Wednesday, March 31, 2010
Warming up for June 9th!
Lots of things have been keeping from much painting but every chance I get I am doing studies to be prepared to hopefully painting every day on our slice of America trip!
Wednesday, March 24, 2010
So Wonderful to Get Out and Paint!
Took a break today to go painting with Sheryl at Sunol Regional Park. There are so many scenes to paint there. Hills, lots of Oak and Sycamore trees, water (especially now) in lovely forms, serene and waterfalls, and hikers too.
It was a great time and especially welcome after my month of hospitals and rehabilitation with my aunt and now my husband.
It was a great time and especially welcome after my month of hospitals and rehabilitation with my aunt and now my husband.
Tuesday, March 16, 2010
It is so nice out! Nature is calling!
I hardly have had time to bask in the beautiful weather we have had for several days. My poor hubby had a bicycle accident and broke a couple of ribs then seems to have gotten a flu or something with real stomach problems....not complications of meds since he hasn't been taking them. He has been so weak, can't eat anything so I have had to be close by at all times. Poor dear.
Meantime I have been working on projects for our Slice of America trip to keep my mind off the thought of going painting!! Tomorrow we will go into the doc again and maybe we can solve this part of the situation. If it gets taken care of then he can come with me while I paint. He just needs help getting up with those broken ribs and being so weak.
Anyhow, I will do a study in the studio if he is still not well after the doc tomorrow.
Meantime I have been working on projects for our Slice of America trip to keep my mind off the thought of going painting!! Tomorrow we will go into the doc again and maybe we can solve this part of the situation. If it gets taken care of then he can come with me while I paint. He just needs help getting up with those broken ribs and being so weak.
Anyhow, I will do a study in the studio if he is still not well after the doc tomorrow.
Monday, March 8, 2010
How to Watch a Plein Air Artist
Since the weather is getting so nice the plein air season will be coming out strong.
Some of the best artists moan and gripe about their concentration being broken while they are painting plein air by people admiring their work. Painting in the studio does not present this problem, but when the artist is painting outdoors this is the only chance most people have to seeing a painting in process. Often these admirers are the same people that purchase the art work.
I figure the public should have a bit of a guide on what is going on and how to watch an artist, just like there are etiquette rules in the gallery at a golf game. Also, I feel artists should not be condescending of their admirers.
It is all about a bit of education actually on both sides. So with that in mind, I am re-posting this from last year:
Creating a pleasing, meaningful painting is a work of problem solving. When an artist begin to paint there are so many questions to answer. And it really takes concentration. As an artist gets more experienced, the some questions are answered subconsciously, but need to be answered none the less.
The first problem starts with the painting subject itself. The composition, the layout (if the canvas should be horizontal or vertical), focal point, depth of view, sharp and soft edges, contrast, perspective, movement, dimension, the contrast ...and on and on. Plein air painting also includes catching the light at a certain moment, unlike working in the studio with a photo. This problem solving continues throughout the creation of the painting to the end.
Someone walking by may not appreciate all the mental work a plein air artist is going through because it looks so simple as choosing colors and applying paint to canvas. Actually a plein air painter must not only concentrate on painting a piece of work, but also deal with the elements as well; temperature, wind, quality of light, bugs, and possibly the lack of near by facilities to name a few. Some times just these elements can break concentration.
Then there is always the attraction factor. Most artists love to have people admire their works, but it can be intimidating to have someone looking over your shoulder when you are working out problem solving. If observers are very quiet and stand back to watch, most artists can still work and not be bothered. If the artist decides to take a painting break, she can then acknowledge those watching and answer questions. I just mention this because the public can be so interested and many do not realize the artist is actually "at work" and may seem rude if she does not respond to conversation at that time.
Some of the best artists moan and gripe about their concentration being broken while they are painting plein air by people admiring their work. Painting in the studio does not present this problem, but when the artist is painting outdoors this is the only chance most people have to seeing a painting in process. Often these admirers are the same people that purchase the art work.
I figure the public should have a bit of a guide on what is going on and how to watch an artist, just like there are etiquette rules in the gallery at a golf game. Also, I feel artists should not be condescending of their admirers.
It is all about a bit of education actually on both sides. So with that in mind, I am re-posting this from last year:
Creating a pleasing, meaningful painting is a work of problem solving. When an artist begin to paint there are so many questions to answer. And it really takes concentration. As an artist gets more experienced, the some questions are answered subconsciously, but need to be answered none the less.
The first problem starts with the painting subject itself. The composition, the layout (if the canvas should be horizontal or vertical), focal point, depth of view, sharp and soft edges, contrast, perspective, movement, dimension, the contrast ...and on and on. Plein air painting also includes catching the light at a certain moment, unlike working in the studio with a photo. This problem solving continues throughout the creation of the painting to the end.
Someone walking by may not appreciate all the mental work a plein air artist is going through because it looks so simple as choosing colors and applying paint to canvas. Actually a plein air painter must not only concentrate on painting a piece of work, but also deal with the elements as well; temperature, wind, quality of light, bugs, and possibly the lack of near by facilities to name a few. Some times just these elements can break concentration.
Then there is always the attraction factor. Most artists love to have people admire their works, but it can be intimidating to have someone looking over your shoulder when you are working out problem solving. If observers are very quiet and stand back to watch, most artists can still work and not be bothered. If the artist decides to take a painting break, she can then acknowledge those watching and answer questions. I just mention this because the public can be so interested and many do not realize the artist is actually "at work" and may seem rude if she does not respond to conversation at that time.
Sunday, March 7, 2010
What is Plein Air?
Every so often I am asked this question so thought I would repeat an earlier posting to help answer it:
"Plein Air" is used to describe the act of painting outside rather than in a studio and it also is used to describe the actual picture created outside. The term comes from the French phrase "en plein air" meaning "in the open or fresh air".
Artists used to have to actually grind up minerals, soils, etc. and mix them to a binding medium to make it into paint. Sometimes it didn't turn out just right. An example of a failed experiment in a new way of mixing paint is Leonardo di Vinci's Last Supper. The paint did not adhere to the wall and has flaked off in large areas.
During the early impressionist period, paint tubes were invented and railroads had been built. These two things made it easy for artists to get out in the country for a day of painting. The artists could now escape the smoky, dirty air and smells and sounds of a time of "horsepower" in the city and literally paint in the fresh air of the country! From this activity came the French easel, a box on legs to hold paint tubes, brushes and a mast to hold a canvas.
Now, a resurgence of "plein air" artists are enjoying painting in the "open air" with the bird sounds and beautiful views. Keep your eyes open for them and you will probably find some!
"Plein Air" is used to describe the act of painting outside rather than in a studio and it also is used to describe the actual picture created outside. The term comes from the French phrase "en plein air" meaning "in the open or fresh air".
Artists used to have to actually grind up minerals, soils, etc. and mix them to a binding medium to make it into paint. Sometimes it didn't turn out just right. An example of a failed experiment in a new way of mixing paint is Leonardo di Vinci's Last Supper. The paint did not adhere to the wall and has flaked off in large areas.
During the early impressionist period, paint tubes were invented and railroads had been built. These two things made it easy for artists to get out in the country for a day of painting. The artists could now escape the smoky, dirty air and smells and sounds of a time of "horsepower" in the city and literally paint in the fresh air of the country! From this activity came the French easel, a box on legs to hold paint tubes, brushes and a mast to hold a canvas.
Now, a resurgence of "plein air" artists are enjoying painting in the "open air" with the bird sounds and beautiful views. Keep your eyes open for them and you will probably find some!
Last year's EBRP Paint Out! An experience!
5/2/09 Last year's May 2,2009 East Bay Regional Park Paint Out was RATHER memorable! It was the first paint out EBRP had organized, which they did very well. Unfortunately they did not have a hold on Mother Nature. She decided to make a real experience of it and try our mettle. You might check back to my May 2, 2009 post for details. Any how, it was a real experience!
This year, hopefully the sun will shine on all artists!
But just in case, bring plastic bags, umbrella and a strategy for not getting drowned!
(Last year was fun though. Sort of brought out that "pioneer" spirit of stick-to-itiveness!) I do need to get over to Sunol though and check it out. Last time I was there it was just "GREEN".
Whether you paint or not, come on down! And don't forget to say "hi" at the displaying of the work!
This year, hopefully the sun will shine on all artists!
But just in case, bring plastic bags, umbrella and a strategy for not getting drowned!
(Last year was fun though. Sort of brought out that "pioneer" spirit of stick-to-itiveness!) I do need to get over to Sunol though and check it out. Last time I was there it was just "GREEN".
Whether you paint or not, come on down! And don't forget to say "hi" at the displaying of the work!
Friday, March 5, 2010
The 2nd Annual East Bay Regional Parks Plein Air Paint Out
When: April 3, 2010 8am - 2:30pm (early bird option 6:30am)
Where: Sunol Regional Wilderness
1895 Geary Road
Sunol, CA
ARTIST PRE-REGISTRATION required before April 1. Registration begins on Fegruary 9, 2010.
Register by calling 1-888-327-2757, option 2,3
or go to www.ebparks.org, type in "EBparks Online" in the Search box.
ENTRY FEE: $15 ($17 for non-residents of Alameda and Contra Costa counties)-Sign in at 8am
OR $20 ($22 for non-residents of Alameda and Contra Costa counties)-Sign in at 6:30am
FOR MORE INFORMATION: call Naturalist Dino Labiste at 510-544-3215.
Where: Sunol Regional Wilderness
1895 Geary Road
Sunol, CA
ARTIST PRE-REGISTRATION required before April 1. Registration begins on Fegruary 9, 2010.
Register by calling 1-888-327-2757, option 2,3
or go to www.ebparks.org, type in "EBparks Online" in the Search box.
ENTRY FEE: $15 ($17 for non-residents of Alameda and Contra Costa counties)-Sign in at 8am
OR $20 ($22 for non-residents of Alameda and Contra Costa counties)-Sign in at 6:30am
FOR MORE INFORMATION: call Naturalist Dino Labiste at 510-544-3215.
Subscribe to:
Posts (Atom)
