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Oil Painting

My Friend Greg LaRock OPA—How One Artist Influenced Many, for the Good

Rick Delanty · Jan 18, 2021 · Leave a Comment

“Make it your ambition to lead a quiet life and attend to your own business and work with your hands…so that you may behave properly toward outsiders and not be in any need.”  

 –1 Thessalonians 4:11-12

Greg painting in Laguna Beach

This is a most fitting description of a dear friend of mine and the kind of life he led. You may know that OPA Signature member Greg LaRock passed away Sunday October 11, as the result of a traumatic head injury. I was heartbroken by the news. The following is a paragraph I posted on Facebook later that week.

LPAPA INVITATIONAL mentors—Left to right, Greg, Rick Delanty, Jeff Sewell

“I could not let this evening go by without sending out a tribute to the memory of my friend Greg LaRock. I am still in disbelief that he has passed away this past Sunday. Though I cannot comprehend it, or push back my sorrow, I can celebrate the times we spent together: painting the figure at Art Supply, painting together at the Laguna Invitational, teaching painting to young elementary students with Jeff Sewell and the Plein Air Project, exhibiting paintings together at the Festival of Arts and in Maui, talking about painting, planning for painting, and dreaming about painting. Greg was a “painter’s painter,” with a highly-developed work ethic and well-considered sense of design, an empathetic and effective instructor, a good listener, and lover of artists and people younger and older, novices and professional. He was compassionate, and I felt his heart when we talked–and whenever I saw his work. In this world today, we need great men who lead with wisdom, energy, and love for their fellow men. Greg was one: a great man. God bless you, Greg, for all you have given. Laurie, my prayers for comfort and strength are with you, and with everyone who will miss this man. 

May we spread the love like Greg did, that everyone may show or receive the kind of compassion that he so generously shared.”

Big Red by Greg LaRock
Oil

You might have read the “In Memoriam” article written about Greg in the December 2020 issue of Plein Air Magazine, entitled “Greg LaRock (1965-2020).” There is mention of his perspective concerning “the day-to-day issues of being a professional artist.” But what made Greg the professional artist that he was, I believe, was the kind of man that he was. Over the years I knew him—I met him in 2008 at the Laguna Invitational—he was consistently positive, empathetic, giving, and transparent. His love of painting inspired that same love in others. He was known across the nation as a knowledgeable and effective instructor. At plein air events he focused on comradeship, not competition. In our life-drawing sessions, Greg dedicated himself to his work, and at breaks was happy to answer questions and take comments from fellow artists. When we mentored elementary school students for the Plein Air Project, he would talk with them about their progress, not down to them. When recognized for awards, he was supremely humble, often deflecting praise onto other artists who were also being recognized. And through it all, he was always learning: he told me that no matter what, there was always more to know. 

That, I believe, is what contributed to the quality of the work he produced. As an eternal student, he was consistently progressing, to the point that many of his peers recognized him as a master.

Early Sunday by Greg LaRock
Oil

Lori Basheda, in her article for the LA Times, described Greg’s impact on the art world: 

“What a legacy of spectacular paintings he left to the world,” said Mary Platt, director of the Hilbert Museum of California Art at Chapman University. “Greg stood firmly in the great tradition of the California Scene-painters —icons such as Millard Sheets and Emil Kosa, Jr. —who portrayed everyday life in the Golden State with such affection, understanding and finesse. His work deserves to be beside them.”

Juxtaposition by Greg LaRock
Oil

Jean Stern, Director Emeritus of the Irvine Museum, had this to say about Greg: 

“He was a superb artist, and he also was a gentle, caring and sincere man…always cheerful, courteous and open with his time.  He was a popular and well-liked teacher.  As an artist, Greg was one of the best I had gotten to know.  I often watched him paint.  He would carefully and accurately draw a sharp, detailed sketch which reminded me of drawings by Leonardo da Vinci, as they were so detailed.  Then he would proceed to cover it up with bold and elegant applications of paint.  He won numerous awards, some at art competitions that I judged.  The art community will miss him in so many ways.”

Off Broadway by Greg LaRock
Oil

I am honored to have known Greg as a friend, and privileged that I could stand beside him on several occasions to see for myself what his passion, purpose, and sympathetic presence could do for a student, a collector, a colleague and even a stranger. He inspired me and many, many others. As artists, we look in all kinds of places for inspiration. Greg led an inspiring life because he found it everywhere, and inspired others to find it for themselves.

In the Gallery: left to right, Jeff Sewell, Rick Delanty, Greg LaRock

Racing in the Dark

LYN BOYER · Jan 11, 2021 · Leave a Comment

The Bird Watcher by © Lyn Boyer
9″ x 12″ – Oil on linen
Oil Painters of America National Wet Paint Competition 2020 – Award of Merit

Meet Bean, a diminutive black rescue dog with a randomly crooked smile. Bat Dog impersonator, she races the wind cape flying – when she’s wearing one, and in her mind, I’m sure of it, when she’s not. Bean races. In the dark.

As artists, we may on occasion run headlong into a period of personal darkness. Creativity slips through our fingers, we instinctively tighten our grip and plunge over an emotional cliff, watching the last vestige of inspiration fade like smoke. Darkness closes in.

THE DOOM WHISPERERS

What just happened? Our sextant failed us and we lost sight of our North Star. We lost trust in our instincts. We lost faith in the wind of our spirit and started believing the Doom Whisperers. They’re like orcs…small, truly ugly, and out to suck the joy out of you. Anything or anyone who makes you doubt yourself, including yourself, is brokering doom. If we fall for it we furl our sails, cling to the mast, and start playing defense.

WIN THE DAY

How do we win back the day? We have two choices. Wait it out. Or, learn the art of racing in the dark. I’m not into wasting life, so waiting it out seems like a less than optimal option. I’m opting for racing in the dark. So, how do we go about winning the day in the middle of a pitch-dark night. And I mean win the day literally. Win the return of light, creative inspiration, excitement, and forward motion.  The wisdom of a diminutive dog has taught me we can play offense even before the light returns. We can race in the dark.

LESSONS ON RACING IN THE DARK

During an Excellent Adventure at the mostly abandoned dog park, Amanda, Bean dog’s mom, donned a headlamp, clipped on Bean’s night beacon, and unclipped the leash. In the face of darkness, the beaconed Bean flew off into the night at top speed. Uphill, downhill, then circling like a drone creating sky art on the 4th of July. The Bat Dog impersonator then sped back to the safe harbor of Amanda’s headlamp before heading off to race in the darkness again.

That blow-out-the-carbs headlong dive into happiness, smack in the middle of darkness, suddenly seemed way more attractive than my own personal darkness, the creative malaise I’d been blindly stumbling around in. Either I needed to become a dog, or learn to approach life more like a dog. I set about to apply the lessons of how Bean, apparently a Yoda among dogs, transmuted darkness into light.

1. The Night is Your Friend

Our artistic careers will cycle through day and night. Success and Sabbatical. Get used to the nights. Night is a friend, not an enemy. We can learn to love night as well as day. The air is cool. The sky is full of stars. Night is mysterious and holds different possibilities than day. Night is not so crowded with other people’s thoughts and opinions. It gives us a chance to return to our own instincts. We can learn to trust our inner creative voice again.  We can find images floating at the boundaries of consciousness that want to be painted. Truly authentic creations, not images contrived to sell, win, or impress.

2. Count to Ten

If you feel like you’ve been plunged kicking and screaming into a creative night, give yourself a minute.  Take a breath. Count to ten. Grant permission to set your brushes aside temporarily while your inner eye adjusts to the darkness. It’s time for a bit of nuance. If we can overcome the paralysis and sense of dread being plunged into creative darkness brings we win the option of learning to race in the dark instead. Play in the dark even. Look up at your figurative night sky. Stars! Stars can guide us home. Use the nuance of your new night vision.

3. Rocks aren’t Bears

Use lessons you learned during your artistic daytime to help guide you during your artistic night. Bean learned while racing in the daylight that the rocks she would bound off racing in the dark were indeed rocks, not bears. When you are trying to navigate creative darkness, realize that something that appears to be a looming bear might just be a rock. It not only isn’t going to eat you, you might be able to turn the rock into a launching pad for an exciting new direction.

4. Find your Lighthouse

Part of Bean’s bravery came from knowing that there was a light to guide her home. The beacon of Amanda’s headlamp was the safe harbor to circle back to in the dark before launching out on yet another adventure.  It takes a bit more energy to race in the dark, so find your personal lighthouse. It will guide you into harbor.  Fill it with whatever things feed your soul and put wind in your sails. When a beacon lights your way, you won’t have to search for ideas. The ideas will find you.

May you find creative adventures and the fun of racing in the dark!

– Lyn

NEW RELEASE – Liliedahl Art Video | “No Fear Oil Painting”™ – A Guide to Creative Brush Handling | with Lyn Boyer – Music by Dave Curley

www.lynboyer.com
www.interplayartists.com

The Role of Color Temperature in Painting

M Kathryn Massey OPA · Jan 4, 2021 · Leave a Comment

When I wrote my book on painting with a concept, I listed five key elements for creating a  workable, harmonious painting: Values, Edges, Paint Quality (integrity of the paint), Agent  (you as the painter guiding the work), and finally, Color/Temperature. It’s the last element I’d like to explore here. 

When I began to paint, I saw local color first and foremost. It’s easier to see than values and edges. Beautiful reds, blues and yellows naturally draw the eye much like impasto  (opaque) paint will. Color, or the lack of color, has an inherent emotional feature. 

It’s generally accepted that color begins and ends with the Color Wheel. I never saw the relationship to the color wheel and the painting problems that were before me. Many teachers use it as an absolute truth to be rigidly followed. But, the color wheel is NOT an absolute truth. It only represents a theory. Theories are not absolute-they are grounded in principles but don’t contain the truth in an ultimate way.  

A theory merely points us in a direction.  

Included is an image of my palette used when I teach. To help students, I list below each color whether I view it as a warm color, or a cool color. To me, the neutrals, including Naples Yellow, are all cool; the yellows are warm with the exception of Lemon Yellow, which appears cool because it has less warmth than the other yellows on my palette. Likewise, Cadmium Red Light is the only red that appears warm. Alizarin and the other Cad Reds appear cool.  

Cadmium Red Light mixed with black and white (both neutrals)  Notice the neutrals achieve two things: the value of the Cad Red Light, a warm red, is changed and the temperature. (The temperature of the red is made cooler.)

The Blues are all cool with the exception of Ultramarine Blue. It’s the warmest Blue in the family of blues meaning it reads warmer than the others because of its mixture when produced and those materials used to create the paint Ultramarine Blue.  

Think about Cerulean, Thalo, Cobalt, King’s Blue…..they are very cool when used next to UM Blue. In a warm set up or composition, I would use UM Blue to complement the other components of a warm set up. 

Yellow Ocher is an interesting color. I paint with it to warm a background or turn an edge (cool).  It seems to absorb whatever temperature is placed near it. It’s an opaque paint so it has the quality of a neutral or cool hue. But, if painting a white cup, you could mix some yellow ocher to develop a shadow plane. It won’t drop the value too much but can assist the shadow in anchoring the object. Painting with black as a shadow for white objects is too abrupt or harsh. To me it reads “dead on arrival.” 

Two Pears by M Kathryn Massey OPA 
9″ x 12″ – Oil

As we grow as painters, we begin to develop our own language and that language includes color choices. We become more sensitive to how temperature plays a role in our work. For me, I reach for a color based on its temperature and what is needed by the painting. What do I  mean? 

Let’s say you are painting a portrait. The subject is Caucasian and fair. Most of the flesh you paint will be colorless. But, there are moments on the face you want to come forward and show the topography of that particular fair model. Conversely, there are moments in the picture that will need to recede, or turn back. 

Cad Red LT is warm and it will read closer to the viewer. Cad Red Med/Cad Red Dark will recede more than Cad Red LT. Why? Because the Medium and Dark have more blue in them when they are produced as a color. Blue is a color which recedes. 

The principle here: Warm colors appear to advance; Cool colors appear to recede and give the painting a sense of air space and time. You must decide on the color structure of your painting EACH TIME you go to the easel.

A Word About Neutrals. 

Commissioned work in progress.  
Cosmo by M Kathryn Massey OPA
14″ x 11″ – Oil
Notice how little color is seen thus far in the painting with the dog being black and white; both cool, neutral colors.  

Neutrals are used to change both the value and the temperature of a color. In principle, Black,  White, Grey, and Naples Yellow are used to cool down a color OR, to change its value.  Because they are cool, when mixed with any other color they will immediately cool that color  AND change its value. This is why I view color and temperature as married. I don’t understand them as being separate. Temperature changes are paramount to good painting.  

We don’t know these more advanced ideas when we begin to paint. How can we?  In closing, a few thoughts on color: 

-If you are having trouble incorporating a color into your work, take it off your palette for a  month or so. See if you can achieve what you need without it. 

-Each family of reds, blues, greens, yellow, blacks, etc., are warmer or cooler within the family of that color. Determine for yourself which is warmer and which is cooler within the family of color. 

-Using both cool and warm temperatures in the same painting will make more color disharmony and tension. (Think Vuillard) 

-A still life up, a model, an interior, etc., will be either warm or cool as a concept. Use the paints that will depict your concept. 

-Use a neutral to turn an object away from the viewer so the illusion of dimension is realized.  Do not use pink, red, yellow, orange for instance to turn an object as it goes into shadow. The illusion won’t work. Use cool grey, blue, or violet to help with your conceptual illusion. 

-If you break any principle in painting, know why you are breaking the principle.

-There are no mistakes…..only better choices.

Melon with Grapes by M Kathryn Massey OPA
20″ x 16″ – Oil

How Do Your Paintings Sound?

Mark Daly · Dec 28, 2020 · Leave a Comment

Leveraging All of Your Senses to Create More Impactful Paintings

The importance of a strong composition is well known to painters. Once a good design is selected, we make choices and adjustments using our toolbox of techniques to create a  successful outcome. Some of these techniques include imagination, values, edges, paint application, color, line, and harmony. There is an underutilized technique to consider adding to your painter’s toolbelt: leveraging the dynamic senses of sound, feel, smell, and taste. 

After selecting a composition to paint, I ask this question: “How should this painting sound to  best reinforce the composition?” Adjusting the question by inserting other senses (feel, smell,  taste) identifies additional sense-based choices to consider adding to the composition. Answers to these questions are prioritized and worked into the artwork, as appropriate. 

Having a musical background, sound is a sense I gravitate towards. To reveal my approach, let’s  review a recent example of how I answered the question, “How should this painting sound to  best reinforce the composition?” The example is titled “Paris Rain”. It is shown below.

Paris Rain by Mark Daly, 2020
30″ x 24″ – Oil

I’ll discuss five sense-of-sound answers that I chose to incorporate into “Paris Rain.” Similar to edges, there are harder and softer sounds. As such, I consider intensity and variety. I also take into account pitch and location to determine how and where to visually portray sound in a  composition. 

1. Swirling Water Flow (softer sound, close to viewer) 

The first subtle sound that was added to reinforce the composition is in the lower-left quadrant of the painting. The runoff of rain, as it flows down the sidewalk and into and around the drain,  adds a rainy day swirling sound to the scene. This is a softer sound. It offers variety to harder sounds. 

2. Slapping Windshield Wipers (harder sound, nearest vehicle shape to viewer) A second, sense-of-sound addition to “Paris Rain” is the windshield wiper on the Mini Cooper vehicle (located center left). This was done with a single upward brushstroke. It brings a  distinctive slapping (harder) sound to the scene. It connects the viewer to a sound that occurs when it is raining. The wiper blade was added to only the largest vehicle shape (closest to the viewer). The mind fills in the blanks through association. It “hears” windshield wipers on the other vehicles after seeing the one on the Mini Cooper. 

3. Swooshing Vehicles (varying background noise) 

The third sound included in the painting is the swooshing of the approaching vehicles. The choice of vehicles communicates varying noises. These range from the low-frequency rumble of the bus to the high pitched whines from motorcycles. They add authenticity to a rainy day  European city experience. 

4. Raindrops Hitting Umbrellas (harder sound, close to ears) 

The fourth example of intentionally adding sound to enhance the picture is the tilted, wet umbrellas. We all know the close-to-the-ear pitter-patter sound of rain hitting a tightly stretched water-repellant fabric. The visual cue of the angled wet umbrellas engages you in the scene. It connects you to a personal experience—the sound of rain beating on an umbrella a few inches away from your ears. 

5. Splashing Footsteps (moderate sound, near viewer) 

The fifth and last example of adding a visual sound clue is less obvious. It is the anticipation of the large figure’s foot (center right) about to step on to wet pavement. Raising the left foot adds more audible drama. The viewer anticipates a slapping, splashing sound. The dark foreground reflection of the figure deliberately leads you into the painting and to this foreseen sound. 

These five sense-of-sound choices (among others) are designed into the painting along with value, edge, paint application, color, line, and harmony decisions. As shown in the image below, the sounds are spread around the center of interest. Collectively, they reinforce the main idea of the composition (the emotional experience of a rainy day in Paris). They help to create a more convincing, successful scene.

Variety of Sounds Spread Around Center of Interest

Another way to look at the power of these audible cues is to delete them. Imagine the painting without the swirling water, slapping windshield wipers, swooshing vehicles, pitter-patter rain on umbrellas, and foot about to splash a wet surface sounds. “Paris Rain” would sound different. Its impact and emotional connection with the viewer would be reduced. 

Let’s look at another example of leveraging senses but in a different location and season. Winter cityscapes provide opportunities to have the viewer feel cold and warmth. Below is a recent example titled “Art Deco Building in Winter”. On the one hand, grey clouds, heavy clothing, blowing flags, and snow-lined buildings all reinforce the feel of the painting’s winter-based composition. On the other hand, a feeling of warmth emanates from the lights on the streetlamps, store windows, cab, buildings, and glowing globes above the fence. These visuals provide a welcome contrast to the cold features. Through the sense of feel, the cold and warm elements amplify the compositional intent.

Art Deco Building in Winter by Mark Daly, 2020
30” x 24” – Oil
Exhibited in OPA 2020 Eastern Regional. Semi-Finalist in the 15th ARC Salon Competition. Best Building Award in the PleinAir Salon 10th Annual Competition (August, 2020)

The last painting example, “A New York Treat,” demonstrates the senses of smell and taste. Portraying smoke rising from chestnuts roasting on a NYC side walk vendor food cart adds smell to the painting. It helps connect the viewer to the memorable taste of chestnuts that are sold under colorful umbrella-topped carts found along the streets of New York City. 

A New York Treat by Mark Daly, 2019
12” x 9” – Oil

As painters, we are not confined to a two-dimensional world. There are ways to add dynamic impact through all five senses. Before starting your next painting, be open to new possibilities to expand your toolkit. Ask the question: “How should this painting sound (feel, taste, smell) to  best reinforce the composition?” It will set your paintings apart from others. It will make a  more emotional connection with your viewers. 

Reflected Light

Elise Zoller · Dec 21, 2020 · Leave a Comment

Detail from The Last Rose by Elise Zoller
Oil

Edward Hopper once said, “There is a sort of elation about sunlight on the upper portion of a house”.  I would add – particularly a white house.  Because there is nothing white about white.

White takes on the color of everything around it, the blues and purples of the sky, the gold of late-day sunlight, the putty-colored roof below an eve, a grey pavement, the vibrant green of the trees and grass surrounding it.  It takes time to notice this.  As painters, that’s our job, to spend time and to notice.

Quality Cleaners by Elise Zoller – Oil

Reflected light is a secret marvel, when you begin to see it.  A front porch is the ideal spot to watch light bounce around.  So are overhangs, fences, and interior ceilings.

Late Afternoon by Elise Zoller – Oil

As the genji knife huckster says, “But, wait, there’s more!” One of my early painting teachers had us cut out construction paper shapes and assemble them to represent our faces in a mirror.  His goal was to have us notice big blocks of color and start thinking that way as painters.  What I noticed was the color under my chin, an orange gold, reflecting the wood floor.  I spent weeks afterwards furtively looking under people’s chins and analyzing the color variations. I wanted to know how the colors of their faces and the surfaces or clothing under their chins mixed to create those unique hues. 

Detail from The Four of Us by Elise Zoller – Oil

Next time you walk down the street, notice how the light bounces between the planes of buildings and their surroundings.  Get out your paints and start mixing.  And, as Hopper also said, “Appreciate the beauty of a simple white wall”.  Or, the front-porch-like overhang of a chin passing by.

Front Porch by Elise Zoller – Oil
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