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. 

Day 2 - Dreama Tolle Perry Workshop

Painting Brings Me Joy .... The art affirmation on my name tag.   It is so true.  I liked all of the affirmations, but one I wrote in my notes was "Joy Flows from the tip of my brush."

My rendition of our assignment

Day 2  Dreama handed out a photo reference to the class so the class could paint along with her again.  She broke her demo into segments (still love that) to help us get a handle on her technique.  This time it was a scene.  Step 1 again was blocking the entire white surface (of your choice) in transparent color.  Boy, it looks so easy when she does it and I thought I was getting it as I follow along, then I quickly realize I need to take Dreama home with me... I really need her there as a safety net! 

Each day there was a general discussion about life and art.  When painting "Go with your gut." "Don't second guess yourself."  There is nothing harder in the world than a solo show or trying to get in a show.   I liked Dreama's way of putting it because it is exactly how I feel when I put my art out there...."how naked are you willing to be?"   

We were reminded to use colors other than white (which is cool) as highlights, plus it is unexpected.... a light orange on a blue shutter or a light green on something turquoise. A light touch of light orange or blue on a red.  Reminders to think out of the box... because my box has very high sides. 

Once again it was the darks that I found I had to keep going back in and to work on.  Dreama reminded us not to forget neutrals.  Without them the focal point is lost and colors will not pop.

You can find Dreama's palette on her website.  She introduced me to colors I really like and have continued to use.   Winson & Newton magenta is kind of a warm version of alizarin crimson, Rembrandt Transparent Red Medium & Transparent Oxide Orange (great color), and Richeson Shiva Ice Blue (not a transparent), a nice shadow color.   

Day 1 - Dreama Tolle Perry's workshop

Day 1, My version of Dreama's demo.  12x12, oil on RayMar
It is always fun to see how 20 people interpret the same photo

If you haven't seen Dreama Tolle Perry's work it is a wonderful mix of glorious color and brushstrokes.  In addition to her art, Dreama is also a writer and story teller, a combination of talents I found make her a natural when it comes to teaching.

Our first day in Dreama's workshop was great.  Our name tags included an art affirmation.  We introduced ourselves and read the affirmation saying why the affirmation was true about our art. Dreama started the class reminding us to remember why we want to paint and to be careful not to get into a self defeating mind set which is easy to do if you start questioning and negatively self critiquing your art work.  Art is a journey you do because you love the creative process.  I still find myself in awe when a painting comes together.  It was also interesting to hear, just like you and me, not all of her paintings are successful and some actually get discarded.  I call my misses learning experiences.  She reminded us that just because we have successful paintings that almost paint themselves that isn't always true.  Every canvas is a blank white expanse waiting for you lay on paint.   

Dreama reminded us not to forget that workshops should not be about having a successful painting at the end of the day, but about the experience and what you can learn. Our painting style, like our handwriting is unique to us and learning new techniques will not change that, just like DNA.  Day one everyone is given the same picture to paint.  To help her students (and I needed lots of help) learn her way of painting, Dreama breaks up her teaching in segments which allows you to go back to your canvas and try to apply her techniques.  This is a technique that really works for me.  I've found if an instructor is using a technique new to me once they've completed their painting I sometimes have trouble remembering some of the essential points. And I admit I don't sit still well for long periods of time. 

Dreama's focus for the workshop is color and brushstrokes.  She paints with a fairly limited palette, mostly transparent colors, which she has changed and refined over the years as she finds colors or brands she believes work better with her style.  She starts with a white untoned canvas and lays in shapes and values with only transparent colors using a mix of 1/2 solvent (she is now using a non-toxic solvent) and 1/2 linseed oil.  The transparents will cover the entire canvas.  If the final layer will be a light color then the transparent color is laid on thinner in those areas.   

I must say the first layer is very contrary to the way I paint because there is little drawing going on and for the most part seems very dark.  But as almost every instructor will tell you the values of lights and darks are so very important and this first step is where you need to make sure your darks are DARK.  I think most of us have struggled with getting wonderful lights into our paintings.  I struggle with highlights and whites.  I keep reading that if you want something to look light don't add white, you need a darker dark next to the light.   Also rarely does white by itslef look right and she said that's because white by itself is cool so doesn't feel right if it something that is in the sun.  For a warm white add a touch of Indian yellow or orange but for a cool white add a touch of cad lemon yellow. 

Once the first layer is on, your medium is capped and Dreama does not use any solvent to clean her brush as she goes.  Boy, not swishing my brush clean every few minutes was the hardest part of the exercise!  She noted something I never thought about... every time you swish that brush to clean it in your solvent you contaminate your brush therefore potentially dulling the next color you pick up on your brush.  Who knew!?!

You need good absorbent paper towels (Viva or Blue Shop towels are both good).  Inexpensive ones just don't work.  Dreama "cleans" the paint off her brush pretty much after every stroke or two by starting at the ferrule (metal part of brush that holds the bristles to the handle) and gently pulling straight down to the end of the bristles in her paper towel (you will use a lot of paper towels).  That also helps keep the shape and a good edge to your brush.  Most of us have the bad habit of wiping a brush back and forth across our paper towel which can damage the end of the bristles and really doesn't remove the paint.  

While I knew transparent paint gives you wonderfully brilliant color,  I did not know that unlike opaque colors which can go "muddy" pretty fast if you aren't careful,  no matter how much mingling you do with transparent paint they will not get muddy.  So that first layer can be mingled with no problem.  It is only when you add the opaques you have to be careful. 

The first day was informative and fun.  I saw a few familiar faces from past workshops and made new friends.  Even though the workshop was near my home I went out to dinner with a number of the artists each night.  Since we're either listening or painting during the workshop, its the only time to get to know everyone. 

Dreama Tolle Perry Workshop - here I come!

Its a very excited day.  This morning is the first day of Dreama Tolle Perry's  workshop 3-day workship in Springfield, VA.  She had such a great response for the workshop she graciously agreed to have two back-to-back workshops & they completed the first one Wed.  Rumor has it fun was had by all.

My very first workshop ever was with Dreama 2 years ago in Lexington, Ky.  I was hooked.  It was such a fantastic experience that I've been trying to take a couple of workshops every year.  I found workshops are great because I can do a few days of intense painting studying with instructors I would never get the opportunity to paint with otherwise.  

I decided to take Dreama's class again since it is literally in my backyard and she is such a delight.  She is so organized and a wonderful speaker & instructor.   I also think because hers was my first workshop, a second time will help me grasp her techniques a little better.  I've learned my style doesn't change when I take workshops, but improves it because I can infuse a little bit of the new techniques into my style. 

Dreama Tolle Perry, "Color Song"

Dreama teaches in stages/steps which I love because it gives you time to try out her process without getting a little lost trying to remember what she did.  

Can you believe the wonderful color in her paintings!? 

I highly recommend Dreama's workshop.  If you want to step up your color in your paintings Dreama's class is definitely the place to  be.


 

Dreama Tolle Perry's Eddie

   

If you take Dreama's workshop you will learn one of her favorite subjects to paint is Eddie, who according to Dreama is one of the smartest cats on earth.