Find Out What Your Palette Can Do For You....

We have been talking about our palette and color mixing for a couple of weeks. This week I wanted to share a very useful exercise that will teach you what your palette can do for you.

It is not a quick and easy exercise. But I promise you, it will open your eyes!

Here is how it goes:
Grid a sheet of gessoed canvas, about a 16x20" with about one inch boxes. You will need to have at the same number of squares across the top and side of your grid, as the number of paint colors you use on your palette. I used my basic palette colors in addition to some mixed colors (in quotes below).

Keep in mind I don't have all these colors on my palette at the same time and I don't always use tube greens. Also note that I always like to have 1-3 mixed grays on my palette for mixing purposes.

The paint colors across the top and down the side are exactly the same and in the same order. In the example above they are:

White                            W
Cad Yellow Medium    CYM
Yellow Ochre               YO
(mixed Orange)            O
Cad Red Light              CRL
Rose                              R
Alizarin Crimson          A
(mixed Violet)              V
Cobalt Blue                   CB
Ultramarine Blue          UB
(mixed violet blue/gray)    VBG
Pthaylo Blue                  PB
Viridian (I think?)          VG
Pthaylo Green                 PG
(mixed neutral middle gray)    NG
Payne's Gray or Black    B
Transparent Oxide Red   TOR

What happens next? A whole eye opening experience. It starts out tedious but believe me when I say, you will develop a rhythm and you will have so much fun when you begin to see what you get with each mix.

Begin by painting each square across the top in the order on your usual palette, (use your own palette paint colors), and then paint them in the same order down the side.

1-The first square - white is already done.

2-The second color is CYM. Mix white with CYM and paint the box where the two meet.

3-Now, move to the third color, YO. Mix white with YO and paint the box where the two colors meet. You will be mixing each color with white first, and you paint that in the square where the YO along the top and the YO along the side MEET! Above you can see this, the YO light is painted in the square where the two meet. Think of a crossword puzzle.

It can be tricky, especially as you get going and you are mixing more and more colors with each other, so use your finger on each hand to find the middle square by starting at the top and side and then follow to the center where they meet.

You will mix each color (along the top) with those colors that are along the side. What you will find out is that each color will get mixed with every other color on your palette - in addition each color will be mixed with every other color PLUS WHITE. You will get the idea after a while.

4-Still working with YO, you will then mix YO with CYM, the color that is above the YO tint box. If you put your finger on the YO on top and the YOM on the left, you will paint this box with that mix.
Now mix a little white into that mix and paint the box left of the YO tint, where the CYM on top meets the YO on the side.

5-Continue with one color at a time. I found that if I mix the original color with white first, it kind of helped me set the pace and keep my place. After I painted in the tinted color, I began mixing the pure color with the color that meets it from the side. After I mix two colors together, I paint the box above the tinted version of this same color. THEN mix a little white into it and paint the box on the left side of the tinted color. Move to the next color!

You will find in the finish that the color mixes that are below the white mixes will all be lighter because they have been mixed with white. The color mixes above are pure color mixes.

I don't know how to explain it any better my friends. It is not as difficult as it sounds, especially after you get going. I had so much fun discovering these new mixes, and was most of the time surprised at the beautiful colors that would evolve.

What you will learn through this exercise is much more than you might expect. Your mixing on the palette while painting will be much easier and smoother. You will discover new ways to get the mix you are looking for with less effort. You will save time.

If you paint this on a sheet of canvas or board you can take it with you or post it in your studio and use it as a reference.

I hope you give it a try. Please send me a note or just leave a comment if you do, and ask questions. Let me know if I said anything that doesn't make sense. Best of luck to you!

Truckee Winter Wonderland (Woes?)

"Afternoon Light Show" 

Oil on Linen   36x24"

Available here

"Afternoon Light Show" is a new piece that I painted in the studio. It was painted using the color wash method. I took the photo at Christmas, when we got a few inches of snow, just about all there has been this season.

We've been busy in the studio though. We started out with  a few changes that seem to have been a good idea. First, by going to weekly classes, everybody is very much more focused. The class time is shorter and I am giving out homework. We are beginning with a very limited palette to see where it takes us.

First we began by painting complimentary color charts. Then we used what we learned there to paint some little studies. It is amazing how much you learn from painting with two compliments plus white.

At this time we have moved into the primaries plus black and white. The homework assignment this week is to paint one or two small studies using this palette, but also to chose a dominant, secondary and little value plan. That means that the real estate or square inches used on the canvas by the "largest value" will be the dominant value. In other words, if the dominant value is a "middle" value, the secondary value might be the "light" value and the "little" would be a "dark". This would be considered a "middle key" painting. A high key painting would have a large amount of the canvas painted with the "light' value. A low key painting would have the largest amount of canvas painted in a darker value.

In class, we name our values: L - "light", ML - "middle light", M - "middle", MD - "middle dark", or D - "dark". It really helps to start your paintings with 3 to 5 large value shapes at most. We sketch out a quick notan to nail down this design idea, making sure to try and identify the largest dominant value.

Maybe a few photos will help this make sense.

The above painting is a low key painting, with the middle-dark/dark dominant value plan, a secondary mid-light value and a small amount of light value.

 From our exercise this week, this painting is a high key painting with a dominant light value, a secondary mid-value and a small amount of dark value.

If you can, come on up to the studio next Monday Night, I'd love to show you around!

Choosing a Photograph & Avoiding the Pitfalls....

Snow Patterns  9x12"
Oil on Linen
Available   $725

Selecting a photograph as a reference tool for a painting can make or break a painting. Consider these ideas –

•   Look for what excites you - but do not choose a photograph without using your artistic experience.

•   There should be a foreground, middle ground and a background.

•   What is your CONCEPT? MOOD?

•   Look for large value SHAPES that can be easily constructed into a simple statement.

But you must know that photographs will LIE!

•  The darks will be darker.

•  The lights will be washed out to white.

•  The scale or proportions will be distorted.

•  Color will not be natural.

•  Nature will repeat shapes and create lines that lead you out of the painting.

•  Photos lack the human poetic story telling aspect.

Hints to Keep in Mind -

•   Remember the goal is DO NOT COPY the scene.

•   Create a strong DESIGN.

•   Squint and compare everything, but don’t rely on the photograph and use your memory and be creative.

•   Eliminate detail!

•   Link shapes together to create a musical flow – interesting patterns of dark and light.

•   Loose edges by bringing values close together to combine smaller shapes into larger shapes.

•   Push values lighter or darker to strengthen your design.

•   Use the process of ELIMINATION – when in doubt, leave it out.

The “Creative” Process

•   Create designed shapes using a pictorial language to substitute the objects in landscapes. Bushes, trees, mountains, etc. will be represented into new shapes that easily identify the real objects but their lines will be melodic and graceful as well as their shapes being interesting.

•   Experienced artists are not concerned about making things look real, but are more interested in making things look beautiful.

•   Think in the abstract. An abstract shape will not be equal to another shape in any way. Your shapes should have melodic lines, make this a priority!

•   Group the details together and round them up in mass value plans.

•  If a scene is particularly complex, don’t even begin until you have a plan about how to simplify.

•  Squint and Simplify – and Compare Everything!

•  Values are relative, use them to create contrast.

•  Choose what will be the star player – make everything else subordinate no matter how compelling it is.

New Inspiration and Exploration

Yesterday my dear friend and fellow painter and I spent some time in the studio together. She liked a photo I had taken last January of a snowy tree scene. I had been wanting to paint it myself so we set out to see what we could do with it. 

I decided up front to stay away from copying the photo, to just let something happen and to have an attitude of exploration. From start to finish I made decisions based on this attitude. I've never had so much fun painting in my life...

I began with the Color Wash Method using my special "sauce" by dipping my clean brush into the varnish and then touching the pure pigment on my palette. I am carful to stay with the transparent colors in the beginning. I was thinking about harmony and musical notes as I designed the trees, going dark initially, with the knowledge that I can go back into the darks to adjust values.

Now, more opaque color comes into it, and I enjoyed the process of painting back into my initial design with a middle tone, painting negative shapes to design the trees.

Here I decided to add some lights into the sky using the negative shape technique. I thought this would help me see the middle values better so I could continue to adjust as I went along. The fun thing about this "attitude" is that I just wanted to see what "happened" as I tried ideas driven by inspiration. 

At this point I had no idea how things would turn out, and that was okay! It was so very freeing to paint this way. You can see I decided to paint the snow using cool shadow mid-light values and then warm light. Still painting negative shapes into the initial dark pattern. Letting things happen here!

Still thinking "what if" I added some very warm lights into the area of the more distant trees. I was having a lot of fun ignoring the "rules".

Looking at it again, I decided although I liked the warm lights, that I wanted to push those trees further back and simplify them. Still thinking "what if" I also went into some of the forward tress with a lighter value of cool gray to suggest cool reflections into the shadow side. I softened some of the edges and threw in some final pinkish highlights to bring the eye to the focal point a little bit, but I wasn't working real hard to create a strong focal point. My concept was more about the patterns of dark and light. I also adjusted some of the shadow areas in the snow in the forward area to bring in some patterns of mid-light value. 

After this I decided I wanted to try painting the same scene again in a different way to see what happens. I was in full creative mode at this point. A rare occurrence. I was loving it.

My idea for the concept of this piece is to use more color and lighter values. It will be more of a high key painting with some pastel color. I started with the same wash technique, but I used a lot of the Rose pigment mixed with some warmer yellows and Oxide Red to get a very warm pink underpainting. I enjoyed using a mid-light cool blue violet opaque color to design the negative shapes of the snow and sky at this point. 

I will have to go back tomorrow and work on this next piece because today I have to finish my taxes. Ugh! But such is life. I plan to continue to explore painting this scene in difference ways, keeping in mind that I want to let things happen in a more abstract way, while trying different concepts along the journey. I'm thinking after this next one that is 16x20", I'll go big with a square format. Can't wait!!

Still Life/City Life - 30 Paintings in 30 Days - Day 4

"Let's Cross Over"
Oil on Panel   6 x 6"

It's that time of day that I love to walk in the city, and what's better than The City of Light? It's not dark and it's not daylight, it's that in between light that I love. Dark enough to see the lights come on with a special kind of glow.

Still Life/City Life - 30 Paintings in 30 Days - Day 2

"Late Summer Days"
Oil on Panel  6 x 6"

Today is a still life day. I love painting them. When I first started painting I was in love with the landscape. But after I started teaching I learned the value of the still life. I set them up in the classroom and we all learn to "observe". We have to continually teach our eyes how to see like an artist. It's like learning a new language.

Anyway, today I love the still life, usually florals. At the same time, I have been drawn to the city streets, so I will be painting both these 30 days. 

This painting is now availabble at the link below:

http://www.dailypaintworks.com/fineart/randy-blasquez/late-summer-days/175027

30 paintings in 30 days...

still life study   12 x 12"

Coming up next month, Leslie Saeta will again host the challenge "30 paintings in 30 days". She has just posted about it TODAY. Go to this link and read up! Leslie Saeta 30 Paintings in 30 Days Blog

I've talked with my students about jumping on board with me in September to paint 30 little ones, for 30 days. If you have not tried this, you might be surprised at just how much you will gain from the exercise.
Years ago I took my first challenge to paint 50 paintings in 50 days. I did this for three years straight for a gallery show downtown called "20th Street Gallery". It was a wonderful gallery that is no longer in business. But they started this and juried 50 artists that first year to paint 50 paintings. Then they hung the show and it was spectacular!

This is when I first learned the value of daily painting. After the first few days, my paintings began to paint themselves. Okay, well maybe not paint themselves, but it got so much easier and quicker. My confidence grew as my brushstrokes got better. I also began to like the daily practice. There was something about getting into the habit of painting every day. I had heard that it was a really good practice for artists, but of course I had to experience it myself to believe it.

So when Leslie posted her challenge last January, I jumped on board. Again, it was well worth the effort. A few students joined in and they agree that it was very valuable. So once again I want to encourage you all to join in..

The details are posted on Leslies Blog Leslie's Blog
You can sign up there on Leslie's site and post your paintings. And, like Leslie says, nobody will even notice if you miss a day or a few days. Just do it for yourself and see what happens.

Also, if you have a painting or three that you would like critiqued, send me an email alogn with photos of your work and I'll be happy to give you a constructive and kind critique of your overall painting style and/or one or two paintings individually.

So let's do it!

Time for a Redo!

"Time for a Redo"

by Randy Blasquez

Today I didn't quite know where to start. I just finished up a large piece for a show, after working on a few others for a different show and meeting a deadline before that.. It has been that way lately. So, today when I was thinking about where to start with a new series for one of the galleries I ended up in the storage area (my second bedroom that has been taken over by old paintings), and as I went through some old forgotten starts and unhappy endings, I decided it might be a good idea to just start painting and playing around to get the creative juices flowing as they say.
This was a demo from class about 3 years ago. We painted out on the sidewalk in Plein Air. I had it framed for a while and then put it away, thinking it wasn't going anywhere and I had lost any interest in doing something with it. So, I had some fun with it, darkened the shadow side and adding more light to the light side. The pears I didn't really touch. Ah! I don't know, it might get some more outta me but maybe not. The pears are a little too defined against the lost flowers, and I haven't decided if that's okay or not.
If I do make any changes, I'll add it to the post later today.....
If you just need to get going, start with an old piece that got left behind. See what you can do. It might spark some new ideas or it might turn out to be a masterpiece!

30 Paintings in 30 Days? Better Be Prepared......

Poppies of Provence by Randy Blasquez

oil on linen   24 x 30"

http://amsterdamfineart.com/index.html

I've decided it would be wise to have some sort of a theme for my 30 paintings so I started browsing my photos of Southern France. I might just go with that. I figure if I change my mind I can anytime I want. No rules here.
Originally I was going to go with live still life objects. I might still do that. But I am leaning towards Southern France because I am very passionate about all things French. Also I will be teaching my first workshop abroad in June through Montfaucon Tours in the South near the Coastal Region.
Now for preparation....
I'm going to get my sketch book going with some notan designs for my small paintings. I have a couple of days to do that while I'm still up at the Truckee house with my family. We plan to return home on the 2nd. Perfect!
I'll plan to post my sketches before we head for home. (I'll try)
Meanwhile if you would like, read up on the trip. I have one spot left in the Chateau....!

http://www.montfaucontours.com/tours/arts.htm
http://www.montfaucontours.com/
http://www.montfaucontours.com/tours/docs/RandyBlasquez2013Tour.pdf

Terry Miura Challenge - Final

"Red Light Green Light"

Painting is 18x18x1.5" - Linen

I had fun with this. Each car has it's own personality and shape. As much as I wanted to leave more abstract shapes, I feel that I went a little too far on the cars. This was a great learning experience for me, and I enjoyed keeping it SIMPLE. I try to do this with all my paintings by starting each shape with only two values, and going from there. It is like a building block. Or as I say to my students, start with the silver dollar, on top of that put the fifty cent piece, then the quarter, and only if it is necessary, add more detail. Detail should be only the last 5% of a painting at most.....

Be sure to go to http://terrymiura.blogspot.com/ to check out the rest of the entries for this challenge. Terry is one of the best blogger's out there because he shares his thought process in a very honest and generous way. Much for you to learn on this site. And Terry, let's do this again soon!

JUST WHITE by Randy Blasquez

Just White, by Randy Blasquez, 30 x 30 x 1.5"

Just wanted to let you all know that I'm still out here. The holidays this year were wonderful, but I got off to a late start as far as planning goes and I thought I'd let you know what I'm up to lately.

Classes are going great. What a blessing it is to work with a student over a period of time, and see tremendous progress. I'm starting to really see what happens when a student comes in and wants to learn to paint after perhaps many years of thinking about it. It can be daunting to be sure, but with a little encouragement and some continued effort, a little light begins to shine. When I see this little light begin to shine, I know that this particular student has been reading about art, visiting art galleries and museums and sketching. These are all huge in the scheme of things if you want to grow. And the next thing you know this student is stepping out of their comfort zone again and taking another workshop with a new instructor. They might begin to see where their weaknesses are, and address them by taking a drawing class. Or they might try painting the same paintings again, only working out the flaws. But when I have a student that brings in her/his work from home to share with me, I know they are on the train to success. They are on the train to success because they are doing what it takes, making time to paint and paint and paint....

This is when I get excited about their excitement about painting, because I remember how that feels, and still does. It feels like a whole lot of joy!

So, as this year begins to come together I know I want to take some classes with Terry Miura and glean some of that beautiful design juice from him. The way he is painting the figure right now is amazing.

I have decided what shows I want to enter if I can get my act together, but I have not set my sights too high. 

I'm considering renting a studio space close to the school. Just looking around right now.

I'm hoping to go to the Weekend with the Masters event in September in San Diego. 

And I've been busy painting some large scale paintings for a new gallery.  I am ready to make delivery in a couple of weeks so I decided to share one of them with you today. The rest will get posted after all is said and done, and you just never know.

Just one more thing, I'm seriously considering a workshop abroad next year and have been doing the footwork for that, so if you want to know more, just ask! Beginners Welcome!

Small to Large Paintings

Twice a month on Tuesdays I am teaching an intermediate oil painting class. I was recruited into coming back to the Capital Art Center at S12 Studios owned by Patris Miller. Last January I left this location to teach beginning oil painting at the School of Light and Color in Fair Oaks.
Some students had been studying with me for years, and wanted me to come back. My friend Renee White made it easy for me. I'm so glad she did, it is a wonderful talented group. Twice a month is about all I can fit in but I'm loving it. We are having a good time right now. Last time we met we painted a small study and next week we will be paint a larger painting. Or, starting a larger painting.
I started out with a scene from Italy in an old village with people walking with their umbrella's. I've been wanting to paint people walking in a street scene for years.Since then I've changed my mind because the photo I was attracted to was not my own, and I thought about all the Paris photos I took a couple of years ago. Wonderful street scenes. I've looked at them over and over and until now had not had a vision for a painting. But after painting the Italian scene in a small study version, it came to me and I went to my Paris photos. I found lots of possibilities...and I don't have to paint umbrellas and rain to get the reflections I want if I use the photos from twilight that I took. The light at that time of day in Paris is amazing!!!

I have other photos with the red awnings and lights so I've decided to add those in.So, now the real challenge, to make it work in a very large format.
I'll keep you posted....
S12 Studios at 1200 S. Street, Sacramento

Remembering Sergei Bongart

This is a replica I painted as a demo in one of my art classes at the School of Light and Color. I wasn't so sure about having the class copy a painting from a master using a photograph at first, but it has done wonders to loosen everybody up and has helped us to understand how to apply paint to the canvas. Many beginners want to "lick" the canvas with their brush until there is no paint left.
I'm looking forward to our next project - maybe some of this will stick.
Below are some of the pieces from our class on Tuesday night. The above painting was from the Wednesday class.

They all did a truly amazing job on these. Very exciting!

Pacific Grove Pics

I have missed you! Been busy traveling and getting organized for this year with shows, workshops, and lot's more. Life has been good. I am hoping to have a workshop in Pacific Grove later this year, so I HAD to make a trip and pick out some spots. It rained for two days, but finally, sunshine. Then this past weekend my family and I made another trip to San Francisco and toured the Academy of Art University for the second time, getting ready for my daughter to be a student in the future. My son and his wife and my granddaughter also went and it was wonderful to share time with all of them. My son is also an artist and his wife in the business, so we had fun with the tour.

I will put out a newsletter soon with the events that are coming up. Soon I will post a little more about Sergei Bongart. In my art classes at the School of Light and Color, we are painting a copy of a Sergei still life painting. I forgot to get pictures last week, but wanted to share our progress. All the students are doing wonderfully! It has been another eye opener for all of us. I noticed how much it has helped to "loosen up" some of the students brush strokes and that is huge!

I will post some pictures later this week but for now just wanted to share some beautiful sunset photos of Pacific Grove, enjoy......