Don Hatfield

Today I spent the day in a figure painting intensive workshop with Don Hatfield. We had a great model and that is always a good thing for inspiration.
http://hatfieldfineartblogspot.com
Patris set it up at her studio in downtown Sacramento. Check out Don's work, it's amazing. He is a really good instructor and quite a fun person to paint with.

 I didn't finish, got tired. But I learned a lot.....

Ovanes Berberian Workshop in Carmel Overview 2011

Let Them Eat Cake by Randy Blasquez  $800.

I got back last week from my third workshop with Ovanes in about eleven months. I should be painting pretty well by now right? Well, the truth is, I'm a slow learner. What I mean is that I've discovered it takes hard concentrated work to get anywhere in the business of being an artist. I'm not talking about the business side of things, I'm talking about just picking up new information, processing it, and integrating it into your paintings. Every time I learn something new, it takes a long time to go through that process. If I don't have time to do the work, or if I don't get to it I will end up losing it. So if I'm going to spend all this money and time learning from Ovanes, I'd better get to work! More practice, more practice, more practice.

Speaking of practice, I've been doing just that for about six months now, working on a new series of still life florals. It has been difficult, but at the same time rewarding. I've been discouraged, confused, unfocused, excited, and tired! But I'm glad for the opportunity to push myself to this degree. Maybe someday you will see these paintings. Ha! Most of them will be going in the trash. Hopefully, with continued study and practice, I will have a few successes to show.

Back to the workshop. Ovanes has a beautiful cottage home/studio in the Carmel by the Sea area. Quaint little neighborhood, beautiful garden. He held his workshop right there in the garden. There were about 14 of us set up to paint plein air still lifes. The first day he did what he usually does, and that is a lecture and do a quick demonstration of what he wants us to accomplish (attempt).

 Then he sends us out to spend the whole afternoon in the garden. (His workshop in Carmel last year was at the beach). The days started out cloudy, and in a couple of hours the sun came out. This made problems for me because I failed to understand that when the sun comes out, you move to another canvas. Ugh! So I ended up chasing the sun/shadows to the point of confusion.

What was very good for me was that I have come to love this new technique that he has taught me this year. He uses a gum turpentine/damar varnish/linseed oil combination medium that you use to brush in very clean transparent washes. I am finally getting the idea of this and loving it. 

In the next post I will give you the process. I am teaching it in my intermediate classes in downtown Sacramento as well.

In the mean time, here are some photos from the workshop.

 Ovanes's assistant, Susan, is teaching the students how to set up their palettes...

 My palette in the foreground.....Chris next door.

 Renee under her umbrella.....

 Chris hard at work......

 Connie looking good.....painting apples.

 Renee and her paper towels.....

Weekend With the Masters

As I mentioned before, I attended my first  Weekend With the Masters Conference a couple of weeks ago. I had been wanting to go for a couple of years, and because it was so close to home - only three hours by car - I decided to sign up for a couple of lectures and a one day workshop with C.W. Mundy.

 It was the right thing to do for the first time I think. Next year I'd love to buy the whole package and really delve into it.

The artists that were there were the same ones that I love and follow pretty closely. (With the exception of Ovanes Berberian and Terry Miura) The experience better than I could have hoped. Not to mention that I love Monterey.. I was glad that my friend Ronna Scott and I took it at a reasonable pace. We got in a little bit of everything including some very good eating.

The event was held at the Portola Hotel very close to the shore. Many of the plein air painters chose to conduct their workshops right there. 

Ronna and I arrived with plenty of time to get checked in and unpacked and take a tour of the area on foot. When we left Sacramento it was 100 degrees and when we arrived it was only 59! As it turned out the little main street in Monterey was having their weekly market and fair. We prepared for the next day and went to bed early.

We went to lunch at the famous Casanova Restaurant, yum!

The next morning we attended our first class at the event, a lecture with C.W. Mundy. We were very entertained and at the same time I love the way CW drove home the trusted belief in the importance of the focal point. He talked about his journey as an artist and musician. You really must read up about his 7 foundational truths for a successful painting. He is an amazing painter and teacher.
 http://www.cwmundy.com/artist/

The next day was our workshop with CW.

 This is Mundy's demo piece

And this is my piece from the class....

Last but not least on Friday evening we attended an amazing demonstration by two artists who painted the same model. 

On Friday evening of Weekend With the Masters, Quang Ho and Daniel Sprick will take the stage to conduct a side-by-side painting demonstration of the same model. Although Quang and Sprick have different painting styles—Quang paints in a representational manner this is firmly planted on the foundations of painting but that pushes into the realms of abstraction and expressionism; while Sprick’s tightly controlled, Old Master-like technique coupled with his contemporary subject matter are bridging the gap between realism and modernism—they both have strong philosophical views on the process and purpose of painting, which will they will share with audience members as they conduct their demonstrations. 

Definitely worth the price of admission. Next year the conference is in San Diego, so who wants to drive??

Cantelope Finished Pieces....

These are photos from Wednesday's Class at the School of Light and Color...the students did a great job!

Cantelope and Plums

Today we continued in class on the "fruit still life" theme. The students are really enjoying this beautiful fresh fruit. When I got home today I was so hungry and it looked so good, I had to eat the melon!
It's been a good exercise in really learning to "see" what we are looking at. It helps to know what you are looking "for". We were looking for VALUE, SHAPE, LIGHT, & SHADOW. If you look you will find it......
I brought my two paintings home to photograph and post. One of them got mushed in the car ride, ugh!
After my trip next week (post coming soon about that), I will finish the two pieces in class while helping the students complete their works. I will post more photos at that time.

More Melons

I wanted to re-post the photo from Tuesday and add the second melon piece...........

Today's Assignment

Last night and this morning in my beginning oil painting class at the School of Light and Color we painted melons.......
This class had a chance to practice their angles and proportions in the sketch and then learned some about the light on a dark surface. Also it was a good lesson in changing values in light and shadow within the red of the melons and also the rind.
I'm so blessed to have these students!

Coming Soon.....

I'm excited about the next few weeks because I have some fun trips planned. First is the Napa Art Festival tomorrow. I love to go and view the wonderful artwork and pay a visit to some artist friends. All my favorites will be there. I also love Yountville and it makes me hungry just to think about it. (Bistro Jeanty, yum!)
http://www.napavalleyartfestival.com/

Next I'm going to the Weekend with the Masters event in September. I was happy to learn that it was going to be in Northern California this year. It was started 3 years ago by American Artist Magazine. I'm not attending the whole conference but signed up to go with my friend to see a lecture and participate in a workshop with C.W.Mundy and then go to a demonstration with Quang Ho. Can't wait. Follow the link below to read about all the artists and workshops that will be happening.


American Artist’s third annual Weekend With the Masters Workshop & Conference will take place September 7-10 at the Portola Hotel & Spa, in Monterey, California.

Now in its third year, Weekend With the Masters has gained an international reputation as the leading art education event. It continues to draw top masters from around the world to teach workshops, offer demonstrations, lead lectures, and participate in discussions about the renaissance we're experiencing in representational art.

Atrium in Portola Hotel & Spa

Students travel from around the world to have access to this once-in-a-lifetime educational opportunity, to learn from and interact with some of today's top practitioners, and to connect with fellow artists. The artists leave the conference feeling inspired and energized, and full of new thoughts, philosophies, and approaches to representational painting. Monterey, California has historically been considered an artist's paradise, and nearby Point Lobos has been deemed "the most beautiful meeting of land and sea in the world." This inspiring destination will be the perfect backdrop for the exchange of ideas, information, and insight that will once again take place between master and student. The Portola Hotel & Spa will be the primary location for this event, with opportunities to paint en plein air at inspiring locations frequented by area artists for centuries.

http://www.cvent.com/events/american-artist-s-weekend-with-the-masters-workshop-conference-2011/custom-22-2dfaba13d9cb4a64949a8733d429a603.aspx?Refid=wwm110629#Quang

Finally, I get to take another 3 day workshop with Ovanes Berberian in Carmel at the end of September. I was there last year for his plein air workshop but this year he will be teaching the still life at his Carmel studio. Also included is a personal tour of his show at the Amsterdam Gallery in Carmel.

Life is Good!

Learning to See Shapes

This week at the School of Light and Color beginning classes my Tuesday evening and Wednesday morning class started a painting of "shapes". As beginners we don't yet see these shapes as well as seasoned painters. We want to paint flowers and stems and vases and table cloths. In order to help our brains to learn to see in a new way it helps to paint upside down. We need to teach our eyes and brains to see VALUE SHAPES. To do this we had to paint from a photograph that I took the week before.

We started this week with the under-painting and block in phase of the painting. I started to get the dark's in first using transparent paint. Next week we will continue this project and we can see how it all works out. It is usually pretty surprising to turn the finished piece right side up and see that it really works!
Because it is a beginning class many of the students who come in have never before picked up a brush - or at least not since high school. I like the way the class has begun to take on a life of it's own and what has turned out to work the best is for me to begin a painting demonstration while explaining the process as I go. I leave it open for questions. I'll get to a certain point, let's say I might start with the toning of the canvas and then do the underpainting. At this point I will usually stop and allow the class to catch up to this point. Not everybody works at exactly the same pace but I will wait until most of the class has caught up with my demo piece and then paint the next phase of the painting which is the block in. It helps to break it down into steps.
Next week I'll post the finished piece - if it is finished. If not I'll post what we have done so far. Also next week I'm encouraging the class to bring in a painting or two for a classroom critique.

Sweet Tooth?

Sweet Tooth? 

click here to bid

Study in Compliments

 

click here to bid 

I've just joined a wonderful website called Daily Paintworks. Click the link to check out the first two paintings I have added to the auction. You have seen them before but now they are open for bidding. The starting bid on these are set at a very good price. I will post additional paintings from time to time.

http://dailypaintworks.com/original-fine-art-auctions

Sunflowers Finish.....

Sunflowers by Randy Blasquez
Oil on Linen  16x20"

Sunflowers II  by Randy Blasquez
Oil on Linen    16x20"

I made just a few adjustments on the sunflower paintings from last week. I used a photo reference because my poor sunflowers didn't make it. Because they were painted from life I was able to throw in the few finishing touches without loosing the fresh feel. At least that is what I hope.
I started painting still life paintings when I started to teach at the Capital Art Center in Sacramento because I didn't want my beginnger students at the time to get stuck copying from photos. It's now been about four years and I've learned to love the whole process. Painting still lifes from life is a great way to grow as a painter. By mastering the still life you will be ready to paint anything!

Sunflowers and more Sunflowers....

Yesterday and Tuesday were teaching days for me. I had some sunflowers that I bought last week and they we still looking good so we painted them. I started a new intermediate class downtown at the Capital Art Center. This will be only twice a month. Anyway these are the result of that class and then the class at the School of Light and Color Tuesday night. They are quick demonstrations but they are close to finish. I feel pretty good about the loose quality. A few adjustments tomorrow and then I'll post the result.

Using the "Viewfinder"

Still Life Study   by Randy Blasquez   10x12"    Oil on Linen Panel    $350

Painting from life, inside or outside requires first deciding on the boundary or size of your canvas. My favorite shortcut to this is to use a viewfinder. Think of looking through a camera to see your subject. My favorite one on the market is called the "View Catcher", and was invented by artist, Patti Andre'.
The View Catcher will adjust to the size your require with a simple slide of the handle. I like to do two or better, three thumbnail sketches of my subject in different sizes before I decide on my composition. This way I know I have conjured up some creative ideas - a sampling of shapes, values and borders.
The way it works is that it will block out the area around your subject while you adjust the distance from your eyes. Move it until you find a pleasing composition. It will allow you to zoom way in and crop for a dramatic composition or pull back and away to allow more into it.
For more information go to www.viewcatcher.com

A Week With Ovanes Berberian - continued

I kept notes from the workshop and I wanted to post them. It's just not the same as being there! But what Ovanes instructed us to do is something I didn't want to forget. Most importantly though, I came home started painting - with difficulty - to get more comfortable with using more paint.
Ovanes uses tons of paint on his paintings. When he demonstrated on my canvas, I began to understand just how much paint he loads onto his brush. But before he begins painting, he uses linseed oil to loosen the paint to make sure it is all the same consistency. He calls it "juicy paint".

Shipwrecked by Ovanes Berberian

Peonies by Ovanes Berberian

Ovanes Berberian notes….

Being an Artist~

Lose your sleep over this!

Have a mentor.

If you find your mentor you will know it.

Go to Museums and sketch what you love, then go home and paint a piece of it.

You’ve got to be a sensitive person.

You’ve got to have results.

Classic painting never dies.

Theodore Lucas was one of Ovanes's mentors.

The hungrier your get the better it tastes.

So be hungry – don’t get satisfied by other things.

On painting ~

Steps to a better painting,

Draw

Wash

Redraw

Paint

Clean Everything

Flat Large Shapes

Simplify

One Value when washing, not so dark to start.

When you use dark, scrape to keep dark = no texture.

Use a wash with beautiful color using pure pigment or tone your canvas with a wash of pthalo blue and paynes gray (1/4 to ¾)

You can also use a warmer wash.

For your wash use turpentine and Damar varnish, about ½ and ½.

Look for the “key” when you do your wash.

When you do your wash every square inch should be clean….even your grays.

Do not mix your family colors in your wash, only pure pigment in the same “family”

Design~

Design is number one- If you don’t have a beautiful design don’t bother to paint it.

Value is most important.

RGH paint is very good.

Begin with flat shapes and two values for each object.

Middle key paintings- Overcast days make you paint in middle key.

Sunny days- You paint light and shadow.

Remember the light source, the sky color.

You must feel it.

Lilac flower – use burnt umber with a touch of Alizarin in your wash for the warm shadow of the flower.

If you learn to see it then you can paint it.

Use temperature to turn the vase.

Better to stop before you ruin it.

Do quick studies, small- 6x8 and 8x10.

Tone your boards and staple them on a board, go out and paint.

The shadow is effected by the blue in the sky.

No Fear- Be brave and make mistakes.

The name of the business is frustration.

Correct Temperature = Good Harmony

IMAGINE

Paint beautiful shapes with beautiful outlines.

Paint flat and blend.

Don’t be timid.

What matters is what is happening on the canvas, don’t copy everything you see but make the painting work.

Design your light pattern.

Build on your darks.

Paint the flat large shapes. Use your palette knife to lay in Large Flat Shapes – it helps you get the dark rich value – then Scrape Lightly.

Blend to soften your edges.

Use brush control.

Simplify

When you start with the washes, not so dark to start.

Medium key to start.

When you start with a palette knife start with dark then scrape it, no texture yet.

In the finish use only two values, and finish with a highlight, that is all.

No detail for the first year.

Stay flat then get warm and cool.

In the daylight don’t forget your cool colors.

The best areas are simplified.

Get the contrast and color in the colors.

It takes a lifetime to get color.

Start with composition.

Balance light with shadow on the table top.

Painting Inside~

Put your lights in the foreground when you set up your still life.

Also some lights at the top to make the middle (table) come forward.

Have tones to 8 at most for flowers and lilacs.

Hold back on your lights.

Be very selective with your final brush strokes.

Blend up and down.

Try going two values lighter on your palette using whites.

(or) Start with raw colors for your wash.

Make white your thinnest paint, very lose.

Black makes true nature colors, try starting with black and white, then add color

After you design your painting go away and come back, look again.

Don’t forget to push the background back.

A Week With Ovanes Berberian

I first met Ovanes Berberian in the summer of 2006. He is a good friend and mentor of Brigitte Curt whom I have known and studied with for several years. She and her husband Jim had spent many hours working with him through the years.
Before this I discovered his work and was in love with it so when they suggested to their classes that they should join them in Idaho for a couple of weeks I jumped on board. It was an amazing experience that changed me. It also was overwhelming and the weeks were intense. I hated my paintings, and felt like a baby learning to walk. Jim and Brigitte told me this going in, but they also told me that what I would hear and see at the workshop would continue to guide my painting for many years to come.
Last November I posted about my trip to Pacific Grove for a weekend of plein air painting with Ovanes. He was much more verbal in his teaching and my brain somehow was able to comprehend it better this time, so I decided to go back to Idaho.
Idaho is beautiful. The vast countryside and skies were begging for me to paint them. However we stayed in Ovanes's yard for a week of plein air painting of these amazing floral arrangements. If I could have I would have stayed another week or two. I was just getting started.
I returned last night from the twelve hour drive. My artist buddy Renee and I took two days and it wasn't all that bad. We decided it was better to drive so we could pack our supplies and it was the right thing to do. I'm ready to do it again!

Anyway, I wanted to post during the week but I couldn't get an Internet connection. The little motel we stayed in, the  South Fork Inn, did have it, but it was down for several days. I want to tell you about my week while it is still fresh in my mind.
The most important realization for me was what I learned about Ovanes. He was so passionate about sharing his love for making art with us it really touched me in a way I don't think I can describe. But somehow I felt that we share that passion. Only he has been able to disconnect from our crazy business that is such a part of our lives. I am right in the middle of it.
Just being in Idaho and away from the computer and the daily obligations of life gave me a taste of what it takes to really be in touch with creating art. It is something close to worshipping our God. I have never before been able to slow down long enough to understand this. I have read about it. I understand it and believe it, but today I get the connection. A wonderful book about this walk with God through creating art is written by a Pastor at my church, "Imagine That" by Manuel Luz.
http://manuelluz.wordpress.com/book/

I'll post more photos and my experience that last week very soon!