Painting my World

Pile on the Paint...Using Impasto

2012-05-27T10:06:00.000-04:00

'Meadow Dreams' 4x4 oil on panel ©Karen Margulis

Thick paint and yummy texture! So far this is what I am enjoying the most about painting with oils. An artist friend commented that she liked the impasto in this painting. I didn't realize I was doing impasto in fact I only sort of knew what impasto was. Well it is true that you learn something new everyday so I researched impasto so I could be more knowledgeable. So what is impasto? Impasto is an art term used to describe thickly textured paint that is almost three-dimensional in appearance. It can be applied with a brush or palette knife. It is often used in expressive works and the textured paint is an important part of the painting.

My cheap palette knife collection

I came upon the technique of impasto by accident. I was trying to get the larger flowers and some grasses to come forward so I was playing around with my palette knives to lay down thicker blobs of paint. I also discovered that I could use the knife to remove some paint to create more delicate stems and grasses. I know this is elementary to those experienced with paints and brushes but to this pastelist it is like being a child discovering exciting new things!
If you haven't tried impasto yet don't be afraid of wasting paint while you experiment. I painted small (4x4) so my thick paint went farther! I have always enjoyed getting texture in my pastels but I haven't found a way to get the same effect as I am getting with oils. I am going to have to give this some thought!

How to Protect a Mini Pastel Painting

2012-05-25T17:03:00.000-04:00

'Down to the Beach' 2.5 x 3.5 pastel sold

It's Beach time! I will be heading to the Georgia Coast next week and it will be wonderful to see the ocean. For this trip I will be bringing my oils but I will also pack my small 'lounge chair' pastel kit. Sometimes when I go on a trip with my friends we don't even paint. We always have good intentions but sometimes we are content to take photos or walk for miles combing the beach for treasures. But I always have to know I have some painting supplies. Just to know I have them with me in case I want to paint is all I need.

So I plan to paint small. I like to paint these mini aceo size pastels. They measure just 2.5x3.5 inches so you don't need a lot of supplies to create them....just a small box of pastels, pre-cut paper, a piece of foamcore and tape or clips. When I finish painting one I slip it in between the pages of a magazine or a travel guide.

I use Clear Bags sized for aceos or Artist Trading Cards

Storing these little mini paintings is easy. I like to use clear bags by Krystal Seal. All you do is slip your art into the bag and fold over the resealable flap. I usually cut a piece of foamcore the size of the paintings to make the package rigid. I don't have a problem with pastel clinging to the plastic. If I have to remove a painting I am just careful to lift the bag away from the painting as I pull it out.
You can find these bags at ASW Express HERE A pack of 250 is only $13.49

'By the Sea' 2.5x3.5 pastel Bid HERE

'Seaside Retreat' 2.5x3.5 pastel Bid HERE

If you would like to read more or my posts on painting minis, click on the tab 'aceo' on the sidebar.

How to Make an Ordinary Photo into a Great Painting

2012-05-24T16:27:00.000-04:00

'Coffee on the Porch' 9x18 pastel ©Karen Margulis available here $175

No matter how you slice it.....deciding what to paint in a landscape can be a challenge. Whether you are painting en plein air or from photos it is hard to choose what to paint from all of the information in front of you. In today's post I am going to share a way to help you choose a point of view to paint from a photo. Often our photos include too much information. We are excited about a beautiful landscape so we hold up the camera and try to capture it all. When we try to paint from the photo somehow it doesn't seem the same as we experienced. It is boring! I have two suggestions to help you make more interesting compositions from your ordinary photos.

Take time when you take reference photos. Many of us use our cameras just to record the scene especially if we consider ourselves just casual photographers with a point and shoot camera. If this sounds like you I challenge you to take a little extra time when taking photos. Think like a photographer and 'paint and compose' with your camera. Change your viewpoint...stoop down or get up higher...shoot a vertical...zoom in on just a part of the landscape...try your macro setting...play with the scene modes and see what they do. You don't need to be a pro photographer to take more interesting reference photos.
Take your boring reference photos and crop them to find better compositions.

My underpainting with my cropped reference photo clipped to my board

My View finder made of matboard

I use reference photos for inspiration. I don't ever try to copy them exactly. Many times the photo as a whole is uninteresting but there are little parts that would make a great painting. I cut two L shaped pieces of matboard and use them to look for these little gems. The L pieces allow me to be flexible with sizes and formats. Once I find a composition I tape it off with artist tape. (see top photo) For today's painitng I chose a long and narrow format with a low horizon. The original photo still has many other compositions to discover!

So the next time you are flipping through your photos and nothing speaks to you....take out your cropping tool and look at those boring pictures in a new way!

An Easy (and cheap) Way to Store Wet Paintings

2012-05-23T17:42:00.000-04:00

'Naptime' 5x7 oil on panel ©Karen Margulis $100 Purchase Here

Wet Paint! It's a new problem for me. With pastels I didn't have to worry about letting paint dry. I could easily store my finished paintings in boxes separated by a piece of glassine paper. (I have other pastel storage ideas and you can read about them in these posts) But doing an oil painting a day results in a lot of wet paintings to store. I can't just leave them propped up on shelves in the studio because of my menagerie of 6 cats and a dog. I do allow them into the studio so I have to make sure it is animal friendly. Fortunately I came up with an easy and inexpensive solution.

A mini table easel makes a good drying rack for a single wet painting

I started out using my small table display easels to store my wet paintings while they dried. I put them up on shelves. I quickly ran out of table easels so this wasn't a good solution for a daily painter. I knew of other artists who have narrow shelves built on their studio walls. (too skinny for cats) and I am planning on putting some shelves in. I have just the place for them. But until then I needed another solution. Thrift store to the rescue!

Re purposed CD racks for wet panels

I came across several CD racks at my local thrift store. These racks are perfect for storing small wet panels. They are great for small panels up to about 8x10. I even brought the smallest rack along on my latest plein air paint-out. It fit into my bag and was perfect for storing the day's wet paintings back at the hotel. It frees up the wet panel carrier for the next day's painting.
I never realized that CD racks came in such a variety of designs and sizes. Through trial and error I have found that some work better than others. Here are some things to look for.

Bring a panel along on your hunt. You can test out your potential finds. (I didn't have a panel with me but found a 5x7 children's book as a stand in)
Some racks hold the CD's flat and some show them at an angle. I prefer the flat ones which keeps the painting level.
Some racks have wider slots which are good for thicker panels.
I see the tall stand-up rack all the time but I haven't tried one. I'm afraid my big dog will fun into it and knock it over or her tail wagging will create unwanted brushstrokes!

The best thing about this storage system is the price. I got one for $2 and one for 77 cents! How do you deal with wet paintings? Anyone have some great ideas to share? Comment below!

Today's painting is my first oil painting of my cat Tobi. I have painted Tobi many times in pastel. It was fun to lay on the paint and get textured fur!

Make Time for Art This Summer...My Tips

2012-05-22T16:59:00.000-04:00

'Share a Little Sunshine' 8x10 pastel ©Karen Margulis available HERE $95

Summer is coming and to many summer means taking a break and taking it slow. My students welcome the break of the routine of weekly classes. I think sometimes we are like kids. We look forward to summer vacation from our regular routines. But like kids if we don't do some kind of summer learning we have to play catch up in the fall. I encourage you to Make Time for Art this summer! I may not be holding my weekly classes but I have planned several classes that I call my 'Summer Camp' series. I will be offering several fun pastel classes that invite students to explore some alternative techniques such as monotypes, dusting, fast & loose minis. The classes will be a relaxing a fun way to keep the creative juices flowing over the summer. See the schedule HERE. Keep reading for my tips for making time for art this summer.

Two new pastel converts! We had fun painting sunflowers in a private class.

What can you do if you don't have access to summer camp classes? Here are some ideas that have helped me:

Make it a goal or challenge yourself to paint of sketch every day. Keep a sketchbook or do a small painting everyday. One year I took a large calender and did a small sketch in each day's box.
Make room for art. Set aside a room or a corner where you can leave some supplies set up and handy. You will paint more often if you don't have to spend time setting up and cleaning it all up after each painting session.
Invest in some quality materials. They really do make a difference and your art is worth it! Order a sampler set of pastels or paper from Dakota Pastels.
Read and participate in online art forums such as wet canvas. Facebook has many art groups to join. It is fun to post your work and get feedback as well as inspiration from all the wonderful art being posted.
READ READ READ! Always have an art book on your nightstand. I am working on compiling a list of my favorite art books to share.
Subscribe to at least one art magazine and spend some downtime reading every page. I love getting my Pastel Journal!
Check in on your favorite art blogs.
Make a small art goal for yourself. Whether it is painting more often or entering a show...set a goal and go for it!
Try a different medium or art form all together. I love crafty things but never make time to do them. Check in on Pinterest and pick a project to complete.

Do you have any ideas for making time for art? I'd love to hear them! I will also be posting more about my summer camp sessions so you can follow along with us. Be sure to sign up for blog updates so you don't miss them! (sign up on sidebar)

Do You Have A Studio Gremlin?

2012-05-21T16:28:00.000-04:00

'Looking For Peace' 8x10 pastel ©Karen Margulis purchase HERE $95

Studio gremlins account for a lot of the problems with our paintings! What is a studio gremlin? It is an imaginary creature who is very mischievous. Gremlins are known for tinkering and sabotaging aircraft but it is a little known fact that they like to make changes to paintings when the artist isn't around. Has this happened to you? You are working on a painting and leave it on the easel for the night. When you leave it, the painting is coming along nicely...good composition, good shapes, good value patterns. When you come back in the morning it isn't like you remembered. There is the center of interest right in the center or your trees moved or grew or things are lined up in a row. How did that happen! You can blame them on the studio gremlins or you can blame yourself for overlooking common compositional pitfalls.

In a recent letter Robert Genn discussed 6 common compositional pitfalls artists make. One of them is something we have to be very aware of in painting because it happens so naturally....that pitfall is what Genn calls Homeostatic Conditions.

"Homeostasis means equidistant lineups of trees, rocks, blocks of color, or other patterns that are too mechanical or regular...While sometimes seen in nature, homeostasis is a natural human tendency- a subconscious reordering and regularizing within the brain"

That means it really isn't the fault of the gremilins....it is our own subconscious need to reorder things. We may start out with interesting shapes and a variety of sizes and intervals in our painting but if we are not paying attention we end up moving them into regular patterns. I have two tips that have helped me beat the Gremlins!

Underpainting for 'Looking for Peace'

I start my painting with a plan. I try to make sure my initial study and underpainting avoids homeostasis. I ask myself if I have variety in the shapes and heights and sizes of objects. Are the spaces between shapes unequal? Are things lined up too regularly? It is easiest to fix these things in the beginning stages.
I try to be aware that sometimes these conditions do occur in nature. So if things are too regular I am not afraid to move things around. As Degas said " Even in front of nature one must compose"

If you would like to read about the other 5 compositional pitfalls you can find Robert Genn's letter HERE

How You Can Paint With Flowers

2012-05-20T20:14:00.000-04:00

'Into the Meadow' 8x10 oil on canvas ©Karen Margulis purchase HERE $150

Yes you read that right. This weekend I was painting with flowers and not painting them with pastels or oils. I spent all weekend playing in the dirt and planting all kinds of things in my yard. A friend and student who is also a landscape designer told me how she paints with flowers and it made so much sense and fun to do. She has no formal training in landscape but just has an eye for creating wonderful gardens. She has been very successful. Her clients would give her a budget and free reign to create the garden. She would go buy as many plants the budget would allow and then when they were delivered she would 'paint' with them.

How do you paint with the plants? Just as you would paint a painting. You would block in the big simple shapes...make sure you had those anchor plants that would form the backbone to the garden. You would make sure your backbone plantings weren't spotty....connecting them when possible. You would want to have color harmony so picking your color palette in advance would help but if you didn't do that you would want to arrange the plants so the colors would flow and work well together. Bright colors would look best surrounded by duller or grayer colors. You would want to have a variety of textures. You would make sure your garden wasn't too busy or fussy everywhere and that your garden had a 'quiet place' to rest. These are just some of the things my friend told me she does with her garden designs.

A small section of my garden. Birdhouse will be mounted on a post

So this weekend I tried to paint with flowers. I had a tiny budget so it was challenging. Oh what I could do with an unlimited budget!! The photo above shows just a tiny part of the work I did. If you can imagine this area was covered with weeds so this is progress. It is a painting/garden in progress and I look forward to the time when I will be able to go out and paint the flowers in my own garden!

The Secret to Painting a Wildflower

2012-05-19T17:47:00.000-04:00

'Clover and Lace' 12x16 pastel ©Karen Margulis Purchase Here $175

I had the nicest comment this week on one of my Queen Anne's Lace paintings.
" I've never seen anyone paint Queen Anne's Lace the way you do." Not only did the comment make my day it also gt me thinking. What do I do that is different than other artists? How did my style evolve? What is the secret for painting a Queen Anne's lace bloom? Expanding on these questions I started thinking about how artists become known for a certain style or subject matter. How does one begin to master a certain subject?
I don't have all the answers but I do know what has worked for me. The secret for painting wildflowers for me is that I paint them often and with passion. Paint what you love. Paint your truth. I have heard this advice many times. Figure out what it is you are drawn to. What makes your heart race? What compels you to capture it on canvas or paper? For me it is wildflowers and probably Queen Anne's Lace as my most favorite subject. When I see them bobbing by the roadside my heart sings. When I paint them I try to paint them with the same excitement and passion. If you can paint something with passion and love than this will show in your work.
My secret for painting any subject well:

Paint what you love. Sure, you need to stretch and paint other things to help you learn and grow as an artist. But always make time to return to your favorite subjects.
Paint what you know....or really get to know your favorite subject. Study it and paint it over and over. I can't tell you how many variations on this same field of Queen Anne's Lace I have painted. I vary the technique,color palette, composition....and with each painting I get to know the flower even better. I never tire of painting them because they move me
Plan and then paint with Passion! When I paint a field of Queen Anne's Lace I start with a plan so that when I paint I can paint with passion and just intuitively respond to my painting. I don't want anything to slow me down like choosing colors and making composition decisions.

What subject makes your heart sing? How many times have you painted it? The more you paint it, the more you will make it your own and your own unique style will emerge. I think I will go paint some more Queen Anne's Lace!

The Ups and Downs in the Life of an Artist

2012-05-18T16:33:00.000-04:00

'Among the Poppies' 8x10 oil on canvas ©Karen Margulis purchase here $150

Being an artist is sometimes like riding a roller coaster. One day you are up with a successful painting or perhaps a sale or some recognition for your work. The next day you are down....painting a dud, struggling with self doubt or rejection of some kind. I try not to let these ups and downs effect my attitude. I remind myself to look at the big picture and I keep plugging away at being the best artist I can be.

This week was a typical week full of art related up and downs. I started the week on a high. I had sold an oil painting at the Anderson Creek Paintout and I was shipping 40 pastels to my agent for scanning. I was excited about the opening reception for the Southeastern Pastel Society's International show. I had a painting in the show and was very proud to have been accepted. I never go to an opening expecting to win anything. I remind myself that getting into the show is the reward. But I admit it that it is always nice to win a little something. Last night wasn't my time. It was a low but it was also a high since my good friend Barbara Jaenicke won Best in Show! I also was approached by several other artists who gave me great feedback on my blog and others interested in my classes. And today while feeling a bit low, I just got a wonderful email from a collector who just received one of my oil paintings and was thrilled with it. Ups and downs!

I'll let myself feel down for a few hours today but then I know I need to turn that energy into positive energy. I know that I will have to work even harder to become a better artist. I will start a new painting with the excitement of all that is possible. I won't allow a disappointment to slow me down. If negative thoughts try to creep in I will remind myself that I am doing what I love and I will continue to enjoy the ride!

Today's painting is an 8x10 oil on canvas. Photo courtesy of Renee Lammers. She does wonderful daily paintings on copper. Visit her blog HERE

Finding the Right Bag for Plein Air...for 99 cents!

2012-05-17T16:32:00.000-04:00

'The Magic of Early Morning' 8x10 pastel ©Karen Margulis purchase here $95

I've complained about this before. I just can't seem to find the right bag to cart around my supplies for plein air. I admit I am a Bag Lady. I can't resist a nice backpack or suitcase or bag. But I never seem to have the right one for the job. Since my last two plein air experiences with oils I have been looking for a bag that would fit everything including my tripod. I am tired of walking around with a backpack, paintbox and tripod without my hands free. I've gotten a few great suggestions from my readers and art friends and I was all set to pay $100 for a new Kelty Redwing backpack that came highly recommended. That is until I found this:

My new plein air bag for oil painting

This roomy messenger style bag fits all my painting supplies with room to spare. I got my EasyL easel box, Raymar 6x8 wet panel carrier, and all my misc supplies in the two compartments. It has two outside pockets for my wipes and water. My tripod goes into a bag and fits on top of the other stuff. The large padded strap allows me to comfortably carry the bag across my body which gives me free hands. I did a trial run and I think it is going to work well for painting at the lake this summer.
The best part of this bag is the price.....I got it at my favorite thrift store for 99 cents! Yes you read that right....instead of $99 I got a bag for just 99 cents. (it was really $1.99 but it was half price day at the thrift store!) Now that I am $98 richer I will head to Blicks to see what else I might need!

Today's painting is a pastel demo I did for my Wednesday night class. Our lesson was on avoiding homeostasis or having things too orderly and regular. It is easy to make things to regular with shadow patterns and tree lines so this was a great exercise. More on this in a future post.

Painting Queen Annes Lace in Oil...Mini Demo

2012-05-16T16:45:00.000-04:00

'A Sea of Lace' 16x20 oil on canvas ©Karen Margulis available here $320

I always wonder how an artist works out a painting. How did they start? What steps did they go through? What colors did they use? I love to watch an artist do a demo and I try to do a demo painting in all of my classes. I always learned the most from watching my teachers paint. Today I am sharing a photo collage of the painting I just finished. I am working on some wildflower studies for a large commission (30x40) I want to be sure my client and I agree on the colors and composition. This painting incorporates the flowers and colors she would like. I have a few more ideas to work on before I present them to her.

mini demo of an oil painting on canvas (16x20)

If you have been following my blog you know I have been working with oils this month. I have been working with a limited palette of white,black, cad yellow med, alizarin crimson and ultramarine blue. I am developing a painting much in the same way that I paint with pastels.

(from top left) The first thing I do is mix some red and yellow and make it soupy with some gamsol. I establish the basic shapes of the flower heads with some reds, oranges and purples. Then I make a very wet light orange for the sky and let it drip into the flowers. I let this dry so that the drips and spiderwebs appear. (it was dry in about an hour)
Using loose paint but not as drippy as my underpainting, I start to build up the flowers with salmon and yellows.
I mix up some purples and blues to establish shadows and distant flowers. I also put in the sky with a pale pink-purple. I work the sky down into the flowers.
Now it is time to put in some greens. I start with the darkest greens. For the lighter greens I use thin paint and let it drip. I don't want to completely cover the cool spiderwebs of the underpainting so I am keeping the paint thin.
Next I am ready to put in thicker paint on the flowers. I am using peaches, salmons,purples and blues ans well as thicker greens.
It is now just a matter of building up the flowers with thicker paint. I use a palette knife to get some sharp edges and petals. I also splattered some greens in the foliage for texture.

My reference for this painting was one of my pastel paintings. It was great because it kept me loose and not to worried about copying the details in a photo. So much fun!

How I am Avoiding Painting Color Charts

2012-05-15T16:25:00.000-04:00

'Among the Lupines' 5x7 oil on panel ©Karen Margulis purchase here $100

I am not a chart person. Yes I know I should be making color charts with my palette. I know it will help me mix the right color. It will help me understand what the colors can do. But I am a messy painter. Charts scare me because they always look so neat! I love looking at the neat little squares of colors and I envy the artists who have the patience to do the charts. Maybe I will do them someday but for now I am avoiding them. So what am I doing instead?

My Limited Palette and the piles of colors used for this painting

I have chosen just to paint ...a lot. I have committed to doing five small oils a week and so far I have painted 21 this month. My thought is that I am learning about my palette and mixing colors by just doing it. I am learning by trial and error and making some wonderful discoveries as well. For me, creating a small painting is more satisfying than making a chart. It may take me longer to understand what each color will do but I am having fun figuring it all out.

It is a big help that I am using a limited palette for all of my paintings. I am using Ken Auster's palette of Black, White, Cad Yellow medium, Alizarin Crimson and Ultramarine Blue. I plan to use these colors until I am confident I know what they can do. Then I will gradually try other colors. So far I am amazed at the range of colors I can get from this limited palette. Using just a few colors keeps it all manageable. The challenge I gave myself for this painting of Lupines was to see how many variations of purple I could mix. I had so much fun!

Finding Inspiration in Unexpected Places

2012-05-14T17:02:00.002-04:00

'From Murphy's Garden' 5x7 oil on panel purchase $100

Last night I happened to tune into the Antiques Roadshow. I was in the kitchen and was half listening when they started talking about a painting a lady had brought in. I was too busy to go look until they mentioned that this artist was known for her flowers. I decided to take a peek and I am glad I did. The painting was by an American artist named Mary Elizabeth Price (1877-1965) The painting was a large floral that the appraiser called a 'screen'. It was a close-up of some Globe Mallow flowers on a gold and silver leaf background. I was captivated! It was so contemporary and such a wonderful viewpoint of the flowers. I had to see more!

Irises by M.Elizabeth Price oil

I was not familiar with M.E. Price but after some research I learned that she lived in Pennsylvania and was a member of The Philadelphia Ten. She also had connections to the New Hope School. Mary Elizabeth Price was an advocate for the exhibition of women's artwork and was a pioneer in the area of art education. Price is, perhaps, best know for her paintings of decorative floral panels. These close-up, painterly renditions of peonies, poppies, hollyhocks and delphiniums often held gold or silver-leaf backgrounds.

Mary Elizabeth Price painting en Plein Air

I just love this photo of Price at work on a large plein air painting of what looks like flowers. It makes me want to go out and paint some big flowers! I am really drawn to her work and I am so glad that I just so happened to see it on the Antiques Roadshow! I am definitely going to find out more about her. You just never know where inspiration can be hiding!

My painting of the purple irises was done during the Blue Ridge Plein Air Festival at Mary Murphy's garden. (that is another story!)

The Benefits of a Break from Technology

2012-05-13T16:43:00.003-04:00

'May Meadows' 5x7 plein air pastel ©Karen Margulis purchase here $75

Turn off your phones and computers and go out into Nature. This is the advice Clyde Aspevig gave us at the Plein Air Convention. Over the last few days I followed his advice....and not by choice! I went to visit my parents in the North Carolina mountains and to help my sister with some organizing. I also had a painting event in the area on Saturday. I had very intermittent cell phone service. If I was up on a mountain I got service, down in the valleys...nothing! After awhile I just gave up and stopped checking my phone for email or messages. Internet was also spotty and I was busy so didn't have time to chase down a wifi hotspot. After a day of withdrawal I started to enjoy being disconnected.
I spent quality time with my family. I enjoyed being outside, taking the dog to the lake for a swim and trying to sell some stuff at the local flea market. I enjoyed a plein air painting event at Anderson Creek Retreat in North Georgia. I did miss posting to the blog and checking facebook and email but I didn't realize how much I needed the time away to recharge. I enjoyed getting out into nature and soaking in the quiet beauty without the distractions of my phone.

'The Coming Storm' 5x7 plein air pastel

Clye recommended that we do this often It is important for us to get out into nature and study it. To really understand what we are trying to paint. I have tried to have my phone available while I am painting outside and it has been frustrating. Casual phone calls or calls that could really wait are distracting. From now on I will have my phone with me for emergencies but I will ask my family not to call unless it is an emergency. After the last few days without the phone and internet I really can appreciate the benefit of some quiet time away.
Today's paintings were done at the Anderson Creek Paint-out. We had less than 2 hours to paint and it started raining as I painted 'The Coming Storm'. Fun but challenging plein air conditions.

How to Outfit your Studio for Less

2012-05-10T16:00:00.000-04:00

'Sharing the Warmth' 8x10 pastel

A few of my recent thrift store finds

Being an artist can be expensive! Art supplies can be pricey and we never have enough. We need things for storage and for carting around our supplies. We need frames and display easels. We need art books and magazines for inspiration. We need items for still life set ups. All of these things and more can be found at thrift stores, estate sales and garage sales. I usually make a weekly 'thrift store run' to get out of the studio and see what treasures I might find.

I have found some awesome items at my local thrift stores. Probably my most useful find was the large wooden bakers rack on wheels that I use for paper storage. Last week I wasn't having much luck. I was on my last shop and went to the book section where I discovered two nice books on Sargent and two brand new Moleskin sketchbooks. One was even sealed with a price of $18.95 on it. I got them all for $2 each! I love the thrill of a good find!

What kind of second hand items have you found for art? I'd love to hear your stories! Please comment below so we can all be jealous!

The Benefits of Plein Air...The People!

2012-05-09T07:56:00.002-04:00

'The Clearing' 6x8 oil on panel purchase $125

People love to watch plein air painters at work. People love to talk to plein air painters at work! Some artists love to talk back and answers questions and for others this part of the plein air experience can be a distraction. I was somewhere in between the two but after last weekend I have changed my mind. As much as I love the beauty and solitude of painting outside by myself, the people you meet can add so much more to my experience. Here is what happened last weekend....

Photo by Aggie Villanueva http://www.aggiev.org/

My friend Jayne Bachman and I had just finished our picnic lunch of PB & J's and we set up alongside the Toccoa River in a local park. The weather was clearing and we were enjoying the quiet punctuated by the sound of the rushing river and the birds. I was having a great time with my oil paint trial and oblivious to the people wandering past. At one point a dog ran past and a woman came up to the picnic table where we had set up. She asked if she could put her camera equipment bag on 'our' table. She explained that she was a professional photographer...a fellow artist. She went off with her dog to photograph the river.
In a few minutes an older lady came up to the table and introduced herself as the photographer's mom. She asked if she minded if she talked with us. Now this is the point where some artists might be frustrated. Especially if they are making progress on their painting. But I am glad we didn't let our paintings become more important than the interaction with our visitors. We enjoyed a lovely conversation and the photographer, Aggie, took our photos at our easel.
I know that Jayne and I will remember the day not for the paintings we did but for the people we met. When I look at the painting that I did work on I will remember the sights and sounds of the day and I will remember talking to Aggie and her mom and watching her dog Smudge swim in the river. This will color any paintings I do in the studio of this place. And that is a good thing!

You can see more of Aggie's photography on her website

Tips for a Successful Plein Air Paint-out Experience

2012-05-07T17:04:00.001-04:00

'The Rain Shall Pass' 6x8 plein air oil on panel ©Karen Margulis available here $125

My Plein Air Set Up

Being an artist is often a lonely business. We spend a lot of time alone painting either in the studio or outdoors. Some of us are fortunate to live in an area with artists groups and this helps get artists together. And of course social media has given us the ability to connect with other artists online. But there is nothing like spending a few days totally immersed in art with a group of other like minded artists.
I am back from participating at the Blue Ridge Plein Air Festival. This is my 5th plein air even so I am by no means an expert but I do have some tips to share to help make your paint-out participation go smoothly.

Be prepared! Let's talk about clothing first. The weather doesn't always cooperate or do what the weather reports say so make sure you are prepared for the extremes. Dress in layers so you can add or take off layers as the weather changes. I didn't think I would need gloves when I was packing for Las Vegas and it was in the 90's but I could have used them when it ended up being in the 40's! (I did throw in a pair of knit gloves but couldn't find them in my duffel...so be organized too!) I have a wonderful packable windbreaker from REI that I always have with me. It is great for changeable weather.
Supplies: Try to downsize your supplies so that you can easily manage carrying them by yourself. Practice setting up if anything is new. In my oil set-up I can fit everything I need into one small rolling tool bag. I need to find a backpack to fit it all for times when a cart won't work. You don't want to be worn out from managing too much stuff. Downsize and practice with it to make sure you aren't missing anything. I am working on a checklist so stay tuned.
Framing: If you are planning to enter paintings in the show at the end of the event you will need to have frames and framing tools/supplies. I try to work in no more than 3 sizes so I don't have to carry to many frames. Don't forget a little tool kit with a screw driver,tape measure,and hardware. I also bring preprinted stickers to put on the back of my work. The stickers have my information and a space for title and medium.
Food: You need fuel for painting so a good breakfast is important. I like to bring my standard picnic lunch of peanut butter and jelly sandwiches. It is great to take a break and have a nice picnic lunch. Don't forget portable snacks and drinks.
Comfort items: Don't forget some bug spray and sunscreen.
Promote yourself. You never know who you will meet so be sure to bring some business cards. We met some wonderful people at the Blue Ridge event....both fellow artists and passer-bys. It was nice to be able to exchange cards.

These are the things that first come to mind and I am sure I will think of things to add. I would love to add your tips too so feel free to comment! If you haven't done a plein air event I would encourage you to find one in your area and give it a try!

Painting Daisies en Plein Air...Then and Now

2012-05-06T19:42:00.001-04:00

I just got back from the Blue Ridge Georgia Plein Air Festival. I had a wonderful time! We had good weather and great company. We painted all day and spent the evenings rocking on the screen porch and catching up with good friends. My friends Marsha Savage and Virginia Dauth both took home awards! I chose to paint only in oils and did 10 paintings. I had so much fun. We had a chance to revisit on of my favorite Blue Ridge painting locations, the farm of Mrs. Ruby Parks.

It occurred to me as I looked at my paintings that my very first plein air experience was 6 years ago at Mrs. Parks farm. I was taking a pastel workshop with Marsha Savage and I didn't have a clue about plein air. I had only been painting for a few months. But I fell in love with the whole experience! One of the paintings I did then was an 8x10 pastel of a clump of daisies. It was my first success and I was hooked. (see it below)

Now six years later I was a newbie again trying a new medium. I enjoyed revisiting the landscape and interpreting it with oils. One of the subjects I tired again was a clump of daisies I saw in the meadow at Mrs. Parks. It is interesting to me that I chose the same palette for the daisies 6 years later and in a different medium! Stay tuned tomorrow for a full report on my plein air trip!

'Plein air Daisies' 8x10 pastel

A Great Studio Find from Ikea

2012-05-05T21:57:00.000-04:00

'Moody Blues' 18x18 pastel SOLD

I am never without my dishtowels in the studio. I keep a large basket of various size towels near my easel. I also have a smaller basket for the dirty towels. I use them for everything. On the floor to catch pastel dust, on tables when using tabletop easels over my shoulder when I paint, line my butchers trays...and on and on.

The biggest use for the towels is to keep my pastels clean while I paint. I like a towel handy so I can swipe the pastel in between passages. This way you keep your colors bright and clean. When the towel gets dirty, I throw it in the basket until I have enough to do laundry.

I had been using an odd assortment of dish towels. I like the thinner ones best. But my students always have the best ideas. One student uses her husband's gold towels. You know the kind with the metal clip? She attaches the clip to her painting apron strap and it is always handy. Love this idea! Another student found these great hand towels at our local Ikea. They have loops sewn in so I can thread my apron strap through the look keeping the towel in reach yet hands free. It is lightweight too. And she picked a great color! Thank you morning class for your helpful pastel tips!

Today's painting is a commission I did for one of my collectors. She wanted a big blue sunflower. This was so much fun to paint!

Less is More in Art ...Part Two

2012-05-04T16:30:00.000-04:00

'The Lady in Red' 8x10 pastel purchase here $125

It is a challenge to keep a painting simple yet still have meaning. Just how much detail does there need to be? In yesterday's post I listed a few ways to help balance the detail in a painting with areas of rest and mystery. One of the ideas is to set a timer for 30 minutes and do a quick painting. The goal is for you to stop to evaluate the painting before overworking it.
My friend has a saying for paintings that we over work. We don't finish a painting rather we 'finish them off'. It may be just a southern thing but I'm sure you get the idea. What I like to do after my 30 minutes of painting is step away and take a break. Come back to the painting and put a mat or frame on it, or tun it upside down. Now I ask myself a few questions:

Where is my area of interest or star?
Is is clear that that this area is the star?
Is my eye drawn to this area? Is there the most clarity in this area?
Do I have any resting places or areas of quiet and mystery?
Are there any secondary areas of interest? Do they lead me to my star?
Do I need to add anything? If I make a mark will it help support my star?
Do I need to take something out? Is there too much information or unnecessary information? When in Doubt...Leave it out!

The painting in today's post was done as a 20 minute demo for a private student. The goal of the demo was to show how I paint a poppy so by default I didn't put too much information in the background. I hinted at some other poppies and the pods but I think that focusing on my star poppy served the painting well.

If you missed part I of this exercise you can find it here.

Less Is More in a Painting....an exercise to try

2012-05-03T16:54:00.000-04:00

We hear it all the time "Less is More" "Simplify". But it is easier said than done and what does it even mean? Why is less more and how do we achieve it? This is something we are working on in my classes. Robert Genn has addressed this topic in some of his letters and it was a recent letter on compositional boo-boos that inspired my lesson. Genn talked about having too much going on in a painting as being a common pitfall. To quote Robert Genn:

"Overly busy works tire the eye, induce boredom and make it difficult to find a center of interest or focus. Less is often more. "Take something out" said the American painter and illustrator Harvey Dunn"

So I interpret this to mean LESS STUFF EVERYWHERE = A MORE INTERESTING PAINTING
It is our challenge to find the balance between putting in enough information and clarity in our area of interest and making sure we have some areas of rest and mystery so out viewers can participate in our paintings. Here are some ideas:

Have a plan before you start painting...know where your area of interest will be so you have a general direction.
Work with pastel chunks rather than hard sticks or pastel pencils. You are less likely to get too fussy with bigger pieces. (same as the idea of using bigger brushes)
Try working on rougher surface especially homemade textured surfaces. The texture forces you to paint loosely and less detailed.
Start with a wet or loose underpainting. If everything begins mysterious and out of focus it is easier to decide where to put in the clarity.
Try doing a painting more quickly than your usual pace. Often we are done sooner than we think and we just end up fiddling and adding too much stuff.
Set a timer for 30 minutes and take a break. Come back to the painting with fresh eyes.
Use a frame or mat to eliminate the surroundings...this allows you to concentrate on the painting and evaluate it. It is often closer to being finished than you might think!

Here is a suggested exercise. Choose something to paint and get set up. Set a timer for 30 minutes to paint. Try to work quickly and efficiently. Stop after 30 minutes and take a break. You will now evaluate your painting and in tomorrow's post we will finish the exercise. Don't make another mark until I post the next part of the exercise! If you are itching to paint, start another one or two!

A Good Choice for Reasonable Plein Air Style Frames

2012-05-02T16:36:00.000-04:00

I love to paint but I dislike framing. Fortunately I don't have to do much framing. I have two galleries who prefer to handle the framing of my work and the paintings I sell online are unframed. Every once in awhile I need to frame something. This weekend I am going to the Blue Ridge Georgia Plein Air Festival and I will need to frame anything I want to enter into the exhibition. So I am packing up frames and framing supplies and thought I'd share some of my favorite sources.

Since I don't do much framing I haven't opened an account with some of the wholesale framers so my recommendations are from the point of view of someone who occasionally needs a frame. When I want a really nice, well made, good looking frame for a great price I order from King of Frames. www.kingofframe.com Randy Higbee and his crew do a wonderful job and I love their frames. They usually have a good selection on sale for $30 too!

A frame from King of Frames 11x14 Arroyo Gold

If I want to spend less than $30 but want a decent wooden plein air style frame then I get them from Jerrys Artarama or ASW art Supplies. I like the Plein Air style in gold, black and mahogany. They can be found on sale for $12.99 for a 5x7 for example. They also come in other finishes. They are decent quality for the price. I actually like to have a few on hand to use when I am evaluating a painting to see if I am finished. I call them my 'Magic Frames' because it is almost magic how they can make your painting appear more finished than you thought it was. My student love when I bring the Magic Frame around!

An example of a gold plein air style 'Magic Frame'

Today's painting of the Queen Annes Lace at the top of the page is the largest oil I have attempted so far at 16x20. I am going to be brave and bring my oils to this weekend's plein air festival in Blue Ridge. I will let you know how it goes!

Why Try a New Medium?

2012-05-01T18:31:00.001-04:00

I waited six years to try a new medium. I'm glad I did. I am also glad that I decided to give oils a try. I was somewhat resistant. I was quite content with my pastels. I had gotten the hang of them and knew how to get the effects I wanted. Why would I want to try something new and have to go through all of the learning curves? I had heard of the benefits of working in more than one medium...".It will help your pastels" they would say. I tried oils once or twice and it wasn't fun and I made mud. I wasn't ready. I didn't understand enough about my first medium and about painting in general to have success with another medium.

So now some have asked me why now? Why am I giving oils a try. What was it that made me do it? I mentioned in an earlier post that I felt left out at the plein air convention. The majority of the artists were painting in oils... but I had been toying with the idea before that. I made excuses that I just didn't have room to set up another easel and I didn't have time to practice oils and do my pastels. How could I make excuses! I realized that I give my students the advice to practice with daily paintings and yet I wasn't practicing what I was preaching! I have now made space and made time for practicing with oils and so far I am loving it.

What have I learned? That is yet to be discovered. Each day and each painting is a new adventure. It doesn't matter if they turn out. It just matters that I cannot wait to get down into my studio each morning to work on my daily oil. I am painting in my sleep even! I am sure that I will realize the benefits of learning a new medium and how it might improve my pastels but for now the best thing that has happened to me is this wonderful giant spark of excitement to paint. And that was worth waiting for!

What are your thoughts or experiences with trying a new medium? How has it helped you improve your work?

Underpainting 101...Value Underpaintings for Pastel

2012-04-30T17:19:00.002-04:00

I love doing underpaintings for my pastels. I probably do some sort of wet underpainting for 95% of my work. The fun part is deciding which technique to use. I love to experiment and so I am not content with using only one technique. Alcohol, turpenoid washes, watercolors, oils....they all have their own unique results. I usually choose an underpainting technique that I feel will best supposrt my subject or concept for my painting.
An underpainting technique that I love for beaches and snow scenes is a value underpainting with an alcohol or turpenoid wash. It really works well for any landscape in which there is a strong contrast of darks and lights...or where you really want to get a nice feeling of light. What you are doing is a value study on your paper with a hard pastel and brushing it in with water,alcohol or turpenoid.

Value Underpainting with an Alcohol Wash

Supplies for an Alcohol Wash

How to do a Value Underpainting

You need to work on sanded paper that can take a wet wash, rubbing alcohol, a stiff cheap bristle brush and a dark hard pastelsuch as a Nupastel. I like a dark blue-purple.
Design your painting and do a quick value sketch.
Block in the big simple shapes and assign each a value. Concentrate on using dark, middle, light and the white of your paper.Keep it simple! Vary the pressure of the pastel to get the right value.
Make sure your values shapes are not spotty...connect shapes when you can.
Using the alcohol paint the shapes starting with the lightest. Try to keep brush clean so that you don't end up with a big dark blob.
Tip: take your time and really paint with your brush. Try to describe the object you are painting.Don't rush this part...paint with sensitivity.
Let the underpainting dry before adding pastel.

If you would like to try some other underpainting techniques you might like to read my other posts on underpaintings HERE

Simple Techniques for Painting Grass

2012-04-29T18:06:00.000-04:00

It is so easy to paint stiff grass. You know the kind I am talking about. Grassy areas that look too manicured. Grasses that look rigid and unnatural. The difficulty comes about because we tend to paint grasses the way we think they are ...the symbol in our brains for grass often resemble a green grassy fence.(think of how a child draws grass) We don't always look as carefully as we should. So my first bit of advice is to be observant and pay attention to the colors and movement of the grasses. Here are someother tips to help you paint more 'painterly' grasses.

My chart of ideas for painting grasses

Avoid painting individual blades of grass. Think instead of the big underlying shapes or blocks of grass. Pull out and paint a few blades. Allow the viewer to participate and fill in the rest. A few well placed blades will read as grass.
Using the long edge of a soft square pastel use the press and lift method to leave a print of a piece of grass. Do a few but be careful not too have them spaced too evenly or all marching in the same direction.
Use the top edge of a harder round pastel and roll it leaving a broken line of grass.
Lay down a block of color and then draw some lines of grass with a thin hard pastel. Draw a SENSITIVE line. Have a light responsive touch so the line isn't to thick or regular. Practice sensitive lines.
Paint on a heavily textured surface. Glide the pastel over the texture and it will look like grasses without putting in a blade!
Underpainting! I like to use an alcohol, turpenoid or oil stain and allow the drips to create the grasses.

Painting on a heavily textured surface makes easy grass with out painting a single blade!

'Autumn Prelude' 8x10 pastel