Elizabeth Tolley

Please Change With Me.....

noreply@blogger.com (Libby) — Mon, 17 Jun 2013 18:25:00 +0000


				Elizabeth Tolley Painting 9 x 12 Morning Avila's Ranch

My challenge, for the last few months, has been getting back in the rhythm after a break from painting.
I started by believing in the process and returning to fundamentals: working on location, drawing to get to know the subject, painting small color and composition studies and then incorporating all I have learned into a finished painting.
The brush mileage has helped as well. It feels good being back to work!

This week I am back to painting in the studio, working on large paintings. I find that if I warm up by working on a quick field sketch, or a timed studio warm up painting, it makes the studio painting go that much smoother. I get connected and in the right frame of mind to settle in, and paint decisively. I also move my small brushes far far away from the palette and easel!

Join me at my next plein air event:

15^th Annual Laguna Plein Air Painting Invitational

October 13-20^th.

For future Blog Notes please visit ElizabethTolley.com/blog.

Please visit http://elizabethtolley.com/email-newsletter to sign up for newsletters, workshop announcements and show updates.

We created a Facebook page for Elizabeth Tolley Studio, please take a look, "like" the page if you want, and do stay in touch.

Best wishes with your painting.
Libby

Elizabeth Tolley web site

Workshop Dates 2013 Added to the Website!

noreply@blogger.com (Libby) — Tue, 08 Jan 2013 00:50:00 +0000

Dates have been set for 2013. Please view Elizabeth's website for more details.

Happy New Year from the Elizabeth Tolley Studio

noreply@blogger.com (Libby) — Mon, 31 Dec 2012 22:08:00 +0000

We wish you a New Year filled with wonder and good health!

Sincerely,

Libby and Marina

and Tom (Cat)

Reflections

Oil on Linen 40x46 Framed

Plein Air Painting

noreply@blogger.com (Libby) — Mon, 29 Oct 2012 23:17:00 +0000

"Being Truthful to the Moment"

I read that you return to paint some locations several times as you get to explore it in various lights and times of day. When I paint at the same location my paintings look very similar. Do you have suggestions about returning to a location and painting in a fresh way?

--Cayucos Workshop Artist

Thank you for your question. It is one that I have been asked a number of times. The other question that seems to go with this one is don't you get bored with visiting the same locations? Both questions can be answered with the same answer.

On location I am excited to be in the air and ready to solve problems. It means being in the moment when nothing else matters. I have a connection with my subject matter, the changing light and a goal that I call my intent. If I am in that mindful spot, my paintings will not look alike even though there is a similarity. The beauty of painting on location is that with given light conditions, different seasons and changes in the landscape due to a number of different reasons, there will be differences.

Breaking my answer down even more concretely:

I think of my location paintings as field studies. I am a student learning all I can before I take on the task of making a painting. With that freedom I can set my sights on a goal.. I have an intent. I don't consider field studies as unfinished work... all my plein air work is a "field study".

If I am working on color, my composition could be simple or complex but not the main target of my work. If I am getting to know a location I will do a lot of drawing and composing in my sketchbook using different formats.

After visiting a location the day before, I generally have a good idea of the colors families I will be working with. I have also explored the land I am working on and hopefully seen it as the day changed so I know the direction the sun will travel and the time I will have light vs running into early darkness due to valleys and canyons. I make an intention. It could be capturing the morning light as the sun comes over the mountains or how the trees shimmer in the afternoon light. How do I paint that? How do I compose the idea to make the shimmering trees the focus and yet a part of a larger thought? A painting that features the trees versus a portrait of trees. After a couple field studies and time on location I am ready to create a larger painting. I know the time and day to go out and the format I want to use to express my idea. If there is complex drawing or designing involved I have done the footwork to understand what is needed.

Knowing that my paintings are for my library of knowledge and not a gallery or event.... or a painting demo to sell to students, sets me free from the idea of a product. As you saw in the class, the demo is to teach the knowledge I have gained and impart it visually and verbally. Again painting with intention is the only way I know how to work that keeps the paintings fresh and keeps me honest with the situation at hand.

Adding to Your Library of Knowledge

noreply@blogger.com (Libby) — Thu, 04 Oct 2012 22:29:00 +0000

TRANSPARENT PAINT

Workshop Question:
Why do you use transparent paint with a mixture of odorless mineral spirits and alkyd based medium to start your paintings?

Answer:

Why break down opaque paint when I have paint formulated to be transparent? The small amount of alkyd helps the paint set up on the canvas readily taking the next layer of paint. The bond created between the pigment and the canvas is stronger than thinning the paint with solvent alone. The under painting glows instead of becoming chalking looking when it dries. If I cannot get to painting the next layer. . .I still have the composition ready to go in the field the next day or the studio. The painting featured was painted with transparent pigments to start. I used transparent yellow oxide, ultramarine blue, quinacridone violet, quinacridone red, and viridian. There may also be a touch of a transparent red oxide.

When I'm ready for opaque paint, I can add white or another opaque paint to change the paint from transparent to opaque.

This painting is featured as a transparent example in my book

Oil Painter's Solution Book, Landscapes, page 128-129. Following is the progression from location work to the completed painting. The painting was completed in the studio. It was more than a 4 day painting.... the studio work is where the layers were built up and the colors adjusted. It is SO important to me to use the same pigments while these large paintings develop. More on that in another blog post.

Day One on Location
Under painting 26 x 30 oil primed linen canvas
Page 129

Day Two on location


Day 3 on Location

Winter on Hollister Peak, Private Collection

Libby's Book Blog and Maine Paintings!

noreply@blogger.com (Libby) — Tue, 21 Aug 2012 02:22:00 +0000

Problem Solving with Libby

Question from Susan:

I am in the south of France where the light is delicious, but very bright, even late into the afternoon. I feel good about my work while I am on site, checking first to make sure my values are correct, as you discuss in the book and teach at the workshops. But then when I bring my studies indoors, the colors are way too saturated and bright. Is there a way to gauge the color saturation while mixing onsite in the bright sunlight? Both my palette and panel were under the umbrella.

Answer from Libby:

Hi Susan, your painting location sounds fabulous!!

Congratulations on avoiding coming in with dark cold paintings. That is often an issue in bright light. With all of the bounced light you're having invade your painting, I would suggest taking out a painting with correct chroma in a clear bag that you can paint on to check color or make up a couple of premixed puddles of color. I would premix colors from the previous day's work in the correct chroma and then go back to the same location and make a new painting. By comparing the paint you mix on your palette to the premixed puddles, you can tell if you're in the ball park with the chroma you want. Once you know how to compensate for the light you should be able to reach your desired chroma.

I run into over-saturation in my studio at times.

By using my plein air studies I am able to mix puddles of color that I want to use in my studio work. Then I have wet paint to compare to as I mix new color.

Comparing wet paint to wet paint works for me.

This is another good reason to keep your field studies! They create our library of knowledge.

What do we mean when we say,

Keep your painting in the same language?

Do you ever find yourself rushing to finish a painting on location, or running into the studio and painting before you get focused on your intent?

I have been thinking of this recently with the work I am completing in the studio. I have to rethink what my mood was when I was on location and the rhythm in which I painted. Each painting has it's own energy. I have to think about the brush work and what size and kind of brush I was working with.

One of ways to change the unity and language of your painting is to paint carefully thru the foreground and middleground and then take out a knife and paint a large flat sky... get the idea? If you layer color in most of your painting make sure you layer paint in the sky.

All in all keeping your painting in the same language means making sure the painting doesn't look like someone else came up to your easel and painted on your painting when you weren't looking!

What's on the Easel?

Paintings from Maine!

Plein Air

more later.....

Libby's Book Blog Questions of the Week

noreply@blogger.com (Libby) — Mon, 13 Aug 2012 23:30:00 +0000

Thank you for the questions I received for the book blog. I am so thrilled to be able to share ideas here! Next week, we will discuss keeping the language the same within a painting. Also, there will be pictures of the series of Maine paintings that I have been working on!

First question is from Joel,

Rereading your book regarding your use of the transparent oxides, I interpret that you use the combo as your sketch-in base of the final painting and then either cover it over or let it shine through in some areas or glaze over it altogether just as another painter would first use some combo of colors to first put in the elements of the final painting (bnt sienna+ultram or whatever. Am I correct? anything else you can inform me about the transparent red/yellow/brown oxides in oil painting (or refer me to some more informative material about these colors).

Answer:

You have the right interpretation of how I use the transparent oxides. I also add opaque to the paint when I want a full-bodied paint with out transparency.

The transparent oxides are good workhorses. They make great glowing under paintings and can be mixed with opaque pigments. I use them when I need to push a temperature warmer. They make great greys when mixed with their complement.

The beauty of transparent yellow oxide is that it is a dark in value yellow paint I can always bring up the value with a lighter value opaque.

For more information, you can click on the link on my website for Gamblin Colors. They have a wonderful website full of information for the artist to read on the paint they use.

Another question from Sheila,

I've been reviewing what I believe is the most complete instruction book to landscape painting. My only question would be is there anything you would have liked to have added now that there are several years since its publication?

Answer:

Sheila, what a wonderful question! I would have liked to have more paintings done at the same location. As a painter, I find that I learn and discover so much more with each painting I make. I find that the poetry in my work comes the longer I work on location.

For next week, we will discuss keeping the language the same within a painting. Also, there will be pictures of the series of Maine paintings that I am working on.

Libby's Book Blog- Oil Painter's Solution-Landscapes Question\Answer

noreply@blogger.com (Libby) — Mon, 06 Aug 2012 23:32:00 +0000

Libby would like to offer this opportunity to answer any questions you may have about information in her book! She will answer one or two questions a week!

Please email questions to Elizabeth@elizabethtolley.com

Winter in the Canyon

noreply@blogger.com (Libby) — Sun, 04 Dec 2011 22:32:00 +0000

Gwen in afternoon light, Cottontail Springs

Living on Cottontail Springs Ranch has been wonderful. We are loving it.

The canyon is full of rich color and filled with interesting sounds.

Oaks and Sycamores

Changing seasons

Sycamore leaves and reflections

Cottontail Springs Ranch and Studio

noreply@blogger.com (Libby) — Sun, 16 Oct 2011 22:22:00 +0000

Morning East View

David and I have moved to Cottontail Springs Ranch, located in the hills behind Cayucos, CA. After painting on the ranch, neighboring ranches and local beaches for many years... it feels like moving into a painting!

Cottontail Springs Studio telephone 805-995-1772.

Late afternoon on Cottontail Springs Ranch

Elizabeth Tolley Presentation Oct. 4, 2011

noreply@blogger.com (Libby) — Mon, 19 Sep 2011 19:19:00 +0000

Plein Air Painting:

Capturing the Truth and Beauty
of the Landscape

October 4, 2011 7-9pm

San Luis Obispo Art Museum in San Luis Obispo, CA

Admission to the lecture is free.

You are invited to join Libby Tolley for an evening slide presentation on Landscape Painting as she shares her paintings and her thoughts about plein air and studio painting.

Sweet Springs 2011

Libby will explain and show how she gets to know the heartbeat of the land and is able to go from transcribing the landscape to translating it. Choosing the subject, simplifying, color and design all work together to express the poetry of the land.

As important as working on location is for developing an artist's sensitivity to light, color and shape, a studio is an important place for study and creating large works.

Plein Air, Studio, field sketches and paintings in progress will be displayed during the lecture.

During the evening she will talk about the path she took and continues to take in developing as an artist.

At the end of the evening Libby will be available to sign her book, Oil Painter's Solution Book.

Libby is this year’s award juror at the San Luis Obispo Plein Air Festival. Her painting, "Daybreak" won the Best of Show Award in the 2006 Festival. In 2010 she received the best of show in the Glenna Hartmann Memorial Invitational for her painting, "Into the Light".

August afternoon in Sweet Springs 2011

Made in the shade... Gwen on location September 14

FINDING BEAUTY: Backroads Close to Home

noreply@blogger.com (Libby) — Wed, 11 May 2011 19:15:00 +0000

In the Golden Light of a Winter Sunset, Montana de Oro


		FINDING BEAUTY: Backroads Close to Home You are invited to join Libby at the opening reception this Saturday, May 14, 2011 1 - 4 PM Knowlton Gallery Lodi, California The show will continue through June 25th. For more information: (209) 368-5123 www.knowltongallery.com Join Libby and fellow artists for the show's opening reception this Saturday. Each artist will give a short talk about their region and the art they painted. This four-person show also features work by acclaimed artists Kathleen Dunphy, Clark Mitchell and Charles Muench, each depicting scenes from their local regions.


Winter Glow, Cuesta Inlet 12 x 12

Blessed Evening 16 x 20

Fall Morning on a High Tide, Cuesta Inlet 8 x 10

Sunrise, Turri Ranch 10 x 16

Summer Morning Mist, Turri Ranch 9 x 12


Between Showers, Old Creek Beach 12 x 16

Romantic Visions, In the Tradition of the Early California Impressionists

noreply@blogger.com (Libby) — Mon, 25 Oct 2010 14:45:00 +0000

Romantic Visions • In the Tradition of the Early California Impressionists
October 9,2010- December 31, 2010

Roger's Garden Art Gallery
2301 San Joaquin Hills road
Corona del Mar CA 92625

contact for gallery manager:
949-721-2100 ext 379 Theresa Marino
•••

Summer Morning, Cuesta Inlet • 12 x 9 • oil

Summer Morning on the Pala Rey • 20 x 20 • oil

Summer Morning on the Turri Ranch • 8 x 16 • oil

Evening in Maine • 8 x 16 • oil

noreply@blogger.com (Libby) — Mon, 05 Jul 2010 22:41:00 +0000

Available Paintings from Hearst Castle

Twilight on the Terrace:

By invitation each year, a handpicked group of artists lose themselves for two days in the natural beauty of La Cuesta Encantada, painting diverse and magnificent works of art for this premier fine art exhibit. Proceeds from the sale of the paintings fund Hearst Castle visual ArtReach programs for underserved youth, pairing at-risk youth with artist mentors to nurture partnership and creativity.

"Morning on the North Terrace, Hearst Castle"

To view available paintings by Elizabeth Tolley from Hearst Castle Event

Upcoming Events:

Acadia Invitational Exhibition 2010

Saturday, August 7th
Bar Harbor, Maine

"Evening on the Island"

Each invited artist will have 3 paintings in the Exhibition.
www.argosygallery.com

Sierra Foothills Plein Air Invitational

Embarcadero Exhibition
Saturday, August 7th, 2010
San Francisco, CA
5pm-8pm
Tickets: $89 or 2 for $149

Thirteen celebrated California plein air painters have captured the essence of the foothills in all four seasons: from spring fields of wildflowers to golden autumn leaves. This gala event will feature boutique wines by Ma(i)sonry and culinary delights by The Painted Table. This is your one night opportunity to see the collection in its entirety in San Francisco and take home a special piece to add to your collection.

Artists: John Burton, John Cosby, Gil Dellinger, Kathleen Dunphy, Jeff Horn, Adam Longatti, Kim Lordier, Clark Mitchell, Jesse Powell, Ray Roberts, Randall Sexton, Bryan Mark Taylor and Libby Tolley.

Located in AECOM's west coast headquarters on the Embarcadero in San Francisco. For ticket information visit our website at www.sierrafoothill.org/pleinair or contact bridget.fithian@sierrafoothill.org
209.742.5556

Libby will have 7 paintings in the exhibition. These are 3 of the many paintings she painted over the past year.

"Spring on the Trabucco Ranch"

"First Light on Striped Rock Preserve"

"Spring on the McKenzie Preserve"

www.sierrafoothill.org/pleinair

Fallbrook Workshop Filled

noreply@blogger.com (Libby) — Mon, 14 Jun 2010 20:58:00 +0000

We just received word that the July 2010 workshop in Fallbrook is filled and there are 4 artists on the wait list. If you want any information on the class please contact Fallbrook School of Art.

Elizabeth Tolley Solo Exhibition

noreply@blogger.com (Libby) — Wed, 07 Apr 2010 04:12:00 +0000

Please mark your calendars for:

A SENSE OF PEACE:
Elizabeth Tolley Solo Exhibition of New Paintings
Reception May 1, 2010 5:00–8:00 PM
Vault Gallery
2289 Main Street Cambria, CA 93428

"Summer Evening Cripple Creek"

Paintings will be available for preview and sale starting April 29th on the Vault Gallery website.
www.vaultgallery.com
Tel: (805) 927-0300
E-mail: Laylon@VaultGallery.com

Best in Show Award

noreply@blogger.com (Libby) — Wed, 07 Apr 2010 04:08:00 +0000

Elizabeth Tolley’s painting "Into the Light" received

The Best in Show Award

at the

Glenna Hartmann Invitational Fine Art Exhibition

February 2010

Jean Stern, Executive Director of the Irvine Museum in Irvine, California and a recognized authority on California Impressionism, was juror for the exhibition.

“Into the Light”

“I am thrilled to have received the Glenna Hartmann award. I felt fortunate to have known Glenna. Our paths first crossed in the Carrisa Plains in the early 90’s while painting. In the the years following we had the opportunity to participate in various paint-outs and exhibitions. The last time we painted and exhibited together we were painting for the 2007 Heritage Exhibition.“ Elizabeth Tolley

Leave of Absence

noreply@blogger.com (Libby) — Wed, 07 Apr 2010 03:59:00 +0000

Libby is taking a leave from her public studio in Paso Robles while she prepares for her 2010 exhibitions, participates in two plein air events, and teaches a plein air and studio workshop. If you would like to make an appointment to meet with her, please call 805-441-7713.

Happy Fall!

noreply@blogger.com (Libby) — Mon, 10 Nov 2008 15:55:00 +0000

Fall is here! And the light is beautiful. I hope you're outside enjoying the cool, crisp weather. This painting is one of three currently on display at Roger's Gardens for their show on California Missions.

Early California, Oil on Linen, 11" x 14"