Jan 21 | What Did You Say?

“What Did You Say?”

6x6” oil ($50)

I was struggling trying to think up a title, so I had to fall back on my reliable source Mr. Ray to help me with the title for this guy. 

Painting color which isn't in a photo is tough for me.  I'm taking baby steps by trying to have some fun and experiment with my backgrounds in these little paintings.  Rather than try for realistic looking grass, I went the polar opposite.  Its even more "limey" in person. 

 

ART TIP - Titles

Back in July, after research plus conversations with artist friends, I wrote an article for the Springfield Art Guild newsletter and a  "blog post on titles".  Its not always easy to come up with a title that suitable for your painting.  For this project I have painted a number of dogs and if I don't know their names I'm struggling to come up with a title.  As I was trying to figure out a name for this painting, I found a few more articles on the subject I thought I'd share.  

Robert Genn's article had some insightful ideas, but he left out my favorite, humor. 

"How to Pick a Title or Name for a Painting" by Robert Genn | Updated 11/25/14   

 "When it comes to titling paintings, what comes first -- the chicken or the egg?" This was a query I had from B.J. Wright, who went on to say: "I have paintings that are still untitled, in spite of trying several titles, as one would try on prom dresses. Other works were a title first -- then the painting emerged."

Well, B.J, most of us paint first and title last. Sometimes, about the middle, a title just pops out of the ether.  And there are a few of us who get a title in our heads and figure out the work to go with it. Particularly with whimsical and didactic art, this last system is worth considering. The right title makes a difference as to how a work is seen and understood. Not only are titles a bridge to the viewer, they are also part of the art. I'm a believer in giving your titles some careful thought.

There are five main kinds of titles:

• Sentimental
• Numerical
• Factual
• Abstract, and
• Mysterious.

For comparison purposes, take a painting of mine of weathered totems near a snowy, deserted village. The somewhat sentimental title I chose, "The Long Winter", attempts to comment generally on the current state of our native peoples."

"How to Title Art,  How to Choose a Title For Drawings and Paintings" is another article by artist Helen South, an Australian artist working in graphite, charcoal, watercolor and mixed media. She has been the About.com Guide to Drawing and Sketching since 2003.   There is more about Helen's current and past work on her Google Profile: Helen South

Day 5 "Gullagain"

Day 5 | 2016 | 30 in 30

I haven't quite figured out a title for this one so for now its

“Gullagain”

6x6” oil ($50)

Yesterday' painting almost painted itself.  That usually means the next couple of paintings I try too hard and struggle.  Does it ever get any easier?  I guess then it wouldn't be a challenge.   One of the things I hope to come away with after painting 30 paintings is to paint faster and more efficiently.   I know that's when I paint my best.  Sounds simple but its anything but!  

I am painting on Gessobord, experimenting using a scrapper not only to remove paint, but to draw with in the paint.  

Art Tips

cardboard backing

As much as I enjoy painting on Gessobord, it is hard to handle without getting my fingers in it.  For larger pieces, I cut out a "backboard" from 1/8" Masonite an add a 1/4" lip on the bottom.  For the daily smaller pieces I don't need a bunch of little Masonite backboards so I decided to cut them out of cardboard.  Just cut a piece about 2" larger than your board (don't worry about exact sizing, my cardboard backing is 8x8ish for working for these 6x6s").  Then I hot glue a ledge piece to the bottom to stabilize the cardboard and keep the gessobord from sliding.  Role a couple of pieces of blue painter's tape to hold the Gessobord on the cardboard.  Works like a charm.  I recommend once you finish the painting and if you leave it attached to the backboard you store/dry laying flat .  Otherwise, remove and put the panel in a drying rack. 

toning

I took a great workshop with QIANG HUANG.  He recommends spreading a very light coat of linseed oil on your board or canvas before beginning to paint.  I like the way the paints goes on.  Just don't forget to wipe it down before you start painting so you don't have too much Linseed oil on it or your paint will run.  Once I wipe it down I am toning the boards with Transparent Oxide Orange (Rembrandt).  It blends nicely with the lighter paints applied over it.  Something I learned from DREAMA TOLLE PERRY is if you put down just transparents first for your first layer, they will not get muddy.

 

"wipe out" drawing

 

Rather than draw with pencil, charcoal or conte crayon I'm drawing with a wipe-out tool.  I have different types, but I really like the Kemper Wipe Out Tool DREAMA recommends.  It is actually a ceramic tool so the rubber tips are a bit stiffer and it has a tip on each end which is handy.  Great thing about drawing with the wipe out tool is if you don't like something you just brush it out and redo.  

 

 

 

laying in the paint

 

The thing I'm struggling with painting wet into wet is getting really good darks.  Hopefully, after a few more paintings I'll figure it out. Looking at this now, I'm kind of wishing I'd left the background more tonal ... I like the effect. 

Having daldrums after a solo show? ENTER small shows

As everyone knows you paint like a crazy person for a show and sometimes its hard to get back into a rhythm once its over.  Sometimes I fight that by dragging out a couple of old paintings that just didn't work, but I haven't thrown them away.  I "play" with them.  Its just fun!  Rarely, do I salvage them so I could sell them (you really should start over for that) but looking at them with a new critical eye and what was lacking in the first place is a great exercise for me.

Local Art Shows:  Fall is also a great time of the year for art shows.  We have lots of them in our area. Back in January,  my critique group decided we'd write an "art bucket list" for the year.  I had about 20 items (probably should be cut it back a little) and I've actually accomplished most of them.  One of the items was to enter local shows sponsored by new groups I had not worked with before.  I am doing 3 this fall.  I don't usually do more than one at a time and never thought about how much time they take, so everyone should keep that in mind... KEEP a calendar of events...drop off, pick up if rejected, some require volunteer duties, receptions, and pick up.  With that list you can see they can be a big time commitment. 

My tip: Enter shows with a friend or two so you trade off on some of the duties if needed and most important can help with drop off and pick ups if something comes up.  

Prospectus Read each one carefully.  Rules can be different for each event.  It is surprising how many people enter paintings, pay the fees, drop of their work and it is rejected not because it isn't a wonderful painting, but because they didn't read the prospectus and it doesn't fit the theme/requirements.

Fees:  Many shows have entry fees, but there are just as many small shows that do not.  Many will keep a percentage of the sale.  From 10-40%.  

Volunteer requirement?:  Keep in mind that in addition to entry fees, many local shows require you to do some volunteer work if you are in their show.  That can be making spreadsheets or labels, helping with advertizing, logging in paintings, assisting the judge, hanging the show, attending the reception (which everyone should try to do because it is fun), set up and/or clean up at the reception, bringing food for the reception, taking down the show, & checking the paintings out.

Dates you have to track: (It doesn't sound like much but if you are entering multiples it can get confusing.

• When the entry has to be mailed 
• If entering more than one show tracking which paintings are going where!
• Drop off date (and pick up times if they aren't accepted into the show)
• Reception
• Pick up 

Form a Painting Critique Group

I belong to a great critique group initiated by Sue Church, a wonderful artist, who wanted to connect with other artists.  She set up a private blog to post the photos of paintings to be critiqued.  Our actual meetings are via Skype since our members are located in different parts of the country.  Skype allows us to have a group discussion from the comfort of our own studios!  Technology is wonderful.  Of course if you have a group close by, the sessions can be in person. 

The benefit of any critique group is every artist has paintings they like, but don't love.  They just can't quite figure out what it needs, but know the painting could be better.  Sometimes all it takes is fresh eyes.  Even if the painting can't be saved, (that will happen) to understand what didn't work on a painting is always a great learning experience and gives me license to play. 

The critique sessions not only provide great suggestions for improving my own paintings, but to learn from the comments on everyone's work.  If you haven't done critiques, that can also be a learning experience.  It teaches you to look at composition and value on someone else's work and to look first for what works and then possible changes.  Even more important, it should teach you to put your thoughts into positive, understandable wording.  

I find that as I try to implement everyone's suggestions, I see my painting through new eyes.  I put the photograph away & think about what everyone said.  It has helped me not be so 'married' to a photograph and start looking at my composition and values.  Its also learning that sometimes a beautiful photograph doesn't translate well to canvas and we need to allow ourselves to use some 'artistic license'.  Just because it has a tree or pole in the photo doesn't mean the painting needs that tree or pole.  I love a quote I once heard a judge say that goes something like this: "Remember artists are the strongest people in the world.  We can move buildings, trees, rocks, & even mountains." 

Suggestions to think about if you want to set up a critique group:

• Set up goals & guidelines before starting
• Determine how often you will meet.  Monthly or semi-monthly work well. 
• How long will the sessions run?
• How many paintings can each member post per session? One works well for our group, but it could be more if you don't meet often. 
• Try to review the paintings on the blog before the critique
• Keep the discussions focused on the art.  
• Everyone is responsible for making the sessions a positive experience.
• Do you want to have someone oversee the session?   If so, that can change each time or stay the same.   
• This sounds obvious, but ensure members understand critiques.  New painters might not.  The paintings submitted should be ones the artist isn't satisfied with and is looking for ideas that will help improve them.  (I've seen feelings hurt at guild critiques when people brought in framed finished work.)
• NO ONE is allowed to say negative things their own work.  The group should be positive.  If there are specific things the artist would like the group to focus on then voice it in a positive way.  (Good learning experience too)
• While its best if everyone can post a painting for each critique, all members might not have a painting ready.  If the member doesn't have a painting to post, they should still participate.  It is important to the other artists to hear your suggestions.  Also, you learn so much from all of the critiques, not just the one about your painting.  
• Keep the group small.  4 or 5 artists will keep the critique on track and allow everyone a chance to participate.  With 4 artists we spend about an hour on each critique session.  An hour allows us to look at the last session's paintings & discuss the changes then discuss each new painting up for critique.  

Thai Anyone? 16x20" oil on canvas

This is the original version, but I knew while I liked it 

I believed it could be better so I posted it for a critique. 

The redo... the changes are not obvious,but

in person the painting feels much improved

after implementing the group's suggestions.

Some of the suggestions by the group for this painting:  

• The viewer's eye didn't travel around the painting but was draw back too much.  
• Tone down the light on the right mid section coming out of the alley it was too bright.  While it was a good touch, it drew you eye back away from the restaurant.   
• Tone down the people in the background a little.  The red and bright yellow again drew your eye back too much.  
• The eye continued back because there was nothing at the end of the street to stop it.  
• The umbrella needed a stronger highlight to draw the eye forward.  
• The flowers and flower pots at the front door needed to be toned down.   
• The top window on the restaurant was too distinctive and needed softening so it wasn't so important.   
• After making the changes, I thought the sidewalk was too wide and decided the easiest way to "narrow it" was to add a green grassy looking area. I also broke up the line of the roofs. 

The original photograph had a large tree on the right side which would have overpowered the painting and I thought would detract from the color of the restaurant so I left it left out. Instead I pulled another umbrella over and made the umbrellas green to balance the color of the trees on the right.