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!!

New "COLOR WASH" DEMONSTRATION...

I finally got back to the studio today, We've been busy finishing up with the last of the big move up here to Truckee (yes still at it), and getting ready to put our house in Folsom on the Market. Brought up some more art supplies. I need a bigger studio!! Or perhaps I have too many supplies? No. Never.

Anyway, I had fun today with my painting. I felt free to do what I wanted for the first time in a while. It always takes some time to get going again after a trip, but today I was determined to just have fun and explore. I need to do this every time!

The workshop went very well last weekend in Sacramento. I can't wait to do it again. I thought it might be a good idea to demonstrate what I taught - the Color Wash Method - so here ya go..

I started with the varnish wash of pure color. You can see I let it run. No worries here because it just adds to the abstract glowy thing that I like. My goal is to allow some of the washy color to show through to create abstract shapes. The scene is snowy with shadow in the front and very little afternoon light coming through from the distance. The sky wash was a pink created with pure rose on my brush dipped into the "sauce" or varnish. I painted on top of the pink wash while it was still wet, which allows me to manipulate the edges and blend when I want to. If I don't want the blend, I use a loaded brush with a light touch. I like painting into and around the trees with the sky and mountain color in a negative way in order to describe the foreground trees in a more abstract way.

I blocked in the bushes in the foreground using Transparent Oxide Red mostly with a little mixed violet added to the brush at the same time. No mixing yet. Then I began to add the opaque paint on top of the wash. I also added some mid-tone Yellow Ochre colors for some of the lighter areas to describe the branches a little bit.

Here I began to paint the shadow and light areas of the snow. I was hoping to create a nice design of shadow to create interest and a nice pattern of light that will lead the viewer into the painting. I concentrated on letting some of the abstract shapes come to life on their own while painting around them with a loose and loaded brush stroke.

I finished the shadow area of the snow in the foreground and moved into the background again to manipulate the tree limb shapes while softening and/or describing them.

I really loaded up the brush for some final strokes....

Brushwork and Working with Varnish Washes...

This weekend I will be teaching a new workshop, the first of it's kind. When I decided to make the transition and move up to Truckee last October, along with that came the choice (and opportunity), to change from teaching weekly classes and move into teaching workshops.

At that time I sent out a survey to my regular students and former students. I asked them what they wanted and needed to learn the most.
The two top answers were this:
1. I want to learn more about Brushwork Technique.

2. I'd like to know more about Design and Composition. I have recently posted about the importance of composition. 

Today I'd like to address the idea of brushwork. Here are some of the responses I received regarding this topic:

"I would like my brush to be more decisive, no overworking, to be more confident and free." 

"I want to  understand color and get help finding it in my work and be comfortable with the brush so that I can find the painterly looseness and brushwork that I admire in impressionistic work." 

"To freely express how a subject affects me and to be able to capture the spirit/essence of a subject."

"To express myself creatively." 

"Staying loose and keeping away from too much detail." 

"Mixing, finishing a painting, and brushwork."

As you can see, I have a great group of artists who really want to learn this stuff. I am very excited to be offering this workshop next weekend. I will be offering it again later this year as well.

I've posted a couple of paintings below in order to help demonstrate some of the things we will be talking about this coming weekend.

This piece was really fun. I used a very large soft brush to wash in the color/value foundation. While it was still wet, I jumped right into the thick impasto paint and layered it on! I even dipped my brush into the varnish before I dipped into the paint. Then I cleaned up the edges using a wet brush as well. 

With this piece I started out the same way, thin washes of color - pure and mixed. Then I went straight for the thicker paint. I can't tell you how freeing it can be to paint this way. Let go of the outcome, and just experiment with the brush...

Go to my website to find out more on upcoming workshops....http://randyblasquez.com/workshops

Working with a Limited Palette

This past month I have been working with two very lovely new students who decided they were ready to learn to paint. They both came in with very little experience and a great attitude. They are both very talented and have come to the time in their lives in which they can spend time doing what they love to do.

We spent four full days working together over a four week period. Before we moved from value studies to using a full palette of color, we started the first color exercise with a very limited palette of white, burnt sienna and a couple of the blues.

This is a great way to get your eyes to look for and find the subtle variations of value and temperature. Even though you won't be able to paint pink, you can lean toward a warm pinkish value that may resemble pink for the flowers, etc.  Because in my demo I was forced to use basically blue and brown, I chose a very cool bluish color for the lime to increase the contrast of color and temperature between the flowers and lime. It will really get you to focus on those things that we need to learn to see all the time, but many times we don't because we can be lazy.

Don't be lazy, train your eyes to see as an artist!

From The Heart -- A Better Way to Design Your Paintings

Edgar Payne

Have you ever worked on a painting and there was something that just wasn't right but you couldn't figure out what?

Chances are that it is in the design. Composition and design books used to baffle me and the thought process just didn't come easy when it came to the actual execution of a painting. But, over the years I have come to understand a few SIMPLE design ideas that really do work. AND they really are SIMPLE!

I can now use these simple principals in my paintings while doing several quick thumbnail or "notan" sketches.

I've been teaching the Notan design theory in my classes for several years. I first heard of the term through Virtual Art Academy Online. (A wonderful resource for learning.)
Notan is part of the design element in your painting. You use the notan drawing as a way of finding your design. Design is THE important element of painting.

There are a couple of other simple design ideas I'd like to share with you.....

FOUNDATIONS OF DESIGN 

By Randy Blasquez

The design will determine whether or not your painting will succeed.  This is why I believe that design in the most important element in any painting. We will look at how to design using thumbnail sketches and by identifying big patterns.

There are two main elements to consider. One is the focal point and the other is the dark and light pattern within your painting.

FOCAL POINT

The main focus in a painting is usually found at the focal point. This is the “anchor” in your composition. This is where the viewers eye goes, and in a well designed painting, will return to again and again.

What makes a focal point work? You don’t want another area in your painting to distract from the focal point. Therefore, as the designer you will need to take steps to insure that your central focal point will be more eye catching than anything else in your painting.

You will want to momentarily lure the viewer’s eye to other areas of the painting, but you must always lead them back to the focal point. I loved the way C.W. Mundy said it when I was in his workshop a couple of years ago. “You are the leader of the band, and you get to decide who plays the lead”.

WAYS TO THE FOCAL POINT

Value

Use your lightest light directly next to your darkest dark to bring the eye to the focal area.

Color

By using contrasting color, bright chromatic and dull color, or color temperature vibrations you may bring the eye to the central focus.

Edges

By using sharper edges at the focal point is another way to bring the eye directly to your focal point.

Contrast

Use contrast of temperature or consider the complement of the color you are using and put it right next to the focal point.

*It is always a good idea to place your focal point in the golden area.

DARK/LIGHT PATTERN

Another important aspect of composition is the dark and light contrast that will be the foundation of your design.

The dark and light pattern in a design is an arrangement that will create a lyrical quality of beauty in your painting. This is something that the student will learn to see and appreciate over time, but it is well worth the effort to learn.

This concept started to become clear to me while studying the idea of using a notan sketch to design a painting using a thumbnail drawing.  I think I first heard the word notan while reading through some Barry John Raybould material through the Virtual Art Academy.  The only other artist that I know to use this word to describe dark/light pattern is Peggy Kroll Roberts.

Barry John Raybould puts it this way, “Notan is the harmonious arrangement of the dark and light masses in a picture”.

THE ONE RULE OF COMPOSITION

When I took a workshop with Carol Marine many years ago she mentioned a book that I was already familiar with. “The Simple Secret to Better Painting” How to immediately Improve Your Work with the One Rule of Composition”, by Greg Albert.

What artist could resist that title? It was very good, and I took away from it the following:

Never make any two intervals the same in your painting. So when I design a painting I always look for differences of space. This will make your painting feel more dynamic.

Space must be divided un-equally.

Shapes must be different in size and dimension.

No two areas in your painting should be equal in distance or length.

Create variety by looking for the big differences in the size of your subjects within your painting.

Vary the amount of value to make sure one of them is dominant. Carol Marine says to make three values unevenly divided by using the dominant value, the secondary value and the “smidge”. Your eye will tend to go toward the smidge.

Use a variety of brush strokes and texture. Some areas should be transparent, others opaque, some thin and others thick. You get the idea.

Vary your use of color temperature. Put warm and cool together in such a way as to create vibration and intensity.

Use color compliments and split compliments in the same manner as the values of a lot, a little, and a smidge.

Some reading material to help you understand more about Compositon:

Composition

Understanding Line, Notan and Color by Arthur Wesley Dow

Composition of Outdoor Painting by Edgar Payne

Carlson Guide to Landscape Painting by John E. Carlson

  

I will be teaching the art of the notan in the workshop "Mastering Composition and Design", coming up this March 15th and 16th at the School of Light and Color.

Contact Debbie at The School of Light & Color
10030 Fair Oaks Blvd.
Fair Oaks, CA 95628

(916) 966-7517 sarback@lightandcolor.com

Edgar Payne Sketches

On the Easel

I went back to my original New York City piece today. I'm moving around quite a bit on about three different paintings right now. I'm taking it slow with this one using what I learned on the last city scene. Yes, the stuff I learned not to do! I'm liking the perspective and overall design much better. It will be fun for me I think to watch it progress.

This piece has been in the works for a while, and I think it's almost there. I have used many layers of wash with this piece. I'm using the washes to push myself as I learn to "let it run". I like the combination of sharp and soft edges in this piece. I'll finish with adjusting some of those edges, working toward the correct balance.

I've had a good start to the year I think. I'm pushing and learning. And this week I was back to teaching. This time in my own studio. It feels good.

Almost There...

"Looking Uptown"
Oil on Linen  40 x 30"

I think I'm almost there. I was in the studio for only a couple of hours today but I have a good idea how I'm gonna finish this up. Only a couple of fixes (the cars), and a few additional effects and details to finish it off.
I'm teaching next week again. It's been since October. I'm looking forward to it. Then I'm on to the other New York scene I started a couple of weeks ago. I started it using the color wash method, and it will probably go quite differently than this one did.
I am satisfied, if for no other reason than I learned a heck of a lot from this first large New York piece. I'll be painting a series of these city scenes, so stay tuned!

Getting There?

Looking Uptown   Oil on Linen
40x30"

I was talking with my husband on the phone today while taking a break at the studio. I said something that afterwards kinda made a light go on. "This painting is kicking my butt!"

When I met my husband 23 years ago he was an avid golfer, and still is. The funny thing is that he goes through this mind game about every week or so. He always says something to me along the lines of "I'm gonna try my new swing this week, and I think it's THE ONE". Well, after 20 years or so I tend to roll my eyes and say, "Okay well, good luck then."

This is the perfect analogy for my painting. I am always looking for the "New Swing." When I started this painting I was so excited about trying something new, using more paint and painting Alla Prima, my plan was to paint much more abstract. (Yes, I've been here before.) So as you can see, the new swing wasn't "The One".

So, on to the next swing right? The thing is, I learn a lot every time I take a chance and change it up. I try to do this ongoing. I think I always will, and I can confidently say I'm not alone here.

So, I will finish this piece, and who knows it may turn out okay, but it's not what I was going for. I'll work on it again tomorrow and then move on. I want to add more people in the distance and a few more lights, etc. We will see how it goes.

Thanks for feeling my pain friends.

Still At It

I'm not sure but I think I might not have fixed anything today, but instead I created more problems. At least that's how I'm feeling now. Yes I know I'm hard on myself, but I painted for hours and don't feel like I got anywhere.

I forget what a painting this size can do to me. Don't get me wrong, I'm not ready to quit! I'll be back at it tomorrow. I might play around with it on my iPad using magic pad to see if I can come up with some solutions. I think what's bothering me still is the value plan. Until I get that I won't be happy.

Sometimes it helps to print out the photo of your painting in black and white. It can tell you a lot. I can see that the street is too light. It needs more drama. I like the top half of the painting better than the bottom half. I might go in and change the perspective as that is bothering me now too. I didn't notice it yesterday but the road is too wide. That's okay, I'm going to keep at it.

So, you get to go through this with me, the sometimes painful disappointment that we go through when a painting isn't going the way you had hoped at the start. At least I know I'm not alone.

Stay with me this week as I continue to search for answers and dig deep!

And please, I'm open to suggestions.

Progress Today

Looking Uptown, Oil on Linen
40x30" In Progress

Today I was able to get in the studio and cover the canvas. It helps to take a photo and then look at it on my monitor at the end of the day. It tells me what I need to know going back in tomorrow.

Two things I needed to see. First, the values are a problem. I will need to consolidate my value plan for sure first thing tomorrow. In other words, the mid-dark and mid tones do not have a clear shape that holds together. This is important and much harder to do on a large piece. Now that I see it I can fix it. I don't want the shadows to go too dark so I'm not surprised I have this problem. I need to focus on fixing the light areas (where the light is direct from the sun) and the mid tones (where the light is not direct). And then there is the reflected light to consider. This will be a subtle value difference because the values here are going to be close. I hope this makes sense.

Second, but related to the first problem, is that it is not clear where the sun is coming from. Unfortunately this is not an easy design for that reason. But the sun is up high in the sky, probably about noon time, and it is up behind the left side of the street. So the light side of the buildings need to be more apparent. This will be the challenge for tomorrow.

I also need to adjust some of the perspective issues, the angle of the cars and the road and some things like that. I was just happy to get the canvas covered today, while using plenty of paint that I can move around. As I said yesterday, I wanted to work wet into wet with this one so as to experiment a little bit. New for me on a large piece like this.

I have two of these going, but the other one has to wait until Thursday. Tomorrow I think I can finish this up, or get close.

I appreciate the feedback from yesterdays post Robert. It sounds like you are trying out the process of painting into a dry painting while I'm trying the wet to wet idea. Walnut oil is a good choice also I think. I have used it a lot.

The only reason I don't paint this way more often is that I don't get to spend long hours painting. Or I should say, it has not worked out for me. I have had some health issues to get past, and I am making progress with that, thank Goodness. Now, on a good day I can paint for longer periods, so hurray for that!

Can't wait to talk more about this one tomorrow night!

Another NYC Start

Looking Uptown - in Progress  40x30"

Just wanted to share with you another New York City Street start. I've been out of town again so I missed a week in the studio, but was back in there yesterday and today. I've got five paintings going that I need to finish up for my Carmel gallery, Gallery Amsterdam.

I like working this way, two big paintings at once. I'll be going back and forth between the two and I'll be sure to share my progress. I've started each one in a similar way, but using different techniques.

The first one from last weeks post was started with the Color Wash Method, using different colors while blocking in large shapes. (This is one of the methods I will be teaching this year in my workshops.)

The pink one, above, was started with a wash of transparent color, but I didn't use my special varnish for this one and I used only the one color as a "tone". Often when I start a painting this way I will use my paper towel to wipe out some of the wash before it dries. This time I chose to go right into the dark shapes.

When I go back into this piece tomorrow I will work in the "lights". This painting will be a "high key" painting. In other words, I will be painting from the light side of the value scale. Most of these dark shapes are not so dark, maybe mid-dark being the darkest shape. My hope is that some of the warm pink value and color from the original wash will be there showing through in some areas when the painting is done. This will depend on how many times I will be going into each area to repaint. When a painting goes really well, I usually have some underpainting coming through.

While I would like to be, I am not an Alla Prima painter. Especially with these big pieces, I will be working on it for a while and it is bound to dry in some areas.

Alla Prima painters finish the piece while the painting is still wet. This is an advantage because you can work into the other shapes as you go along. It gives your painting a fresher look. When it is dry, that is more difficult to do.

There are some tricks to doing this though, and some painters will scrape their first layer of paint so they don't have to worry about ridges of dry paint. But if you do this, you still don't always get the same results at you would be it "wet into wet".
Anyway, I thought it might be fun to explore the idea of wet into wet as much as I could anyway. I was certainly inspired when I went to a demonstration last week given by Elio Camacho.  He uses safflower oil to keep his paint wet. Ovanes Berberian uses Linseed Oil. (Some say the the Linseed Oil will turn yellow over the years, and the Safflower Oil will not.)
Elio has studied with Ovanes and paints in some similar ways. And his paintings are beautiful and colorful as well.
When Elio is not doing a demonstration he uses the Safflower Oil mixed with Stand Oil. I will have to try that too. I used the Safflower Oil today in my piece and I'm hoping to get the rest of the painting surface covered tomorrow so I can take advantage of the wet paint.

I'd love some feedback on these ideas so send me a note with your thoughts. Feel free to open up the discussion on any of the above topics. In fact go ahead and ask a question about anything related to painting. I love to talk about this stuff!

2014 Begins......

New York City Streets - 36 x 36" (just started)

  

I'm tired! But I march on friends. This big move up to Truckee is still ongoing and between that and opening a new Studio and Gallery, and now moving my daughter into her very first apartment, (not to mention a big Family Christmas that was wonderful), I could use a break!
The funny thing is, I am always thinking about the studio. I want to be in there. I just have to trust that this huge transition in my life won't last forever!
So, to bring you up to date with painting, as you know I have changed the way I will be teaching now that I'm living in Truckee. I will no longer (at least for now), be teaching on a weekly basis, but have scheduled several very focused weekend workshops throughout the year.
To see this schedule go to my WORKSHOP WEB-PAGE
We will just have to see how it all goes, but I'm excited and looking forward to these workshops. We will be studying the fundamental elements of oil painting from my experience, in a very focused manner. The first workshop at Patris Studio will be focused on Brushwork and the Color Wash Method.. I have learned this method from my teachers Brigitte Curt and Ovanes Berberian. Not too many people use this technique, but it is very exciting. It has come down from the Russian painters and it will change the way you paint. In addition we will be practicing many, and I mean many, different ways to apply the paint to the canvas. I plan to push you over the edge friends! This will allow you to move forward with your brush stroke with new FREEDOM!
(To sign up for this workshop, contact Patris and send her a $25 deposit to hold your spot BEFORE JAN 10 TO SAVE 10%).
Now, more on painting. My heart for painting is always prompting me. Right now I'm very excited about two things, and this brings me toward some change in subject matter. I am currently planning to move in the direction of City Scenes, and perhaps contrarily, Truckee Scenes. Although the Truckee Scenes will be little town scenes as well. So look for these types of paintings coming into the studio. And send me your comments please. I'd love the feedback.
We will be discussing these works, along with the concepts behind them and the techniques used to paint them throughout the coming months. So stick with me and send me your feedback. It will be a great learning experience, I promise!
One last thing, follow this link and read a little article HERE about our group show and opening tomorrow night at THE TEMP GALLERY in Sacramento.
So keep moving forward art friends, it is an exciting road!  Randy

Happy New Year

I'm working on some new large florals for Gallerie Amsterdam in Carmel by the Sea, CA. I always struggle with these big pieces, but I continue through the difficult finish. I've learned to hang in  there and give it my best shot. It's always a learning experience no matter what.
When I'm working on pieces for the gallery, it always feels like more risk, because I have a deadline and all. It's not my favorite part of being an artist.
Hang in there with me an we'll see what happens! I'm going down the hill again next Monday, so I'm hoping to get to the finish but if not I'll be back at it the following week.
I'm teaching my first workshop of the year on the 21st and 28th this month for beginners. We will be taking it from value scales to a finished painting in two consecutive Tuesdays, all day. I still have room if you want to learn this happy way of life!
Happy New Year all.

Our View From Limoux

For ten lucky painters,"Our View from Limoux" was unforgettable.

Randy Blasquez’s first trip to France was filled with museums, Monet’s Gardens and art classes with one of her favorite teachers, Brigitte Curt.  

“I painted Monet’s gardens for a year after I returned home,” she confesses.  

On her second trip to France, last year, while in Burgundy taking art classes from another one of her favorite teachers, Ovanes Berberian, she determined that she would return the next year and teach a class of her own.  And she did!  The work resulting from that class in France will be on display in January in “Our View from The Limoux: Paint and Play in the South of France”   

Sacramento Temporary Contemporary

1616 Del Paso Boulevard

Uptown Sacramento, CA 95815

916-921-1224

Email: sactempcontemporary@gmail.com

Reception for "Our View From Limoux" - a group show featuring works by the artists inspired by the trip - will be Thursday evening, January 9th at THE TEMP.

6-9 pm

I wanted to announce this upcoming show so you could put it on your calendar. Look for the complete article and interview about last June's workshop in today's e-mail newsletter. 

2014 Workshop Dates Posted!

Oil on Linen   18x24"     $1695

"Last Light Over the River L 'Aude"

This painting will be available at a group show coming in January. I started this piece as a demo for my workshop "small to large" at Patris Studio earlier this year..and added a few final touches this week. I'll post all about this upcoming show in tomorrow's post. I hope you can join us for the reception on January 9th to see these works from our group workshop in the South of France last June!

Speaking of workshops, the schedule is posted below. Please sign up to receive my student email newsletter if you have not done so. I'll be sending out details for the workshops. Send me an email if you have any questions at all as well.

Studio Blasquez

Workshop Dates     2014

                                                                                                                                      

January 21^st and 28th             Studio Blasquez - Truckee         Introduction to Oil Painting 

February   4^th and 11^th           Studio Blasquez- Truckee       Oil Painting Basics - Beg & Intermed

February 22^nd and 23^rd           Patris Studio Sacramento         Brushwork and Color Wash Method

March 15^th and 16^th               School of Light & Color          Composition and Design Technique

April 25^th and 26^th                  Pacific Grove                          Plein Air Ocean Views –Color Wash 

May 31^st and June 1^st             Patris Studio Sacramento         Paint a Landscape from a Photograph

August 30 and 31^st                 Patris Studio Sacramento          Brushwork and Color Wash Method 

September  20 & 21st            Studio Blasquez - Truckee         Plein Air?  Brushwork and Color Wash 

October (3 day intensive)        School of Light & Color            Brushwork and Color Wash Method

 Have a Blessed Holiday Season and I'll look forward to working with you next year.

The Magic - A Quote From Richard Schmid

I love this quote from Alla Prima 2..
THE MAGIC
YOU
 You are the sum of your choices. Your job then is to make sure that your ideas about what to paint are not wholly based upon either the acceptable or the taboo, but arise instead from what honestly fascinates and stirs you. You may feel vulnerable, but I see no way around that. I assure your it is OK to feel vulnerable. It is, after all, the human condition. In any case, your thoughts (and mine) are just as valid as those of anyone else. Even though you share countless similarities with others, you are unique. No one has your mind or your feelings. They do not always notice what you notice, and do not have precisely the same sensitivities or fears. No one has the same idea of God as you. No one longs to embrace life or ponders death and beyond as you do. No one is human in the same exact way as you are.
Once you understand this, your task is to get in touch with yourself. Find out what moves you, what you believe in, and what you truly understand about life. Taken together, such insights may lead you to know who you are, and what this great experience of living means to you. Then put that in your paintings.
Somewhere within all of us there is a wordless center, a part of us that hopes to be immortal in some way, a part that has remained unchanged since we were children. It is the source of our strength and compassion. That faint confluence of the tangible and the spiritual is where Art comes from. It has no known limits, and once you tap into it you will realize what truly rich choices you have. May each painting you do from that sacred place include an expression of gratitude for the extraordinary privilege of being as artist.

I just love the way Richard speaks from his heart about the way we artists feel and how we learn to express ourselves. I feel this way with my painting and it feels good to know that I'm not alone. I appreciate his honesty. I haven't ordered the new Alla Prima Book yet, but I will. I have his original Alla Prima Book, and I think it is probably the best art book I own that talks about painting. Not just the technique of painting but about being a painter. To order his new book go to: http://www.richardschmid.com/

San Francisco Study
Oil on Canvas
12 x 12"

I painted this little study this week in the new studio. I have to say that it feels good to be in there. I am able to loose track of time, so that's a good sign. I took this photo while in the City a couple of weeks ago. I'm working on some ideas for larger pieces for my gallery in Carmel, Gallery Amsterdam. I'm going to do some florals as well. I'm looking forward to spending some time there next April, after attending the Plein Air Convention. To learn more about that go to:  http://www.pleinairconvention.com/

Ready To Paint!

The studio is looking good. I have a couple more trips to make down
the hill in order to finish, but for now at least I am able to paint! Hmmm, where do I start?

Anne's Cups

Anne's cups one and two. These were the commission pieces I delivered yesterday. My friend Anne liked my little cropped cups from the 30 in 30 paintings I did last year. We talked about it and she told me she had a few sets of cups that were from her grandmother and also she collected some antique cups that she loved. So I brought them over and set them up on my table for about three weeks. When the light was especially beautiful, I snapped photographs. These are larger, sixteen by sixteen inches.
I just wanted to keep my word and post them for you!