image of a painting you enjoy and want to copy
~paste the shapes and colors on to card stock like the shapes and colors of the painting you have selected as your reference
~sign the work
~frame and take home
Copies of this message are sent to the Callaway Painters email list, so if you are viewing this message from your email and can't see the images you can go to http://callawaypainters.blogspot.com and see this and all past messages in the archives.
Tuesday, September 4, 2007
Savannah College of Art and Design Materials and Trade Show
I'm sure that many of you have already received an email about SCAD's first Annual Art Materials trade show as they have had a massive email campaign about this, but just in case they didn't find your email address, here's the information. I know they have put a lot of work into organizing this event and it's much appreciated.
PLEIN AIR PAINTERS – ATTENTION!!
The Savannah College of Art and Design Presents
First Annual Art Materials Trade Show (DISCOUNTS ON ART MATERIALS)
and “A RETURN VISIT FROM THE NATIONAL GALLERY OF ART” October 5, 6 & 7, 2007
PLEIN AIR PAINTING MATERIALS and TECHNIQUES
(Lecture and 2-Day Workshop)
by
ROSS MERRILL
CHIEF OF CONSERVATION, NATIONAL GALLERY OF ART, WASHINGTON, D.C.
October 5, 6 and 7 LIMITED SEATING ($225)
PRE-WORKSHOP LECTURE - OCTOBER 5, 2007 @ 1:00PM 2-DAY WORKSHOP SAT/SUN (OCT 6/7)
Alexander Hall Auditorium, 668 Indian Street, Savannah, GA
No other painting approach is so dependent on its materials and paints for success as plein air painting. As if the bugs, wind, head, and poison ivy were not enough, inappropriate equipment and make the artist’s life miserable. Not only will this lecture cover what equipment works best, but will also cover the making of plein air painting panels.
WORKSHOP LOCATION/DETAILS TO BE GIVEN AT PRE-WORKSHOP LECTURE ON FRIDAY, OCT 5th
History of Plein Air Painting by Ross Merrill
(FREE LECTURE – NO ADMISSION – OPEN TO THE PUBLIC)
Wednesday, 7:30pm – October 3, 2007 @ Jepson Center for the Arts – Auditorium, 207 W. York St., Savannah
Plein air painting has a long history that can be documented to 1630 when Velazquez painted in the garden of the Medici palace. This lecture traces that great tradition through Rome in the late 18th and early 19th century to Paris and the French Impressionists. It also covers American 19th and 20th century landscape painting up to contemporary plein air painters.
BIO: Ross Merrill has served as Chief of Conservation from 1981 to the present. His training in art and art conservation was obtained from the Pennsylvania Academy of Fine Arts and the Oberlin College Master’s in Fine Arts program for conservation. He has lectured extensively on conservation and painting technique to artist throughout the country. He brings an immense knowledge of painting and conservation technology to the SCAD Campus; a painter, his landscape scenes are almost always painted on site. Ross also teaches numerous plein-air painting workshops through The Art League in Alexandria, Virginia. Last year Ross Merrill was our Keynote Speaker at last year’s “SCAD Presents A Visit from the National Gallery of Art: Insights into the History, Materials, Color and Techniques of Painting, where he addressed Color Mixing Problems and Solutions, Impressionists Color Theory, and the History of Pigments.” His visit will include two lectures and a 3-day plein-air workshop that will focus on the methods of the Impressionists.
URBAN PLEIN AIR by Sandra Reed, Professor, Savannah College of Art and Design
(Lecture and 2-Day Workshop) October 5, 6 and 7 LIMITED SEATING ($225)
Pre-Workshop Lecture October 5, 5:00pm @ Alexander Hall Auditorium, 668 Indian Street, Savannah
WORKSHOP LOCATION/DETAILS TO BE GIVEN AT PRE-WORKSHOP LECTURE ON FRIDAY, OCT 5th
WATERCOLORING FORSYTH PARK by Jason Zimmer, Professor Savannah College of Art and Design
(Lecture and One-Day Workshop) October 5th and 6th LIMITED SEATING ($100)
Pre-Workshop Lecture October 5, 5:00pm @ Alexander Hall Auditorium, 668 Indian Street, Savannah
One-Day Workshop on Saturday – DETAILS TO BE GIVEN AT PRE-WORKSHOP LECTURE ON FRIDAY, OCT 5th
THE EFFECT OF LIGHT ON COLOR by Lori Keith Robinson, award winning & contemporary southern landscape artist who resides in Savannah, GA
All-Day Workshop, Saturday, October 6 (9am – 5pm) LIMITED SEATING ($225)
Chroma Gallery, 31 Barnard Street, Savannah, GA
MUST PRE-REGISTER
For more information, call 912.525.5220 or 866.859.3052 or e-mail tradeshow@scad.edu . Visit our website at http://www.scad.edu/events/tradeshow for workshop descriptions, instructor bios and lecture series information, locations and registration information.
INVITATION
You are invited to The Savannah College of Art and Design
First Annual Art Materials Trade Show/Workshop and Lecture Series/
And
“A Repeat Visit from The National Gallery of Art,” Washington, D.C.
OCTOBER 5-6-7, 2007 for the Art Materials Trade Show & Workshops
OCTOBER 3-4-5 for the Lecture Series – Lectures Free and Open to the Public
•Over 25 Art Materials Manufacturers •DISCOUNTS ON ARTIST MATERIALS
•60+ Workshops and Demonstrations Designed to Make You a Better Artist!
•Guest speakers featuring noted historians in art, art history, architecture and architectural history
•Guest speakers featuring experts in the art materials industry
GAMBLIN Oil Colors KUNST & PAPIER Sketchbooks & Paper Products
BEST Easels and Stretcher Bars RICHESON 300# Watercolor Paper
UNISON Pastels FABER CASTELL Drawing Products
FABRIANO Fine Art Papers M. GRAHAM Oil Colors
OCCHUZZIE Oil Colors BLOCKX Oil Colours
GOLDEN Acrylic Colors and Mediums ENKAUSTIKOS Waxes and Tools
ESCODA Fine Oil, Acrylic and Watercolor Brushes SHIVA Oil Sticks
SENNELIER Pastels, Oil Pastels, and Oil Colors ATLANTIC Fine Handmade Papers
PRINCETON Fine Oil, Acrylic and Watercolor Brushes CHROMA Ultracolor Acrylics
MASTERPIECE Stretched Canvas and Stretchers AMPERSAND Archival Painting Panels
GRUMBACHER Products GRAPHIC INK and Printmaking Supplies
OLD HOLLAND Classic Oil Colors DA VINCI Fine Artist Brushes
GENERAL PENCIL Drawing Products KOH-I-NOOR and PELIKAN Ink Products
SCHMINCKE Colours and MARABU Fine Art Products
HOLBEIN Oil Colors, Watercolors, Duo-Oil Colors and Acyrla-Couache
MAIMERI Fine Restoration Oil Colors, Gouache and Watercolors
For more information, call 912.525.5220 or 866.859.3052 or e-mail tradeshow@scad.edu . Visit our website at http://www.scad.edu/events/tradeshow for workshop descriptions, instructor bios and lecture series information, locations and registration information.
SCAD has been named "Hottest for Studying Art" among America's 25 Hottest Colleges By Kaplan/Newsweek
Friday, August 31, 2007
Perspective - Observation
If you've taken any basic visual art course, you've been exposed to perspective. Vanishing points, two-point perspective -- terms you most likely have heard and concepts you most likely have used along with all the other terms and concepts.
Perspective is just illusion, a product of how the lens of our eye projects light onto the "picture plane" of the retina and of how our brain interprets the resulting pattern. Railroad tracks don't really converge six miles away to a single point, do they? No, of course not, but we have to have some kind of rule or tool so we can make order in our drawing and painting and create a convincing work of art.
The rules of this "grand illusion" were first invented by goldsmith Filippo Brunelleschi (1377-1446) and later codified in a treatise by humanist Leon Battista Alberti (1404 - 1472). (For more on the history of perspective, see http://www.math.nus.edu.sg/aslaksen/projects/perspective/theory.htm.) Artists have been using these rules ever since. If you want to get real technical you can study perspective and learn to produce technical drawings which is not a bad thing since many people make their living doing just that. But, you don’t always have to be so technical when you paint. Like almost everything else, getting your paintings to look real comes down to observation. Paint what you see. Look for shapes and paint them. Put the puzzle pieces together.
Callaway painter, Durinda Cheek reminded me the other day when we were talking about having confidence in brushwork that it’s the same thing with color. Paint what you see. “Mix your color to match what you see,” said Durinda. She explained further, “A fellow painter put it simply, "Is it too dark, too light, too bright, too dull?" In other words, don't just put paint on the surface if it isn't right. One thing you can do is load your brush and hold it up to compare it to your subject. Some artists even put a small stroke on the canvas, compare it, and if it isn't right, wipe it off! “ Good advice Durinda.
Sunlit
Watercolor
22 x 30
$1200.00 + shipping/ handling
White rag mat with gold carved wood frame
You can see more of Durinda's work at www.durinda.com
Note to mailing list: To view past blog messages or to make a comment on the public blog, click here.
Perspective is just illusion, a product of how the lens of our eye projects light onto the "picture plane" of the retina and of how our brain interprets the resulting pattern. Railroad tracks don't really converge six miles away to a single point, do they? No, of course not, but we have to have some kind of rule or tool so we can make order in our drawing and painting and create a convincing work of art.
The rules of this "grand illusion" were first invented by goldsmith Filippo Brunelleschi (1377-1446) and later codified in a treatise by humanist Leon Battista Alberti (1404 - 1472). (For more on the history of perspective, see http://www.math.nus.edu.sg/aslaksen/projects/perspective/theory.htm.) Artists have been using these rules ever since. If you want to get real technical you can study perspective and learn to produce technical drawings which is not a bad thing since many people make their living doing just that. But, you don’t always have to be so technical when you paint. Like almost everything else, getting your paintings to look real comes down to observation. Paint what you see. Look for shapes and paint them. Put the puzzle pieces together.
Callaway painter, Durinda Cheek reminded me the other day when we were talking about having confidence in brushwork that it’s the same thing with color. Paint what you see. “Mix your color to match what you see,” said Durinda. She explained further, “A fellow painter put it simply, "Is it too dark, too light, too bright, too dull?" In other words, don't just put paint on the surface if it isn't right. One thing you can do is load your brush and hold it up to compare it to your subject. Some artists even put a small stroke on the canvas, compare it, and if it isn't right, wipe it off! “ Good advice Durinda.
Sunlit
Watercolor
22 x 30
$1200.00 + shipping/ handling
White rag mat with gold carved wood frame
You can see more of Durinda's work at www.durinda.com
Note to mailing list: To view past blog messages or to make a comment on the public blog, click here.
Thursday, August 30, 2007
Marsha Savage Fall Workshop
Marsha Hamby Savage "Fall" Plein Air Workshop
Blue Ridge, Georgia - Blue Ridge Mountains Art Association
Registration: 706-632-2144
Dates: Friday, Saturday and Sunday, Oct. 5, 6, & 7.
Times: Friday, 8:30 - 4:30, Saturday and Sunday from 9:00 to 4:30 with about
45 minutes break for lunch.
Cost: $200
Deposit: $75 - to be received by Sept. 21 (two weeks before)
Students: Minimum # 5 --- Maximum # 15 -- If we reach the 5 minimum by
that date, the class would be made, and students could keep signing up until
the day of the workshop.
First morning for about 30 minutes for meet and discuss locations -- and in
case of rain any day -- art class studio would be needed.
Description: The class will consist of instruction on composition, quickly
choosing a scene, thumbnail sketches, value, temperature, and color theory
when painting on location. Demonstrations will be in pastel, but I also
paint in oil and acrylic. Students are allowed to work in any medium as long
as they are not beginning students. Pastel students can be beginners. This
class is appropriate for beginners through advanced/professional. Most
information taught is appropriate for all mediums as the issues are specific
to painting on location versus studio. If it should rain, we will paint
still life, or from photographs -- with information on how to make a
painting look as if painted on location. Critique would be last afternoon.
Supply list will be given upon registration.
To view past blog messages or to make a comment on the public blog, click here.
Wednesday, August 29, 2007
Featured Callaway Painter, Barbara Davis
Some of you may not have met Barbara Davis who lives in Montgomery, Alabama and comes to paint at Callaway every chance she gets, so I thought I share some of her wonderful work with the group.
Meet Callaway Painter Barbara Davis:
Barbara's passion is painting en plein air - in the open air, from life. She says, "I love to paint our Southern landscape and landmarks in the area. Born and raised in Montgomery, I have painted since I was 14 years old and majored in art at Auburn University in Montgomery."
Hope you enjoyed looking at Barbara's work as much as I did, and I hope to run into Barbara again painting at Callaway. Barbara, you'll have to let us know what you've been doing lately.
To view past messages or to make a comment on the public blog, click here.
Meet Callaway Painter Barbara Davis:
Barbara's passion is painting en plein air - in the open air, from life. She says, "I love to paint our Southern landscape and landmarks in the area. Born and raised in Montgomery, I have painted since I was 14 years old and majored in art at Auburn University in Montgomery."
Hope you enjoyed looking at Barbara's work as much as I did, and I hope to run into Barbara again painting at Callaway. Barbara, you'll have to let us know what you've been doing lately.
To view past messages or to make a comment on the public blog, click here.
Tuesday, August 28, 2007
Palettes
A couple of years ago I had the opportunity to attend a workshop lead by Robert Gamblin. Robert is a wonderful artist and a great speaker plus he is just a nice man. It was a pleasure to be in his class. Robert is founder of Gamblin oil colors and while he does not sell any of his oils on his web site, he is so passionate about getting artists to understand his way of explaining color that he has built pages and put together DVD's to help us all.
If you are interested in learning more about Gamblin colors and products, visit www.gamblincolors.com Be sure to look at this page where he explains color and where all colors fit in what he calls color space. I think you will enjoy reading other pages too. http://www.gamblincolors.com/navigating.color.space/index.html
Thinking today about palettes reminded me of a recent newsletter I picked up with the word palette spelled incorrectly. If I remember correctly the name of the newsletter was Pallette News. Mine you, I'm not the greatest speller, but this spelling made me smile thinking that whoever typed the newsletter had stuttering fingers or either the newsletter was going to be about the armpit plates making up a suit of armor. A similar thing happened when an art group was forming and wanted to call themselves Palette Pals. At first the spelling of palette was suggested as pallet which is a small blanket used mostly for children sleeping on the floor. We laughed thinking if we named ourselves Pallet Pals some might think we were a group of sleep mates. (It's a southern thing.) Then palet was suggested, and that didn't work, so we resorted to looking the word up in the dictionary. There are other palettes too... like palate for the roof of your mouth and pallet like the pallet goods are stacked on for transport. After that we all decided that we would have to come up with some way to remember how to spell the word for artist palette, but we never did think of anything.
To view past messages or to make a comment on the public blog, click here.
If you are interested in learning more about Gamblin colors and products, visit www.gamblincolors.com Be sure to look at this page where he explains color and where all colors fit in what he calls color space. I think you will enjoy reading other pages too. http://www.gamblincolors.com/navigating.color.space/index.html
Thinking today about palettes reminded me of a recent newsletter I picked up with the word palette spelled incorrectly. If I remember correctly the name of the newsletter was Pallette News. Mine you, I'm not the greatest speller, but this spelling made me smile thinking that whoever typed the newsletter had stuttering fingers or either the newsletter was going to be about the armpit plates making up a suit of armor. A similar thing happened when an art group was forming and wanted to call themselves Palette Pals. At first the spelling of palette was suggested as pallet which is a small blanket used mostly for children sleeping on the floor. We laughed thinking if we named ourselves Pallet Pals some might think we were a group of sleep mates. (It's a southern thing.) Then palet was suggested, and that didn't work, so we resorted to looking the word up in the dictionary. There are other palettes too... like palate for the roof of your mouth and pallet like the pallet goods are stacked on for transport. After that we all decided that we would have to come up with some way to remember how to spell the word for artist palette, but we never did think of anything.
To view past messages or to make a comment on the public blog, click here.
Monday, August 27, 2007
Confidence with painting
One thing I think we all have struggled with from time to time is having brush confidence. In Craig Nelson’s book 60 minutes to better painting he talks about developing the feel of the brush in your hand as well as developing the touch to canvas or paper. What we have to do is get ourselves on first name basis with our brushes and the support we are working from. For those that use pastel, it would be how the sticks are held in the hand and the different papers that can be used.
Quoting from Nelson: “Confidence in anything comes from repetition, and repetition leads to comfort and the mastery necessary to excel. Painting more quickly will lead to truly using the brush as a painting tool, not just an instrument for filling in between the lines.”
Here is what I find happens to me. I have confidence more in the studio than I do when I am working outside. I’m not sure why this is but a couple of things come to mind that I continue to work out.
1. Getting overwhelmed by the shear volume of things to paint outside. An example would be me in the middle of the Overlook Garden when all the azaleas are in bloom. Solution: Use my camera viewfinder to narrow my focus.
2. Moving shadows. Solution: Do a quick thumbnail of the shadow patterns and take a photograph to back up the thumbnail. Tape the thumbnail sketch to my easel and use it like a road map while I continue to paint the scene.
3. Getting too much paint on my canvas too quickly. Solution: Use some acrylic paint in the beginning to get the canvas covered and make the composition solid. Then if I want to finish up the painting with my oil paints I can do that and can rest assured that I’m painting over dry paint.
4. Rushing to get finished. When I paint outside I realize that I only have 2 to 2.5 hours to get the painting finished with the same lighting unless I want to come back to the same spot under the same conditions and paint some more. I think I need to reconsider why I am painting outside and remember that I don’t have to paint a finished work of art ready to sell. I can work outside to accomplish studies that I can then take back to the studio where I am more comfortable and have time to make other decisions, create larger works and certainly have a more polished work. There is nothing wrong with doing studies and using them this way. In the end, the people I sell my work to really don’t care if they can be called plein air works or not. They just want the scene captured so they can enjoy it over and over just like I do.
What are some of your confidence blockers? What confidence builders have you found? One confidence builder for sure is just painting and painting and painting like Nelson said. I still haven’t done the exercise we talked about using the minute timer. Maybe it’s because it reminded me of how rushed I always feel when painting outside. Maybe that's one of the reasons painting outside is such a great teacher when it comes to learning to paint.
Today’s photograph is an old one from 2004 taken at the Discovery Center after painting all day. See anyone you recognize?
Left to right: Chris Hagebak, Barbara Robinson, Phyllis Franklin, Jo Adang, Bea Dallas, Cyn Kuffle, Durinda Cheek, Sandra Babb and kneeling, Bambi Setzer.
Quoting from Nelson: “Confidence in anything comes from repetition, and repetition leads to comfort and the mastery necessary to excel. Painting more quickly will lead to truly using the brush as a painting tool, not just an instrument for filling in between the lines.”
Here is what I find happens to me. I have confidence more in the studio than I do when I am working outside. I’m not sure why this is but a couple of things come to mind that I continue to work out.
1. Getting overwhelmed by the shear volume of things to paint outside. An example would be me in the middle of the Overlook Garden when all the azaleas are in bloom. Solution: Use my camera viewfinder to narrow my focus.
2. Moving shadows. Solution: Do a quick thumbnail of the shadow patterns and take a photograph to back up the thumbnail. Tape the thumbnail sketch to my easel and use it like a road map while I continue to paint the scene.
3. Getting too much paint on my canvas too quickly. Solution: Use some acrylic paint in the beginning to get the canvas covered and make the composition solid. Then if I want to finish up the painting with my oil paints I can do that and can rest assured that I’m painting over dry paint.
4. Rushing to get finished. When I paint outside I realize that I only have 2 to 2.5 hours to get the painting finished with the same lighting unless I want to come back to the same spot under the same conditions and paint some more. I think I need to reconsider why I am painting outside and remember that I don’t have to paint a finished work of art ready to sell. I can work outside to accomplish studies that I can then take back to the studio where I am more comfortable and have time to make other decisions, create larger works and certainly have a more polished work. There is nothing wrong with doing studies and using them this way. In the end, the people I sell my work to really don’t care if they can be called plein air works or not. They just want the scene captured so they can enjoy it over and over just like I do.
What are some of your confidence blockers? What confidence builders have you found? One confidence builder for sure is just painting and painting and painting like Nelson said. I still haven’t done the exercise we talked about using the minute timer. Maybe it’s because it reminded me of how rushed I always feel when painting outside. Maybe that's one of the reasons painting outside is such a great teacher when it comes to learning to paint.
Today’s photograph is an old one from 2004 taken at the Discovery Center after painting all day. See anyone you recognize?
Left to right: Chris Hagebak, Barbara Robinson, Phyllis Franklin, Jo Adang, Bea Dallas, Cyn Kuffle, Durinda Cheek, Sandra Babb and kneeling, Bambi Setzer.
Saturday, August 25, 2007
Studio Exercise
As the summer heat still keeps most of us in doors painting in our studios, back porch, and living rooms I thought it might be a good time to do some speed exercises. Here’s one we all can try. I’d love to see some of you post your results. Let me know if you do this and need help posting, I’ll be glad to help you post it either on the blog or just on the yahoo discussion group. I plan to do this with some tomatoes from my 4 plant garden. After that, I’ll make me a tomato sandwich with Duke’s mayonnaise. I couldn’t use anything but Duke’s mayonnaise because my grandmother would turn over in her grave.
Exercise: Paint with a kitchen timer.
Choose a piece of fruit and set the timer for one hour on a 5x7 canvas. When the timer goes off, put your brush down.
Then set your timer for 30 minutes and do another on a new 5x7 canvas.
Then set your timer for 15 minutes and do another on a new 5x7 canvas.
Then set your timer for 5 minutes and do another on a new 5x7 canvas.
Finally, try a one minute painting.
Doing this exercise will teach you what is essential to get and what can be left out and still have a good painting. It may stop you from focusing on the end product and start seeing the process as everything. It will keep you from noodling, which is my favorite term for working a painting to death. It will also teach you to use economy of strokes and to think before you paint making sure you really need that stroke. It will teach you that if you put a stroke down with the right color and value, you won’t have to keep going back over it. Going back over your strokes time and time again usually doesn’t help the painting. It just shows that you were unclear with the first stroke and made a poor choice. That in itself is not a bad thing, it’s just that by making clearer good choices from the beginning our paintings can be fresher and more alive expressing what we really saw and excited us to begin with.
Today I thought I share a photo of Callaway painter Virginia Bugg in the garden painting.
To view past messages or to make a comment on the public blog, click here.
Exercise: Paint with a kitchen timer.
Choose a piece of fruit and set the timer for one hour on a 5x7 canvas. When the timer goes off, put your brush down.
Then set your timer for 30 minutes and do another on a new 5x7 canvas.
Then set your timer for 15 minutes and do another on a new 5x7 canvas.
Then set your timer for 5 minutes and do another on a new 5x7 canvas.
Finally, try a one minute painting.
Doing this exercise will teach you what is essential to get and what can be left out and still have a good painting. It may stop you from focusing on the end product and start seeing the process as everything. It will keep you from noodling, which is my favorite term for working a painting to death. It will also teach you to use economy of strokes and to think before you paint making sure you really need that stroke. It will teach you that if you put a stroke down with the right color and value, you won’t have to keep going back over it. Going back over your strokes time and time again usually doesn’t help the painting. It just shows that you were unclear with the first stroke and made a poor choice. That in itself is not a bad thing, it’s just that by making clearer good choices from the beginning our paintings can be fresher and more alive expressing what we really saw and excited us to begin with.
Today I thought I share a photo of Callaway painter Virginia Bugg in the garden painting.
To view past messages or to make a comment on the public blog, click here.
P.S. I understand that Yahoo is making changes to their data base and many of the email addresses that we have set up in our profiles may or may not work in the future. Last night I posted this same message and my post did not go thru. In trying to see why, I logged on to Yahoo and then signed on with my Yahoo I.D. and took a look at my profile. There in my profile I found that the last five messages sent to my hotmail address, which is my main address I use for all the Yahoo groups I belong to had bounced. When a mail bounces, it goes into cyber land never to be found again. I'm assuming that because my last five messages (to me) bounced my account was suspended! For this reason, the message I left on the blog yesterday did not make it to the Callaway painters Yahoo group to be posted and set out. :( When I found my address was on the bounce list and my email had been suspened, I also noticed that there was a link to have it restored. I clicked that link and made my request to have my email restored and received a confirmation back saying it had been. This morning I am sending out a duplicate of yesterday's post trusting it will reach you. You might want to check your Yahoo account and see if your email ID is on the bounce list. I understand that Yahoo will be doing purges of their data base for weeks to come, so checking your Yahoo account often might be a good thing if you want to continue to send and recieve messages associated with your YahooID.
Friday, August 24, 2007
Basic color theory
Basic Color Theory
Color Wheel - 12 hues of the spectrum:
Warm Hues of the spectrum:
Yellow
Yellow-orange
Orange
Red-orange
Red
Red-violet
Cool Hues of the spectrum:
Violet
Blue-violet
Blue
Blue-green
Green
Yellow-green
Primary Colors: Red, Yellow & Blue
These colors cannot be mixed from any other colors. The triangle they form on the color wheel is called the primary triad.
When two primaries are mixed, secondary colors are formed:
red & yellow = Orange
red & blue = Violet
yellow & blue = Green
Orange, violet and green form the secondary triad.
When a primary color is mixed with a secondary color tertiary colors are made:
yellow & green = Yellow-green
green & blue = Blue-green
blue & violet = Blue-violet
violet & red = Red-violet
red & orange = Red-orange
orange & yellow = Yellow-orange
Complementary colors are colors that lie opposite each other on the color wheel.
The 3 major complementary pairs are: yellow & violet, blue & orange, and red & green.
The intermediate/tertiary colors all have intermediate complements:
red-orange & blue-green
yellow-orange & blue-violet
yellow-green & red-violet
When complementary colors are mixed, they usually produce a neutral gray.
When white is added to a color it becomes a tint.
When a color has been lowered in value by adding its complement or black, it is called a shade of the color.
Monochromatic color - color scheme using one hue plus white, neutral gray or black.
Analogous colors - three to five colors next to each other on the color wheel. They are more harmonious because they have a common primary color present in all of them.
Local Color - the actual color of an object; its middle tone.
The four characteristics of local color are:
hue - the color of the object: red, orange, yellow, green, blue, violet
value/tone - lightness or darkness
intensity/chroma - brightness or dullness
temperature - warmth or coolness
Color Wheel - 12 hues of the spectrum:
Warm Hues of the spectrum:
Yellow
Yellow-orange
Orange
Red-orange
Red
Red-violet
Cool Hues of the spectrum:
Violet
Blue-violet
Blue
Blue-green
Green
Yellow-green
Primary Colors: Red, Yellow & Blue
These colors cannot be mixed from any other colors. The triangle they form on the color wheel is called the primary triad.
When two primaries are mixed, secondary colors are formed:
red & yellow = Orange
red & blue = Violet
yellow & blue = Green
Orange, violet and green form the secondary triad.
When a primary color is mixed with a secondary color tertiary colors are made:
yellow & green = Yellow-green
green & blue = Blue-green
blue & violet = Blue-violet
violet & red = Red-violet
red & orange = Red-orange
orange & yellow = Yellow-orange
Complementary colors are colors that lie opposite each other on the color wheel.
The 3 major complementary pairs are: yellow & violet, blue & orange, and red & green.
The intermediate/tertiary colors all have intermediate complements:
red-orange & blue-green
yellow-orange & blue-violet
yellow-green & red-violet
When complementary colors are mixed, they usually produce a neutral gray.
When white is added to a color it becomes a tint.
When a color has been lowered in value by adding its complement or black, it is called a shade of the color.
Monochromatic color - color scheme using one hue plus white, neutral gray or black.
Analogous colors - three to five colors next to each other on the color wheel. They are more harmonious because they have a common primary color present in all of them.
Local Color - the actual color of an object; its middle tone.
The four characteristics of local color are:
hue - the color of the object: red, orange, yellow, green, blue, violet
value/tone - lightness or darkness
intensity/chroma - brightness or dullness
temperature - warmth or coolness
Thursday, August 23, 2007
What to do with an ugly painting
Spring Lake circa 2004 16x20 oil Candidate for the landfill gallery because I've worked, reworked, and completely destroyed any resemblance to this original painting. I should have stopped when I was ahead. I learn lessons each day.
____________________________________________________________________________
What to do with an ugly painting
I’m sure that most of us have paintings that fall into the categories of good, bad and ugly. I’m finding that to have a painting that I really think is better than good tends to run the course of about one out of three. So that leaves me with at least one painting in the bad or ugly category and I have to decide what to do with it.
The first thing I remind myself is that all art is a great experiment. I don’t care how long you have been painting or how accomplished you are, each time you create a work of art, you are experimenting and each experiment will turn out differently. Have you ever tried to paint the same painting? Did it turn out the same? Some of us have track records that turn out successful paintings all the time, but even if you are this kind of artist, you are still a student for we all learn every day from each painting we do.
The second thing I remind myself of is that an old ugly painting doesn’t have to go to the landfill gallery unless I just give up and I shouldn’t give up without trying to save it at least one time. There are some things that can help me make a clean start or work-over my painting that I’ve used successfully before so I run down my list and see if I can salvage my painting by using one of these (choose the one that fit your medium).
· Spray it with oven cleaner and take off all the old oil paint
· Sand the oil or acrylic paint off and reapply gesso
· Cut it up and use it in a collage
· Soak the paper in a tub of water and rub pigment off gently with hands
· Cut the canvas or paper into strips to be used as bookmarks
· Use a product called sansodor which is a W&N solvent for oils
· Try reapplying a sanded surface when working with pastel papers
· Crop the ugly parts and reframe
· Turn it into an abstract
· Flip it and paint a different painting with the old painting as a ground
· Try glazing
· Turn it into a mixed medium painting using inks, casein, egg tempera or gouache
· Run your ugly paper thru a shredder and use for packing material
· Take it outside and use it for target practice.
I’m sure that you could add more ways. Make your own list and the next time to are ready to make a donation to the landfill, remember you can try one of the things on your list to save that painting. If all else fails and you don’t want to try anything new, you can go ahead and make that trash donation and still call yourself successful because you have just cleaned and organized your studio.
To view past messages or to make a comment on the public blog, click here.
Wednesday, August 22, 2007
Starting is Everything
Phyllis is right on target with the topic of getting a strong start when painting. Without a "map" of sorts, to structure your piece no amount of coloring, exploring or compensating can overcome weaknesses in a painting.
One student of mine is terrified to start a painting. I tell her that the canvas is inert, unfeeling and has nothing to say about your success or failure with what you are about to create. It cannot tell you where to put colors, make lines or anything at all.
YOU are the only agent who can control what goes on on that surface. So take charge. Yes, marks may be awkward with your first attempts, but with practice, the technical aspect of beginning will give way to well crafted-finished pieces of art.
In my experience, drawing is key. Whether you draw your subject first or go direct to painting, a good structural foundation is critical. And when you start well, the chances of ending well goes up exponentially. Many artists do thumbnail sketches prior to painting. This is an excellent way to work out issues of composition, value changes and depth prior to applying color. Still other artists feel this is a waste of time. Whatever side of this issue you come down on, I encourage you to draw as much as possible, particularly if you are a beginner to intermediate artist. Even the most advanced painters draw and draw and draw before executing a painting. The result, generally an exceptional piece of well-planned, well-executed artwork without overworking the end result.
So, ready to get started? It’s really easier than you might think. Everyone gets stuck at different points. I tend to get more stuck in the middle of creating a piece when it is going one way, perhaps in a different direction than I had intended. Whenever I get stuck, I remember what a master painter once told me to do: “Stop what you are doing, step back, re-evaluate, retrace your steps, re-draw, refine the original structure of a piece; then go on.” This sage advice has saved and even propelled me to greater painting successes.
Also, try different ways of starting. For some it’s ragging thin paint all over the canvas; then lifting out the compositional areas. For others, it’s tedious yet effective drawing prior to applying paint, some start by using the opposite temperature paint, some start with the focal point and work outwards; and on it goes. Give these and all other types of starting a chance to see what works best for YOU. And back to my original statement. If you start strong you will more likely end strong.
Tuesday, August 21, 2007
Better paintings
How do you start a painting? I guess there are as many methods as there are people, but one sure thing is that all of us are faced with a blank canvas to start with. In reading a book called 60 Minutes to better painting by Craig Nelson he asks that we make quick studies to help boost our skills. Here are a few quick paraphrased thoughts from Nelson.
1. Painting quick studies will help you break inhibitions you face when faced with a blank canvas. 2. Get rid of that by learning not to be afraid of making mistakes. It's in making the mistakes that we learn the most.
Photo: Spring at the Gardens Restaurant, Callaway Gardens. You are welcome to use this photo as a painting reference, Phyllis Franklin.
To view past messages or to make a comment on the public blog, click here.
1. Painting quick studies will help you break inhibitions you face when faced with a blank canvas. 2. Get rid of that by learning not to be afraid of making mistakes. It's in making the mistakes that we learn the most.
3. Learn the differences between line and mass. From our earliest memories we have all drawn with pencil, crayon or pen. Generally, when we draw anything, we start with lines. This, however, s not how we see. We see mass and forum; therefore, mass and form is how we must paint. Lines are a shorthand for painting.4. Your brushwork is often like handwriting - very distinctive. The way in which a painter uses his brush is much the beauty of a painting. 5. Learn how to see.
A painter must learn how to see in stages. They must not see the detail first, but see the larger more basic images before studying the smaller and often more interesting areas. It is important to train your eye to see in the proper order so your subject can be approached as if it were a painting.6. Don't procrastinate... what is the sports slogan? Just Do It. If you concentrate on just creating a study rather than thinking you have to complete a painting or else, you will free your creative mind and then you can go on to a more refine painting if you like.
Photo: Spring at the Gardens Restaurant, Callaway Gardens. You are welcome to use this photo as a painting reference, Phyllis Franklin.
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Monday, August 20, 2007
Center Composition
Today is my 60th birthday! I can't believe I made it. It's too hot to get outside and paint, so I've been doing studio work, some from photos and some just contrived. During the hot days I also enjoy reading art instruction books and doing exercises. Composition is such a great part of what makes some paintings successful and some not so, and playing with composition rules can teach you a great deal. We all have heard over and over not to place the focal point in the center of the canvas, but sometimes that's what we always do. What makes some center compositions successful and some not so? Here's a little clue gleaned from Edgar Payne.
Quoting from Edgar Payne, "the placement of the main point of attraction in composition is important. Regardless of its location on the canvas or whether it is large or small, it needs balance by it surrounding parts. If the main attraction area is small the rest of the picture should not over come it by presenting similar or equal interest. The principal attraction should not be placed too near the edge of the canvas."
Having interesting colors and textures that surround the main focal point create supporting focal areas that can move the eye around making the composition work. Here's my composition study with the main subject in the center of the painting. I think it works, but really value your opinion. Let me know what you think. Any suggestions to make it work better? Pastel on Wallis paper, 23x17 en studio
To view past messages or to make a comment on the public blog, click here.
Quoting from Edgar Payne, "the placement of the main point of attraction in composition is important. Regardless of its location on the canvas or whether it is large or small, it needs balance by it surrounding parts. If the main attraction area is small the rest of the picture should not over come it by presenting similar or equal interest. The principal attraction should not be placed too near the edge of the canvas."
Having interesting colors and textures that surround the main focal point create supporting focal areas that can move the eye around making the composition work. Here's my composition study with the main subject in the center of the painting. I think it works, but really value your opinion. Let me know what you think. Any suggestions to make it work better? Pastel on Wallis paper, 23x17 en studio
To view past messages or to make a comment on the public blog, click here.
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