Thoughts on Popularity of Plein Air, Updates posted (by others) on Peel Mansion Paint-out, Goals, Sun-Eden Watercolor Tripod

Well, unfortunately I never made it to Phoenix as I was not yet over my illness, but now am better and ready to re-group and get back to work. Was so sorry not to make it to my great-niece's graduation, but was able to talk to her that night and sounds like everyone had a great time. Hope you had a nice Memorial Day weekend. The weather was rainy here. My hubby finally got to grill his steaks yesterday but it started raining on him again just as he was finishing up. Umm, they were delish!

As for an update on the Peel Mansion Paint-out, I've posted a couple of links in the column on the left side of this blog under 'Recent and Upcoming Events in Arkansas' regarding how it went. Looks like it was very successful and I'm so happy as that means it will surely become an annual event. Hopefully, Heart of American Artists' Assoc. (founded by John Lasater and Todd Williams) and Peel Mansion have started the ball rolling as far as getting other organizations interested in sponsoring plein air events.

I don't know if it's just that I'm so aware of everything 'Plein Aire', but am I wrong in feeling lately that in the U.S., and maybe worldwide, Plein Air painting may be experiencing a renaissance similar to what happened with the popularity of gardening over the last 10-20 years? I know personally, I started my fascination with plein air back in the late '70's, but there was no internet to search the subject. Also, I was busy working and mothering at the time so my only connection to the art world was via books. But there weren't many on Plein Air painting like there are today, and certainly not the number of videos currently being made! Anyway, if it's truly going through a 'rebirth' I'm thrilled. I do feel that, as in gardening's comeback, it can be related to one's desire to get back in touch with our earth and with nature, especially in such times as being so disconnected due to technology, with global warming, and from a strictly artistic POV, that our greatest teacher is Mother Nature herself. What's your take on this thought?

I received my new Sun-Eden easel and I can't wait to try it out! The one I purchased was the 'Heavy-duty Plein Air Tripod'. I was concerned about the 'travel adaptor' (the part that holds your canvas/watercolor board) being plastic; not to worry, it seems strong enough to hold up even to pretty windy conditions. I am concerned though about the tripod. It's a bit bulky when folded up and at first I could have sworn it was heavier than my old tripod. But I went back and re-read the specs on both and even weighed each one on my postal scale and sure enough, the Sun-Eden tripod is slightly (every ounce is being counted!) lighter than my old one. I guess, because of it's bulkiness when folded, it visually appears heavier. Anyway, the bulkiness makes it a bit cumbersome so I'll just have to see. The plastic tray that holds one's palette, etc. is very nice too. I'll give an update on it after I use it.

My goals for this week:

• Do some plein air painting with my new easel!

• Prepare some pots for glazing; I've ordered some more ^6 'Buff' clay from Flint Hills Clay works.
  

• I want to make some changes to my website i.e. colors, etc.

• I've made a new goal to dedicate the equivalent of at least one hour a DAY in my yard / gardens. It's the only way I'm ever going to get my yard looking half-way decent or the way it should!

• Although it's very time consuming, and I probably won't get the time to do it (such negativity, I should strike this!), I want to make a new 'winter to spring' video to replace the 'March' one for my blog.
  

Until my next post, happy painting, gardening, photographing, or whatever!

Peel Mansion Paint-Out

I was so excited about going to the Peel Mansion and Heart of America Artists' Assoc.'s Plein Air Rendevous, but became sick that first morning and had to miss the rest of the event! What are the odds? Bummer. Anyway, it looked like they had a great turn-out for their 1st one. I know there were 40 people pre-registered a few days before the event and people could also register the morning of the 1st day. It was a beautiful thing to see all the artists scattered across the lawn in front of the old house with their easels, going to work on their paintings. There were also other historical landmarks in Bentonville including Compton Gardens participating, so artists were in different areas. This was the first time for me to attend a plein air event so I was very disappointed to have to miss out, but just being there for that short time was very productive for me. I really enjoyed it while I was there and in that very short span of time, it's amazing how much I learned via my mistakes while painting that morning. My favorite quote for years has been "The more you know, the more you know you don't know" (Aristotle). My painting was a disaster, but I learned a LOT from every mistake I made like:

• Don't for one second on my first attempt at a paint-out think I'm going to finish within the time allotted for myself. Mainly because people are everywhere; coming up to you to introduce themselves, take photos, etc., and being intimidated because painting around 'others' is so new to me, and not accustom to having someone/people looking over my shoulder, I would STOP, visit with them, and wait for them to meander on before swinging back into gear. Lost a lot of time, not to mention focused energy on the task at hand doing this, but closer to the end, I wasn't even looking at the person speaking to me; was so into my painting (and becoming aware of a sunburn) that I kept painting furiously, realizing I had gone over the 2 hours I had allowed myself by almost an hour. I should be used to this as it happened all the time in the studio classroom. But that's just the thing, it was a classroom, everyone knew each other, we were all in the same boat, and were not being viewed by the 'outside'. Now I AM on the outside and this very issue has been another hurdle for me to overcome painting en plein air. But now I've done it, it wasn't so bad, I can't worry what by-standers may say or think about my painting and I'm ready to move on!

• Yes, I know what you were thinking when I mentioned 'sunburn'. Why did you set up where the sun would hit you? Don't you know to set up in the shade if you don't have an umbrella? And don't you want to take advantage of the cast shadows that would enhance the structure of the focal point? Well, my reason in doing so is because I wanted to paint the 'backlit' side of the house, like Zbukvic suggests, and I found a great view that no one else had chosen (can't imagine why). All the other painters were out on the front lawn. There were only three of us in the back, a guy over in a shaded corner, a very sweet looking older lady with an umbrella along the sidewalk, who looked like she had done this many times before; her painting of a water pump among the flowers was coming along nicely, and me, just outside a shaded area wishing it was closer. Oh yeah, along with a possum that had been captured overnight in a trap. A guy told me they were having 'squirrel problems', but of course they caught a possum instead. Felt sorry for the little guy, wanted to let him go. He looked sleepy, and he was in the nice cool shade of the house...I digress, anyway, I'll know next time that I'm too much of a novice to think I can paint faster than the sun. Actually, just so you don't think I'm a total idiot, several people that came by thought I had chosen a great view, even though it was eventually in the blazing sun. One lady that came by close to the end of my venture, when the sun was beating down on me said "Oh my, you out there in the full sun!" Then after coming over to my side and turning around to see my subject matter implied "I see now why you're here. This is a great view!" This was the view I chose to paint:

The dappled sunlight on the walkway and foreground grass was really nice, and the white of the banister patterns, columns, and porch ceiling was casting some beautiful pale blue shadows. The weather was perfect, nice and cool, until I was in the sun. I was planning to just make the corner of the banister and porch the focal point until the artist came along later and set up her easel. It made for a great painting. Will have to re-do this one for sure, but place the artist a little to the left. She's too dead-center don't you think? Actually, I think she looks best right where she is, think I'll leave her there. I definitely plan on returning to get in practice with my plein air painting.

• As far as my actual painting went, I over-worked it, crossed the line of no return in watercolor, was getting sick, physically and emotionally, was sunburned and frustrated that I ruined a potentially decent painting (nothing new, I do that a lot), but I learned so much as I painted and have mentally gone over what I need to do differently next time I paint this scene.

And even more importantly, I met some new artists (another thing, I really need to get out more). There was also a group of painters from Ft. Smith there, and most importantly, got some new information on a Plein Air group in the area. That was probably the most productive thing I could have achieved for the whole event. I do wish I had taken some photos of the artists on the lawn, as one day that would have been a significant photo, being the 1st annual Plein Air Rendezous for Peel Mansion. And it would have been a great photo. I had planned on getting photos later, as I thought I would be back the next morning, however, I felt so bad by Fri. morning, went straight to the doctor, then home to bed where I stayed all weekend. Thanks to some strong antibiotics, I'm feeling much better now, and looking forward to more paint-outs in the near future. As soon as I find an update on the Peel Mansion/Mid-American Artist's Assoc. Paint-out with the winners etc., I'll post a link to it. I'll be out-of-pocket for a couple of weeks. I'm supposed to leave next week to Arizona for my great niece's high school graduation. CONGRATS SHANTE, and best wishes to a bright future (see you soon) !!!

Until then, the following is something dedicated to all mothers out there, with a special note to Shante's mother, Felicia, a great Mom indeed. Gertrude Kasebier is one of my favorite Master Artists and the first time I saw this photo, it had a profound affect on me. My youngest daughter had left the nest, and this photo said it all. It also reminded me of my oldest daughter's 1st day of school...

To Felicia, and all Mothers, I hope you had a wonderful Mother's Day!

Blessed Art Thou Among Women,

Gertrude Kasebier, c1899

Painting in the Hollow: The Pines, Zbukvic, and Results from the Cone 6 Glaze Fire

I'm later than usual with my posting, but I wanted to wait 'til I finished and photographed my painting of the Pines in the hollow as I had said I would in my last post. Also wanted to give a report on how my glaze firing went, so here it is:

Painted our pine tree logs that I allowed the 'tree guys' to roll down into a small ravine directly behind the house. Silly me, I was running around after the guys felled the pines hauling them to a place in the back yard to save so that I can later do 'something' with them, what just yet I don't know. And with each one I would pass up, it was as if it were saying 'pick me, I don't want to go!' (I'm weird like that). Well, as it turned out, the guys were having a problem with the city (a place has been designated for disposal of trees from the ice storm damage) accepting the pine lumber (so they said). So I was very content to allow the men to leave all the pine with us. I really did not want those beautiful logs hauled away. Pine breaks down quickly and it just seemed right that they stay here. Oh, and the oak trees? Well, we've got enough fire wood for years to come!

I touched up the pines and added some highlights here and there in the studio.

The Pines, wc, 9 1/8" x 12 7/8"

I was so frustrated with it while painting in the woods, but kept reminding myself of what Joseph Zbukvic says, to 'keep going' when painting your subject outdoors and 'never lose faith' because as soon as you do, you'll fail at your attempt. He is so right! I kept painting, and although I wasn't satisfied, I did feel the painting had some potential. After about an hour, I was getting stiff from sitting on the ground, and also felt I may be getting a tick or two (which I later discovered was true) so I lumbered back to to studio, untaped my painting, threw it around here and there trying to decide what to do with it. Toss it to the done that pile, or keep going? The logs were only partially painted, but that was really the only thing left unfinished, aside from adding a little detail to the foreground trees. I just didn't want to give up on this painting. It held a lot of meaning for me. The hollow represented the final resting place for Daddy's pines. They represent 30 years of our life here, the lives of our girls, our pets, and a constant reminder of my father and his love for nature...nope, it was worth trying to save because as I looked at it, I could feel the emotion I had while painting them. It may not be the greatest painting, but it enabled me to work through the emotional and physical process of losing 'the pines', and hopefully viewers can be reminded of similar things that matter to them also.

Well, unfortunately, I was not so satisfied with my glaze fire. None of my cups turned out like I wanted, as the patterns I slipped on them barely show. The firing also went to cone 7 on the middle shelf and probably on the bottom shelf too (didn't use a witness cone on the bottom). However, that only seemed to compromise the brightness of the blue slip on one of my jars, but it may also be the reason for my slip decoration not showing up on the cups. I really think though, that [the slip doesn't show up] because my glaze application was too thick and my slip was too thin.

But I did have a couple of pieces turn out pretty good, such as the blue and white facetted 'safe jar' seen in this picture. The one in the foreground is the one that the blue slip did not come out on. The blue slip used on the inside however, did fine (fired it with the lid on). I may re-fire this piece later, as I've had success with the blue colors working on re-fires. Don't like to re-fire though. Always afraid the piece will break and create a mess in the kiln. Luckily, this has not yet happened to me. If I do decide to refire, I will only take it to about cone 5.

And my 'grass' cups turned out good:

These are some of my pendants. I'm have fun making them. I love making small clay things because of the portability. I can just sit anywhere and work on them. I carry everything I need around in a little shallow cardboard box and put a small amount of clay in a ziplock bag to keep it moist as it dries out quickly and will lose it 'malleable' texture if exposed to the air too long. I use food freezer paper, the waxed side as my surface to work on (sometimes getting a shape started by using the palm of my hand) as it leaves no marks on the clay. I draw out my patterns 1st on newspaper, then trace them using a felt-tip/sharpy pen on plastic tops of margarine and 'Cool Whip' bowls. These become my templates.

One final note for all you die-hard Joseph Zbukvic fans (like me) out there. He FINALLY got an official website, and also his new video, Watercolour Impressions with Joseph Zbukvic, is now available in the US via The Artists' Place. I bought it and very pleased with it. I could watch that guy paint all day. Maybe, just maybe one of these days I'll be able to take one of his workshops.

Well, that's all for now. I'll be posting again next week on a paint-out. Oh, and I've ordered the Sun-Eden watercolor tripod set. Will let you know what I think of it. I just can't keep lugging that 11 lb. french easel around; and so much wasted space, not to mention it's killing me. My shoulders, back, and knees, Oh my! Now I'll have one less excuse for plein air painting, as every time I'd think about all that weight, I would talk myself out of going somewhere to paint. I also plan on posting about my new macro lens (was my Christmas present from Santa) sometime in the near future. Until, then, happy painting, potting, photographing, or whatever makes you happy!

Watercolor, Pastels

With the winding down of winter and the last bit of snow we had recently, I've wanted to re-visit an idea to paint from a photo of some snow-covered echinaceas that I made last winter.

This is the photo I chose to work from. I had painted them once or twice before, but was unhappy with the results.

The first watercolor I did, I was so disgusted with it that after a few days (battling the saying, keep all your paintings, you can sometimes salvage them or at least have them to learn from or assess your progress), I could stand it no longer and covered it up with gesso. I had tried some maskit on the stems and snow and did not like the results, but then I never do. I have to agree with others that it takes practice and using [maskit] is an art in itself. I think my main mistake was trying to stay too close to the composition of the photo and not using my artist's license to create a more interesting composition (one of the pitfalls of painting from photos). A horizontal format, it had more flowers plus too much detail (same as the photo) in the background, resulting in a very busy painting - not at all the mood I was after. I know you're probably thinking 'why didn't you show us the first painting so we could see for ourselves?' Ha! Too late, already painted over it. Besides, I thought I would spare your eyes and my embarrassment.

I sometimes think about things for a very long time before making my next move. If you read my post about 'artistic thinking', you'll understand me when I say that I've had this on the back burner since the day I took the photo. That would be over a year, maybe longer. So, at times I would think that just a triad (is that the word? I forget my art history sometimes) composition of flowers would be best. I have to work through my thinking/creating process, putting the pieces of my ideas together, before getting to the end result. So that's why I first tried the horizontal format which was similar to the photo. Then I can say okay, been there done that, got it out of my mind, now on to the next step.

I knew then that I needed to return to my early thoughts of focusing on only a few flowers to make a more interesting painting. I made a few rough sketches (in my mind as well), before drawing this detailed pencil sketch on tinted paper.

This time, I did away completely with the background, and only used three flowers, the main one in the center that attracted me in the first place because of its interesting stem shape, and placed the ones on either side to balance the composition and lead the eye up to the center flower and back around to the center stem. And since I was only using three flowers, I changed the format from horizontal to vertical. Just for fun, I added some colored pencil to the sketch.


Here's my second attempt, a watercolor on a quarter sheet of Waterford 140 lb. cold press paper (the flip-side of the gessoed 1st painting). For the background, I chose to abstractly use the colors, wet-in-wet, that were actually there to compliment the warmth of the flowers' stem colors. And oh yes, I tried masking fluid again on this painting, and still was not satisfied with the results. I need to go in and soften up some of the edges of the snow and also some of the stem edges, before I chuck this one to the done that pile.






Snowcones
Pastel, 9.5" x 13"

Here's my third redo, using pastels and I'm much happier with the results. Did this on Fabriano Tiziano drawing/pastel paper, a small sheet approx. 9.5"x 13" with a gray ground, which gave the 'cold and quiet' feel I was after.

Using the blue-gray paper also saved on pastels and time. Pastels are so expensive! I absolutely love the medium, and for a long time have wanted to get into them more, but the investment in the sticks, good grief. And then there's the problem of archiving and framing; guess I need to purchase some glassine - suggestions anyone?

Let me know your experiences with your creative process, and your opinions. Let's have an 'art to art' talk!

Tuesday, I painted in the hollow and am itching as I type this from a couple of tick bites received on that outing. I'll let you know how that went on my next post.

A Farewell to Old Friends

It's been a busy but also a melancholy week here
at home. The 'tree guys' finally removed all of our beloved pine trees (the ones my father gave me 28 yrs ago, just before he passed away) that were severely damaged from the Feb. ice storm. I've been dreading this day for several years. Funny, but I almost had these trees removed before the Christmas holidays, and backed out. As I hung up the phone with the tree service, telling them NOT to come, that I had changed my mind, I had a sinking feeling and thought, I hope I haven't jinxed us. This will probably be the year we get a bad ice storm. My husband and I continued to halfheartedly joke about that, saying we were certainly 'due' one as it had been several years since the last big ice storm. Well, as it so happened, it couldn't have worked out better, because the storm did just enough damage to make the decision easier without taking out our home. We're so lucky they didn't come crashing down on the house during the night. This week, just feeling the deep, vibrating 'thud' as each gigantic trunk hit the ground was enough to reassure us that we made the right decision to get rid of them before they take us down in the next storm. They would easily have split the house right in two.

You can see in the photo on the right how 'thinned out' the pines were from the ice damage. Of course I think they would have recouped fine, but they were just getting way too tall and were too close to the house, as were several of our oaks (notice in 3rd photo on right, the 2 oaks standing, now stripped of their limbs, trunks shortened, and ready to fall, how close they were to the house) . The old oak tree on the side of the house was the last to go. So sad, as it was a gorgeous tree, but it pounded our roof all night during the ice storm and if that tree had snapped, well, it was right up against our house. It's the one that kept me running all during the night of the storm as each limb that snapped crashed to the roof. We would grab our flashlights and cautiously peek into the bedroom to see if any limbs were protruding through the ceiling. Luckily, they never did. As much as I hate to see all these beautiful trees go, I know we'll rest easier, especially at night when a storm's coming. We lost a total of 15 trees in our yard, 7 of which fell from the weight of the ice, but fortunately, we were able to save many, or at least give them a few more years, by pruning the damaged limbs.

One good ending to all this though - knowing that this day would come, I have been saving seedlings from my Dad's pines and should continue having some for a few seasons, as I've also been collecting the pine cones and I know the yard is still full of seeds. I have been transplanting the seedlings in the hollow (they're not too happy there though-too much competition for sun). I'm trying to find some good sunny spots to plant some along the back yard at the wood's edge - well away from the house! Hopefully, I'll be able to continue my father's imprint on our property (which, regrettably he never got to see) and his love for southern pines.

My goals for tomorrow:

• Finish mixing up some glaze recipes - had to order some more chemicals before I could finish up.
  
• Play around with some new water-based oils I purchased a while back.
• Maybe make some more clay pendants. I'm having fun with these, but have no idea how they are going to turn out.
  
• And I'm STILL archiving photos - been doing this all week!

As I'm posting this, a tornado warning has just been issued in parts of Oklahoma, and probably headed this way. Hey, that's okay, at least we've taken care of the tree issue, now we just have to worry about the house...