Better Results using Proportions and Angles

Provincial Vista from the Village

Oil on Linen - 16x20"

I just wrote a short lesson for my classes and decided to post it, even though I haven't taken photos to help with it. I will do some demonstrations in class and ask one of the students to take some photos. So I'll just add those later. 

I painted this scene upon my return from France a couple of years ago after spending two weeks painting in the Villages of Provence. It was like going back in time to walk the cobble stones among the old 15^th century buildings.

BETTER RESULTS using PROPORTIONS and ANGLES

To paint well we must first learn to see well. Part of that learning curve is the necessity to learn how to see and draw proportions and find the angles of our subject.

Really it is just learning how to measure what we see rather than just eyeballing it. I have seen paintings that would otherwise be very nice, but it is always obvious to the viewer when something is “off”.

This can be done free hand using only your brush and your view catcher. Set up a simple two object still life and let’s get started.

1.     First I do a simple thumbnail sketch using a black Prismacolor pencil to block in my composition and values, relying on my view catcher.

2.     After I turn to my canvas and wash in a transparent tone, I am ready to measure my proportions and angles.  

3.     I need to look through my view catcher again, this time use the sides of the opening edges to find the location of the objects. (note*-the proportion of the canvas must be the same as the view catcher, if it is not, change it to match the canvas you will be painting on.) When I say use the sides, compare where to top of the object is in relation to the top/botton and left and right sides of the edges. Mark these one at a time. Do this first for the composition as a whole, and then for each object in your set up.

Note: To make sure the perspective is correct, I extend my arm fully each time I look through the view catcher or brush, then close one eye, and make sure that I stay in the same position while looking at the subject.

4.     Now connect the dots with a light line of paint. This is your composition. Does it fit onto the canvas the way you want it to?

Note: You will have made this decision in your thumbnail sketch, so check to make sure it is approximately the same. Now is the time to move it if you decide.

5.     Now put down the view catcher and begin to look for the proportion of the objects. Your marks are in place. This is an estimate. Now use your brush to find the proportion – which is a measure of increments. You will need to choose an obvious unit of measure, (a length or width of something important in the subject – such as the width of an apple – that you will compare to the width and height of another object in the set up.

Note: Hold your brush and with your thumb and index finger, line it up with the tip and the edge of your object, and compare the distance to the opposite edge, this could be top/bottom or right to left edge. Use this same unit of measure to get the height and width of the other objects.

6.     After you measure, check your original marks and adjust as needed. Now begin to connect the marks to make your drawing.

Note: You will need to learn how to find the angles at this point using your brush the same way as before, only now you are tilting your brush to line up with the edge and then bring it to the canvas to record it. Just mark on your canvas what you observe with your brush.

            **Note: Measure as many times as you need to get the correct proportion. Often you will not get it right the first time, so if you get the feeling that something is off, just measure again. If you continue to use this practice it will become automatic and you will soon be able to accurately depict on canvas what you see. A huge payoff!

Christmas in a Jar

Christmas in a Jar    20x16"

Christmas on a Silver Platter      11x14"

Last week I had two classes, one intermediate and the other a beginning oil painting class at the School of Light and Color. The students wanted to paint something for Christmas this week and it turned out to be a fun exercise.

The first painting, a study in red, was the most challenging. I started with a red and violet wash, which was a mistake I think, because it made it all that much more difficult to get this all red setup to have something else to say. The red wasn't standing out enough, but in the end as I added more darks, the reflections in the warm and blueish tones, and the highlights on the glass, it started to come together.

The Poinsettia piece was a lot of fun. I tried to stay out of the lights as long as possible, and after the block in I began to add some light. I like this way of "sneaking up" on the lights in a painting. I find that I am much more successful at knowing when to stop.

Thank you all who have been a part of my classes this year. You have been a huge blessing to me. Merry Christmas...

Painting With Friends

Allison's Red Shoes

This past Saturday I invited myself to join my friend Allison Carlos as she was instructing a wonderful group of ladies for a one day workshop. She had set up a beautiful table top with a couple pairs of her shoes and some fruit. I am blessed to have her as a friend and she is an amazing  painter. She made a wonderful Italian meal for lunch also. Had a great time. 

When we spend a lot of time in our studio alone, there is nothing better than to join a group of painters. It is the best of both worlds. Wonderful group, wonderful painting time and great food!!

We are planning to take a few days next Spring and teach a workshop up in Lake Tahoe. Can't wait.

Check out this piece on the FASO art contest if you want to "like".

FASO Art Contest

Small Daily Studies

 Painting Demo Sketch

A few years back I participated in the 50 paintings in 50 days show at the 20th Street Gallery in Midtown, for 3 years in a row. I submitted to the show because I wanted to learn to paint small and I did, but I learned so much more than that. As I painted each day I began to simplify the painting, and I noticed that my brush strokes were looser and more direct. I was getting more comfortable with my tools, and most of all I learned to discipline myself to focus on painting regularly. But in addition to that, when I went back to larger paintings, I was able to use the things I learned - things like value, shapes, and color. Over all it was very beneficial in a lot of ways.

This week in my beginning oil painting classes at the School of Light and Color in Old Fair Oaks, California, we have begun a new series of studies. I decided last week that this would be a great way for new painters to practice painting small while at the same time learning about - you guessed it - simple value shapes, shadow and light, color mixing and color harmony. My hope is that this will improve every body's confidence because when you paint one small painting in each class, you will have to put together the steps that I have been teaching and still have time to finish a painting while the inspiration is fresh.

So I asked everybody to bring in a small object that they felt inspired to paint, and we put a light on it right next to their easels. Then we used our view finders to crop and compose some beautiful shapes and shadows and light. Not much time to get over-involved, just paint. Everybody did a great job today.

Next week we will paint the same object with white and black paint only. I will teach them to mix a value scale and work from that. After Thanksgiving week, we will do a complementary color scheme using only two complements and black and white. Maybe after that do it again using analogous colors or something like that, very fun!

Follow This Link If You Like

http://faso.com/boldbrush/painting/26407

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

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