Tuesday, October 25, 2011

Museum Painting Class:

We will discussing the use of color in landscapes and starting a landscape painting today. Please bring a medium sized canvas to class. If you would like to do a study first, bring a smaller canvas or panel.

See you tonight!
Linda

Understanding Color through Oil Painting 10/4/2011

Tue. 10/4/2011

Today we painted simple still life studies, using analogous and complementary colors to create the illusion of volume. Previously the class has worked with color value studies, using analogous colors and white.

As a review: analogous colors are those that are closest on the color wheel, such as blue green, green, yellow green, or yellow orange, orange, red orange or colors that are closely related, such as yellow ochre/yellow or burnt sienna/ cadmium orange. These colors can be used to create a value scale, keeping the saturation and integrity of the color (hue) along the way.

Each color, right out of the tube, has a value-light to dark. Lemon yellow is the lightest on this scale, burnt umber one of the darkest. Learning to see color in terms of value is an important first step in creating a vibrant and compelling painting.

Adding white or black to push values ranges can dull the color or change it altogether ( red + white: pink).

In the previous class, we discussed complementary colors and how they can be used to neutralize saturated colors (pure colors). Complementary pairs for primary colors are:

red/green

yellow/violet

orange/blue

Colors directly opposite of the color wheel are the color's complement. Complements are useful in creating shadow values. A little bit of cadmium red can be added to green to create the shaded area of a green apple, a touch of violet to the yellow of a lemon.

Today we started the still life paintings, sketching with the paint brush and diluted paint the objects seen first as geometrical shapes. The shadow masses were also blocked in as simple shapes.

Starting from dark to light, colors were mixed and applied: Shadow, middle values and light, leaving the details, highlights and reflections for last. The foreground and background colors/values were also blocked in so as to be able to assess the correct overall value composition.

Most have not completed their paintings, so I have posted a few photos if you want to continue to work. Please feel free to try another study at home and email any questions. Wine, snacks and music (Ipods ,cds) are welcome for the next class and please bring objects that you would like to paint for our next class.

See you next Tuesday!

Linda

Exhibits/Workshops/Residencies-Spring Schedule

I am especially looking forward to the artist in schools residencies this year and to visiting Wrangell for the first time as the guest artist for their bird festival. My Homer residency will be focused on painting and self portraits and the Aquarian residency will deal with painting, botanty, plant forms, and seeds.

Anchorage Museum Portrait Painting Classes-Feb 3-March 31 (no class March 10)
Selo Kachemak School-Homer, AK- Artist in Schools Residency-April 11-22
Aquarian Charter School- Artist in Schools Residency-TBA
Stikine River Bird Festival, Wrangell AK.-Guest Artist-April 24-May 1.
Plein Air Painting Workshop, Anch. AK-Alaska Artists Guild-May 23-26
Anchorage Museum-Oil Painting Classes-Fall Schedule-TBA

Featured Artist-exhibit of new paintings-Artique Gallery, Anch AK. June 4, First Friday

Anchorage Museum Purchase

Eureka oil on canvas 18 x 20 2010

Eureka has been recently purchased by the Anchorage Museum of History and Art. This purchase was funded by the Rasmuson Foundation and will be part of the museum's permanent Alaska contemporary artists collection.

I've been working as a set painter on the movie, Everybody Loves Whales, being shot here in town since late September. The job has been great and I have learned a lot. I am looking forward to getting back to work painting and reconnecting with friends.

I've collected images of plants that I plan to use as reference material for future paintings. Most of the photographs were taken in September when plant life has started to decay and takes on a sculptural architectonic appearance. Posted are a few examples of these photographs.

Hope everyone is well and ready for winter. I will get back to you with details of new classes at the Museum this year.

Linda

New Painting

Jungle's Edge- Oil on masonite. 12 x 12" sold

The return of the swallows......

Volveran Las Oscuras Golondrinas

Volveran las oscuras golondrinas

en tu balcon sus nidos a colgar

y, otra vez, con el ala a sus cristales

jugando llamaran

pero aquellas que el vuelo refrenaban

tu hermosura y mi dicha al contemplar

aquellas que aprendieron nuestros nombres

esas...no volveran!

Volveran las tupidas madreselvas

de tu jardin las tapias a escalar

y otra vez a la tarde, aun mas hermosas, o

sus flores se abriran;

pero aquellas, cuajadas de rocio

cuyas gotas mirabamos temblar

y caer, como lagrimas del dia

esas...no volveran!

Volveran del amor en tus oidos

las palabras ardientes a sonar;

tu corazon, de su profundo sueno

tal vez despertara

pero mudo y absorto y de rodillas

como se adora a Dios ante su alter

como yo te he querido.... desenganate

asi no te querran!

Gustavo Adolfo Bequer

(1836-1870)

Final touches

Putting on the final touches for the June show. I am using gallery wrapped canvas and am not framing paintings this year. The wide edges look great with a neutral color. I am using a gray tinted acrylic gesso and add a purple or green tint to this if needed. I have to resist the urge to tweek the paintings.......they are ready and need to dry.

The last few weeks before a show are problematic. One has to accept that time is up, the paintings are done and that soon they will be in the hands of others. Paintings are like children, I've done what I can to make them what they should be and now I have to let them go. My walls already look empty without them.

My daughter said this too........"Mom, the walls look empty. I miss your paintings." We go through this every year. As soon as the show opens.......it's back to the empty studio to start all over again.

Looking ahead......

Ah......spring is finally here. The birds are back and there is that new yellow/green color of new birch leaves everywhere. Soon it will be summer, it comes fast, like a wave. Got to be quick and catch it! I try not to get too anxious about summer plans......but I want to do it all....hiking, biking, trail running...plein air painting etc etc.

Here are two things to put on your calendar if you are interested in art. The IGCA will have an amazing exhibit this June. Be sure to look for Asia Freeman's from the Bunnell Art Center in Homer. Of course stop by and see my show at the Artique. I'll have 13 new pieces on display. Opening reception June 4th at 5:30.

I also to plan to organize a book reading at the IGCA in July for Homer/NY author Serge Lecomte. Serge will read poems about his late daugher, Laura and will read and sign his new book. The date has not been set, but we plan do this on a Saturday night.

Early June I fly to Boise, Idaho to do a 70.3 Iroman Triathlon and will be back to start my Pet Portrait painting workshop at the Museum. I believe there is still room to sign up. I would also like to organize a plein air painting class for the fall.

Hope to see you in June at the Artique.

Collect Art 100 x 100 Today at the International Gallery

This is a great opportunity to start or add too your art collection. Most pieces are of a smaller format and $100 or less. There are other larger artworks for less than $500. Hope to see you there. ~Linda

COLLECT ART 100 x 100 It's not out of reach. This Friday the International Gallery of Contemporary Art opens COLLECT ART and 100 x 100, two exhibitions that feature works by more than thirty artists - all for sale, and at $500 or less (including at least 100 pieces priced at $100 or less). This is an annual exhibition, aimed at encouraging new collectors for original works and offering an opportunity for seasoned collectors to expand their collections without expanding their pocketbooks. While contemporary art is not about the dollar value, sometimes it's nice to have a chance to get something good for a good price. Get there early - doors open at 5:30 p.m. on Friday, May 7. Stop back by throughout the month - new works may be added. iPads are cool, but collecting art is cool, too. It's not for the old, it's for the wise. Exhibition runs through May 29. Artists include: Pat Adofae, Behind the Eight Ball, Jessica Brown, Randall Carlson, Don Decker, Julie Decker, Rachelle Dowdy, Sharon Ennis, Meg Fowler, Michael Gerace, Sandy Gillespie, Peter Graziano, Denise Heimel, Gina Hollomon, Esther Hong, Margret Hugi-Lewis, Sonya Kelliher-Combs, Ashley Kelley, Ted Kim, Darian LaTocha, Keren Lowell, Linda Lucky, Linda Infante-Lyons, Kim Marcucci, Don Mohr, Jsun Parizo, E.J. Pavsek, James Riordan, Wanda Seamster, Todd Sherman, Andy Sonneborn, Michele Suchland, Sheary Clough Suiter, Dallas Wildeve, Sheila Wyne & more...

Close ups for portrait studies

Here are some closeup images of our model, Meg. Take a good look at each feature and notice the patterns created by light and shadow. Notice how the upper lid casts a shadow of the iris and whites of her eye. When you look at the closeups of the nose, you can clearly see the warm shadow mass (starting from the right), the almost greenish shadow accent followed by the warm pink transition zone (where shadow meets light). You can also see that the lightest area, the light accent has almost a blueish tone. The light area above the nostril is reflected light.

You can download and print these images if you would like to work on them in class tomorrow. Meg is now wearing a red kimono, which has altered the cool/warm transitions in her skin tone.

See you all tomorrow. You may work on last week's painting or move and find a different perspective for a new painting.

Linda

Pet Portrait Workshop- Anchorage Museum June 21-25

"Brindal" L. Infante Lyons

I will be leading a pet portrait workshop at the Museum June 21-25, 6:30-9pm. This is an oil painting workshop. If you would like to sign up, contact Jody Jenkins: jjenkins@anchoragemuseum.org.

Mixing Flesh Tones

Hello Painters,

Bring your canvases from last week to class. This is our last day with Andy. Bring in a large canvas for our next session as well. I will show you how to tone the canvas for the next portrait session with Meg.

Take a look at the pictures of Andy's face and look for these distint value zones. Start at the right of his face, in the shadows and move left. Each one of these zones is a value. There are subtle shifts in temperature as well, cool greenish zones in the warms shadow areas and red to cool yellow green in the flesh in the light area. You can see these areas more clearly on the full frontal image.

The have pushed the contrast and color saturation on Andy's images with Photoshop. Andy's shadow mass is warm, the reflected light cool greenish, the dark accent cool (sap green +), the transition zone a very saturated red hue, the skin in light warm with shift to yellow near the forehead and nuetral/cooler near the jawline. The highlights are cool greenish. Normally if the shadow mass is warm, the highlights are cool.

Here are some suggested flesh tone mixes. Remember to think in value as you mix your colors. What value is yellow ochre? Burnt sienna? As you mix your colors for each zone, check your value steps from one zone to another. Do your mixes provide the correct value step? Be aware that values are relative; a reflected light in the shadow zone, will appear dark in the flesh in the light zone.

Hue=Color

Color temperature=warm (red,orange,yellow), Cool (blue,green,violet)

Chroma= Color saturation, purity, intensity.

Value= range of dark to light

Flesh Tone in Shadow: Large shadow mass on the right side of his face.

Burnt sienna + viridian (a touch) + ultramarine blue (small amount)= warm mahogany.
Burnt sienna + viridan + yellow ochre= cool shadow

Reflected light: Area in the shadow mass that is picking up light indirectly. The color/temperature depends on the surrounding colors and the temperature of the light source. Apply reflected light on top of the already painted dark shadow mass.

Yellow ochre+ burnt sienna + sap green= coolish green
Yellow ochre+ alizarin + cerulean= warmish pink


Dark Shadow Accent: Area between shadow and transition.

Burnt sienna + yellow ochre + viridian= neutral greenish dark accent.

Alizarin + burnt sienna + ultramarine blue= warm violet red accent

Transition Zone: Where shadow meets light, usually the most pure in chroma. Look at the bright red area of the nose close up.

Ultramarine blue (a touch)+ cad. red= warm

Viridian + yellow ochre + cad. red = greenish cool

Flesh Tone in Light- Area in direct light.

Yellow ochre + cadmium red + white= pinky flesh

Yellow ochre + cad. red + touch of sap green + white= cool flesh

Highlights: very small accents of light, the hue depends on the light source, background colors, and the temperature of the shadows. Warm shadow, cool highlights. (nose, cheek bone, forehead)

White + yellow ochre + touch ultramarine blue= cool accent

White + yellow ochre + sap green= cool green accent

White + cad red + yellow ochre= warm pinkish highlight

Darkest Darks: Useful darker value for cast shadows, hair etc

Prussian blue + alizarin + burnt sienna= deep purple value

Dioxazine purple +Prussian blue.

Remember to mix dark to light colors, a little at a time. Clean brushes well between colors and values. Mix big batches of color.

Again, bring wine and snacks if you like. See you all Tuesday.

Linda

Portrait Class Tomorrow

I've posted images of Andy (with his blessing) for you to examine and use during the week. We have looked at portrait painting in terms of value, looking for the big abstract shapes created by light and shadow. We painted a value study of Andy's face and later another study in a monochromatic skin color. The skin color was a mix of the three primaries and white and was monochromatic in that we had one color, adding white to create a value scale. Tomorrow we will examine the subtle shifts of color temperature in a three dimensional object. We use yellow ochre this time (our shortcut for a nuetral yellow). Here are a few things to think about before class tomorrow:

Color temperature: Warm colors-red, oranges, and yellows.

Cool colors- blue, green and violet.

These colors correspond to the color spectrum, of white light divided, as in a rainbow, red on one end and violet (infra red to ultraviolet).

These pictures of Andy are enhanced so as to see these shifts in temperature. Notice in the close up of this nose, the warm shadows on the right, the cool ( almost olive) dark edge of the shadow (darkest value) and the warm red transition zone on top of his nose before it meets the area of light. In general, if the shadows are warm, the highlights ( the lightest of light) will be cool. The transition zone, where light meets shadow, will be the most pure, in the sense of color saturation or chroma. You see the transition zone is a pure unadulterated red.

We will use yellow ochre, alizarin, burnt sienna and sap green (or viridian mixed with burnt sienna) to acheive these mixes. We will have to add a few others (Prussian blue) to push our values to the dark side. Remember............"value does all the work, color takes all of the credit". More on the value of color tomorrow.

Andy is with us for two more sessions before Meg takes over. I would like to do a more finished portrait in the next two classes. If you want to work larger for this final portrait of Andy, bring a bigger canvas.

You are welcome to download and print the images of Andy to work on at home or in class.

I will bring wine and snacks, you are welcome to contribute.

Linda

Black and white image for value studies

New Paintings

I have a few smaller paintings available. Slana Slough is a the Artique and Glacier Bay can be purchased from the Bunnell Street Gallery in Homer.

Slana Slough was inspired by my latest road trip to a small native village 50 miles southeast of Tok. I especially loved the names on signposts as I traveled the 200+ miles to Northway Village, I stopped along the way and took pictures (see previous posts) and wrote down some of the names:

Slana, Chisana, Galena, Metastna, Eureka, Nebesna, Siana, Tanana, Sinona, Gakona, Gulkana, Tolsona, Tazlina, Nelchina, Eska.

How lovely!

I am working on a solo exhibit which will show at the Artique in June and preparing for the portrait painting class in January. The class is now on the museum website, with contact and registration information.

Best Holiday wishes to all. Enjoy this awesome winter scenery!
Linda

Trunk Show

Good to see everyone at the Bunnell Street Arts Center Trunk show. So nice to see all of the artwork displayed in Jo's beautiful home. I will have more small format paintings on display at the Artique in December.

~Linda

Bunnell Street "Trunk Show" in Anchorage

A wonderful way to spend a winter Sunday afternoon. Soup and Art to warm the body and soul. Sunday, November 22, 1-4pm. Hope to see you there. ~Linda

Bunnell Trunk Show

A fundraising sale of special items for the Bunnell Street Art Center

Where: Jo and Peter Michalski’s home, 921 W 14th Street in Anchorage
a grey, two-story, flat-roofed home with black trim behind City Sagaya

When: November 22, 1 to 4 pm

Artists include Annette Bellamy, Kathryn Carovano, Alex Combs, Sonya Kelliher-Combs,
Steve Godfrey, Elizabeth Eero Irving, Asia Freeman, Ahna Iredale, Linda Lyons, Sara
Tabbert, Rika Mouw, Kathy Smith, Antoinette Walker, Carla Potter, Deland Anderson,
Ann-Margret Wimmerstedt, Lisa Wood, Turid and Ron Senungetuk, and Judy Winn

Minimum suggested donation $25

Enjoy a delicious mug of homemade soup with bread from Fire Island Bakery
Earn a raffle ticket for a pair of Rika Mouw earrings with every purchase or donation of $25.
Raffle Drawing at 4 pm.
For more information email: info@bunnellstreetgallery.org

Botanical Forms

I am always interested in forms in nature. Lately, I have been focused on landscapes and patterns formed by mountains, streams, water, and vegetation, but I have always loved plant forms.

I have a bonsai tree, a very primitive species of palm that has been around since the age of the dinosaurs. Within weeks of taking it home, it began to put forth a little shoot, perhaps a type of flower, some type of reproductive organ. As you can see from the photo, the shoot has a primeval embrionic appearance.

I once had a little cactus, no larger than a baseball. For years it just sat there with no signs of life. Then, one year it produced a large pink trumpet shaped flower, three times its size. Such extravagant beauty from this unassuming little plant!

To see more photographs of plant forms, take a look at this website, photography by Karl Blossfeldt : http://www.soulcatcherstudio.com/exhibitions/blossfeldt/index.htm.