There are moments when I feel like I’ve been waiting my whole life for the iPhone and Instagram to be invented. I so often see things that catch my eye—everyday scenes, sweet little compositions, visually appealing scenes I notice. My sketchbook is one way I observe and record this stuff— I have a whole shelf of sketchbooks. Painting right on the spot is another. But sometimes I am just not fast enough—the scene might be fleeting, or I might be fleeting. This is when a camera comes in handy, especially when it is already in my pocket. Usually my photos don’t quite show what I saw, though, because my photography skills are only fair to middling, plus the camera is indiscriminate and my eye is usually picking out some particular thing.
Instagram has a dozen or so built-in filters that change the look of a photograph. By changing the color and contrast, by darkening the edges (“vignetting”), by using selective focus and blurring the rest of the photo—and you can control all these effects individually—it allows you to see different ways of visually interpreting the same scene. Just play around with it until you get the effect you like. Pretty neat.
Now of course iPhone photos are not terribly high-res, particularly after you crop to an area that is maybe one-fiftieth the size of the original (like I did in the example above). But so what. I’m using them as reference for paintings, or just to make a photo for my own entertainment. If I paint from it I don’t need that much detail anyway.
If you want to save the edited photo to your phone’s camera roll without publishing it on your Insty feed, just do a screen capture when you’re done editing, and then crop it in your photo viewer
Edited photos can be used as scrap for paintings just the way we used to use regular old print photos. I mostly try to get the composition I want and then make the color how I want it.
Here are some of the effects you can get, applied to a photo of a still-life setup.
As painters we have an ability–some say an obligation–to make choices about how we see, what we choose to put into a painting from all the visual information available to us. Expanding and strengthening this ability is important. In a way, Instagram can show us different ways to interpret an image–seeing more or less contrast, joining shadows together or showing definition in shadow, showing more or less color.
Oil Painting
Debra Joy Groesser Interview
Debra Groesser is a signature member of the American Impressionist Society, American Plains Artists, and Plein Air Artists Colorado. She’s an associate member of the Oil Painters of America, and American Women Artists…and she’s on the Board of PAAC.This folks is your current president of the American Impressionist Society…one busy lady to say the least.
It took several months to finally complete this interview, but I believe you’ll find it worth the wait. I first met Debra a couple of years ago in the Flint Hills of Kansas during a plein air event organized by Kim Casebeer. I found Debra to be a delightful person.
There is more to this interview than shown here, so I will include some of her other comments in future blog topics I have planned. I hope you enjoy the interview.
What’s the correct pronunciation of your name?
Grow-sir.
How did you first become interested in art and what led you to becoming a professional?
I just remember always being interested in drawing. My favorite thing to do as a child was to copy the illustrations out of my story books. I also copied the words and by doing that, taught myself to read at age four. My favorite book was “Barbie Goes to a Party”. I would love to find a copy of it! Back in the days of Romper Room (giving away my age here), they would put pictures up on the TV screen for kids to draw and mail in to the TV station. My mother sent one of mine in when I was three and they put it on TV…I don’t remember it but I guess you could say that was the start.
In my coloring books I always put light and shadow on everything. It was never just flat coloring. I had a friend in 5th grade when we moved to Nebraska who was also very artistic. Instead of playing the usual games that kids played, we would draw for hours. We set up tennis shoes, still life’s, drew the trees in the yard…anything we could find. I just loved it. From there, I took every art class I could in high school and then earned my BFA degree in college (studio art/painting).
After graduating, I married my first husband, and began working as a graphic artist for a local bank. I tried to do a little painting when I could find time. My husand decided to start a home building company in 1980. We had two children, and when they were almost two and four, I left my graphics job to stay home. For the next couple of years, I did the bookkeeping for my husband’s business, painted and did freelance graphics work when the kids napped and at night after they went to bed. That lasted a couple of years until it became necessary to get my real estate license so I could help my husband’s business by selling his homes. Ironically, the week that I was waiting for the results of my real estate test, Denise Burns, founder of Plein Air Painters of America, was in our town to teach an oil painting workshop, which I attended. She really inspired me and encouraged me to pursue my art (the painting I did in that workshop still hangs in my studio next to my easel).
I passed the real estate test and, reluctantly, ended up having to put my art career on hold. With two small children, the demands and time commitment of a real estate career and still doing the bookkeeping for the home building business, there was no time for art (other than drawing architectural renderings to advertise the homes we built). Three years later, we divorced.
Throughout my time in real estate, I never lost sight of the goal of returning to my art career someday. I always considered myself an artist first, and real estate was just temporary.
In late 1991 I married my husband Don, with whose love and support I was able to return to my art career. By this time I was doing architectural illustrations for several home builders and little pen and ink drawings (sometimes with watercolor added) of people’s homes to give as closing gifts. I also did note cards printed from my pen and ink drawings of homes. Soon, other realtors started ordering my drawings and cards for their own clients. Eventually I got to the point that I was earning almost as much from the “house portraits” as I was from selling real estate.
I started painting again a couple of years later. When Don saw my paintings and how happy it made me to be painting, he encouraged me to let go of the real estate career and get back to creating my art full time. We remodeled our basement into a small classroom where I taught art classes for children. I painted, and continued doing the house portraits, renderings and graphic work. Eventually, my art took over the spare bedroom, the basement, the office and then the dining room. At that point, in 1996, we bought a small building in our little downtown area and remodeled it to house my studio, a large classroom, a frame shop and a gallery…and I let my real estate license go. That freed up my days for art and my evenings and weekends for family time. Each year we analyzed which areas of my art business were profitable for the amount of time and money being spent, and reviewed and set new goals. I closed the gallery after four years to spend more time producing my own work, and eventually stopped doing commercial framing for the same reason. Next, I let go of the renderings and graphics work, and started scaling back on the house portraits (which were all deadline oriented and not as enjoyable as painting) so I could concentrate just on painting.
Also in 1996, the same year we opened the downtown studio, I began taking one painting workshop a year to help improve my painting skills. The first one was with Tom Browning in 1996. In 1999, my first plein air workshop was with Kevin Macpherson in Bermuda…AND I FOUND MY PASSION. I went on to study with Kevin several more times as well as Kenn Backhaus, John Cosby, Kim English and Scott Christensen. Other than traveling to workshops, I stayed pretty close to home until my children graduated from high school. I began entering juried shows and competitions, first locally, then regionally, and finally nationally. Being accepted into several, and winning a few awards, brought attention from some gallery owners and resulted in representation by three of the four galleries who currently represent me. Although I’d been a full time artist (which included painting too) for about ten years, my goal was to be a full time painter. I made that transition about seven years ago.These days, I try to paint during the day and do my marketing in the afternoons and evenings. Some weeks I’ll set aside a couple of days just for marketing. I spend probably about as much time on the business side of art as I do actually producing art.
What is your role as president of the American Impressionist Society?
I’m still very much in the learning process since I’ve only been in this position since the end of January of this year. Communication and coordination best describe the biggest roles I have at this point, and working with the board, the founders and the officers. The first priority was to get to work on our 14th Annual National Juried Exhibition with our Show Chair, Suzanne Morris, who had already been working hard on the show for a few weeks. The show will be held at M Gallery in Charleston SC in October. I’ve worked on things like writing the show prospectus, arranging for the workshop in conjunction with the show, communicating with our web designer, recruiting volunteers to help with various aspects of the show, updating the AIS Facebook page as needed, and writing communication for the membership. Now that the online entry system for the national show is active, I’m fielding questions from members and helping however I can. I’m actively seeking ideas and suggestions for new opportunities and ways to serve our membership so we can continue to build on what is already a great organization. We already have one exciting thing in the works…but as nothing is finalized yet, you’ll have to stay tuned for more information as it progresses.
There are so many art groups today that differentiate themselves according to medium, subject matter, style, region of the country, or even gender…what are your feelings about that?
There really are a lot of them. I think that many of these groups do give artists a place where they feel their art fits in (style, medium, subject matter), as well as opportunities to meet other artists, network, paint together, take part in workshops and, often, group exhibitions. The main thing I’ve done is research what they offer and decide which of the groups fit my needs, my goals and my work. My style of painting is more impressionistic and I do a lot of plein air painting, so I’ve done well with AIS and plein air groups, such as Laguna Plein Air Painters and Plein Air Artists Colorado, as opposed to other groups who, for example, favor tighter realism. There are not a lot of artists in the area where I live, but through one fairly new group, the Missouri Valley Impressionist Society, I’ve been able to connect with many artists who live in about a three hour radius of me. Through MVIS I can participate in paint outs and exhibits closer to home that I otherwise would not have known about. I paint landscapes, but I also do portraits and figurative pieces, so I’ve been encouraged to join the Portrait Society of America, which I’m now seriously considering. In my experience, there are a lot of benefits to be gained from being a member of a group or groups.
Several contemporary art movements seem to have a pretty fuzzy definition as to what fits into their “movement”…What is your definition of Impressionism? Is it merely surface appearance, intention, a philosophy…or is there more to it?
Impressionism is more about spontaneously capturing a moment in time, an “impression” of the subject, by carefully observing and quickly rendering the effects of light on the subject, the colors, the atmosphere, movement. Impressionist paintings are representational with visible brushstrokes but without a great amount of detail (think plein air paintings as the most obvious example). Tightly rendered pieces with a lot of detail and smooth surfaces wouldn’t fit into that definition. The American Impressionist Society, Inc. defines American Impressionism as “the concern for light on form, color, and brushstrokes. It allows equal latitude between these attributes, and recognizes not a single definitive element, but several factors – including high key light and hue, visual breakdown of detail, concern for contemporary life, and cultivation of direct and spontaneous approaches to a subject”.
What proportion of your work is done en plein air?
Probably about 70 to 75%.
What qualifies as a plein air painting?
There are so many different opinions on this subject. To me, if the majority of the piece is painted outdoors, on locatoin, from direct observation, from life, it qualifies as plein air. Now “majority” can mean different things to different people. I think some touch ups in the studio are permissible for it to still be considered plein air. I have a couple of pieces I did in Zion National Park that need tweeking, but probably 85-90% of these pieces were completed on location. Just because I will finish them in the studio, the overwhelming majority of each was plein air. In my opinion, they will still qualify as plein air. I’ve had to paint from inside my car during rain and thunderstorms, and because I’m painting it from life, on location, from the actual observation of the scene in front of me, I consider that plein air as well.
What are the major problems encountered when translating a field study to a large studio painting?
The major problem is to translate that freshness and immediacy that you achieve in the field on to the canvas in the studio…it’s very, very difficult. So much of that freshness is achieved because the time is limited in the field…the conditions are changing so rapidly that to capture the scene, you have to paint quickly and more intuitively. In the studio, there are no time constraints. The light isn’t going away. The shadows aren’t moving. There is much more time to think about what you’re doing and that in itself takes away from that original feel of the field study. I no longer try to make the studio pieces be an enlarged ‘copy’ of the field studies. Instead I use the studies as color reference and inspiration. It frees me up to play with composition, color, mood, etc, in the larger paintings and is much more fun.
What advice do you have for a first-time plein air painter?
Keep it simple! Pack as lightly and as compact as you can when it comes to your gear. There are a lot of options out there for equipment. Be sure to have a hat with a good brim, sunscreen, bug spray and plenty of water to drink. Avoid wearing bright colors when you paint outdoors as they will reflect onto your canvas and skew the color in your painting. Keep your canvas and palette out of the direct sunlight…even if it means having your subject behind you. Keep your compositions simple. Block in your shadows first and commit to them. Avoid ‘chasing the light’ (changing your painting as the light changes). Work quickly.
What are your artistic goals for 2013?
To stay organized, to successfully serve and lead AIS and find new opportunities for our members, to produce another 20 paintings for the solo exhibition this fall with historical works by artist Abby Williams Hill, to have a successful National Juried Exhibition for Plein Air Artists Colorado (I serve on the PAAC board and am the show chair this year), be more consistent with my blog, to get out and paint on location locally as much as possible, and to create a new body of seascape paintings from the plein air studies and reference photos from a recent trip to California. I will be traveling and painting for a month this fall as well.
Thanks Debra for your time, for your active participation in so many art organizations…and for your boundless energy. From your resume, it’s pretty obvious…you’re not done yet.
The Value of Color Charts
My advice—my plea to you—is to do the charts for your sake. (Do not use mine.) The charts are not a sure-fire gimmick guaranteed to make you a color wizard, but they are the best way I know of to understand your pigments and enter the study of color on sound footing. Take your time; don’t be in a rush just to get them done. Stay alert and see what is happening, not only on your palette, but within yourself. Impatience will well up, so will exasperation as you make mistakes or struggle with decisions about the right color and value, but I urge you to stick with it. In a way, the charts are intended to be somewhat agonizing so that you will develop the patience and self-control so necessary in painting. It should be like an initiation ritual before what is to come, so you may endure it without giving up.
Richard Schmid, Alla Prima
I begin with this quote because, seriously, anything that Richard Schmid pleads with his readers to do is worth consideration. The discipline of charting color might be compared to learning to read music or understanding grammar. I know some great musicians who play “by ear,” and writers who know nothing about the rules of grammar, but they will admit that they wish they had that academic knowledge in their hip pocket. Color charts are like that. You may not learn everything possible about color by doing them, but you will have, as Richard said, “sound footing” to begin your journey. You will also have confidence, knowing you’ve done your work.
The purpose of the charts is to show how each color on your palette relates to all the other colors there. You will want a chart for every color, to see how that particular color interacts with one other color, and then how their offspring look when mixed with white. Each chart will show the influence of the dominant color on the other colors. You will be able to tell by looking which color is represented in the chart; your red chart’s red/yellow will not look like your yellow chart’s yellow/red. You will add white as you go down, tinting each color until it’s all but white; across the bottom, all the lightest lights should be the same value. Most of the other colors start out at different places on the value scale, so the other rows will have a variety of values. Even though you can tell by looking, it’s still a good idea to label all the columns.
Here’s what you will need: ¼ inch masking tape (easiest to buy online; costs about $2.00), a pencil and ruler, one or two small palette knives (the second one can scrape the first, you won’t have to wash brushes between each color, and your squares will be pretty), and of course your paints, palette, paper towels and canvas. When I am teaching color, I start with four colors (plus white) in order to reveal the unlimited potential of a limited palette. This number of colors fortuitously fits perfectly on a piece of 14×11 canvas, which can be bought in tablets.
Materials
Here’s how you prepare your canvas: It’s easier to work on a tabletop for this than using an easel. Tape the canvas to a board to allow yourself freedom to spin the chart around as you fill the squares. Measure out a quarter of an inch for the width of the tape, then an inch for each square, and repeat for every color. Make tic marks with your pencil, rather than lines, to indicate placement. Put the quarter-inch tape between the marks and leave a tag hanging off the end for you to pull when you’re done. Place all vertical tapes first, followed by all horizontal tapes. You will carefully remove the tape as soon as you are done with each chart (don’t wait till later!); it is easy to pull the horizontals off first, then the verticals. Now write the initials of the colors you will be charting. For example, the colors I use for the limited palette are Transparent Oxide Brown, Ultramarine Blue, Cadmium Red, and Cadmium Yellow Pale: TOB, U, CR, and CY. The Transparent Oxide Brown chart will have these headings on the columns: TOB, TOB/U, TOB/CR, and TOB/CY. Note that the size of your chart/canvas will be determined by the numbers of colors and values you want to explore. For the limited palette, I chose four colors and five value steps, so I will have four across and five down, plus some space between each chart. Measure it out accordingly.
Prepared Canvas
Here’s how you create your chart: Understand that this is an exercise for your eyes, mind, body, and soul. It will demand your full involvement in a most personal way as you begin a real dialog with your colors. Give yourself lots of latitude, grace, and hours.
The order that the colors are laid out on your charts is a personal choice. Some people want the order of colors to be the same on every chart; others prefer that the dominant color leads on every chart and the rest fall in behind it. How you lay your colors out is a choice you make based on how you want to see your colors. To me, it makes sense to start with the dominant color, so I can see at a glance which chart it is. Then the other colors follow according to their value, so that whether reading across or down, they start with dark and move toward light. Lay yours out in the order that makes sense to you.
Allot a nice big pile of the color you’re charting on the palette and another pile of white. Your first color is always the easiest, as you only have the one color, plus white. The square you fill first is the top left one— pure, untinted, unmixed color. The second one you’ll mix is the last box on the column; it is nearly white. To mix that, start with a pile of white and add just the tiniest spot of color to it. All the bottom boxes on your chart will be the same value: nearly white. The value of the other squares will be determined by the value of your master color.
You will be working one column at a time, taking five value steps with each color. The first column of each chart is the master color’s value scale. All the other columns will show this master color’s effect on the rest of the palette’s colors. Here is the first column for the limited palette chart:
First Color Column
When you have your first and last colors laid in, you will mix the value that is right in the middle of those two. Mix it and hold it on your knife over the two color values on your chart and ask yourself which it favors more, the pure color or the lightest tint. This is when your colors really start talking to you. When you finally mix a color value that favors neither, you have your middle square. The last two colors are halfway between each of these: one is halfway between pure color and middle color value, the other is between middle color value and lightest possible value.
The next column will be a little bit more complicated, as you are adding another whole dimension: you’re making not only value decisions but also color decisions, as you mix color columns that show two colors in which one dominates the other. It should be clear on each chart that you’re showing a certain color as it’s influenced by other colors. You then create the tint steps in the value scale for each.
First Chart Before and After
As you are working, remember that this is your chart and no one is timing or grading you. Let it be a joyous experience, with not one nerve wracked and nary a tear shed. Scrape your mistakes and don’t worry about the squares; your tape is in place to keep you tidy. You will be so surprised when you pull the tape off and see how beautiful your work looks. When I first finished mine, I put them on my studio wall because it was just so satisfying to look at them; like a lovely rainbow of harmonies. But they had to come down. They are a tool, and just like the tools on the pegboard, they have another use besides looking pretty on the wall. I use them for teaching and for note-taking in the field. A good field sketch combined with informed color notes is invaluable back in the studio.
Limited Palette Color Chart
When you’re finished with all your color charts, you may want to varnish them after a few months to ensure their long life. You can keep them with you as loose canvas pieces or cut them out, hole-punch one side of them and put them in a binder, or you can just keep them in transparent sleeves. When you want to add a new color to your palette, it is good practice to create a new chart for it, to see if it can play nicely with your other colors. Some very nice colors are too weak or too aggressive to fit in with the family. Subjecting them to the scrutiny of the chart is a quick qualifier for contenders.
It’s easy to see how your mind and eyes are challenged by the creation of color charts, as all the measuring is intellectual and visual. If you try to literally measure part-for-part, you will not have an accurate chart because every pigment has a different saturating power. So, your mind and eyes are about to get smarter. You will not find how it challenges your body until you start the process. You will then be amazed at how physically demanding this assignment is. This isn’t for sissies. And as for the soul… ultimately your choices, as objective as this process seems, will be determined by how you feel. It can’t be taught. You will only get it when you do it. This is why charts must be done and not just seen. It’s also why the color charts vary between different artists, and why Richard Schmid can say that he learns something new every time he makes a new set. He is still making new charts for himself! And since he’s been painting longer than a lot of us have been breathing, perhaps it really is a worthwhile thing to try.
Highlights and Specularity
Highlight and center light
First it is important to understand what highlights are—and what they’re not.
Highlights are specular reflections of the light source on shiny surfaces. In specular reflection, light rays bounce off the surface at the same relative angle that they approach it, like a billiard ball bouncing off a side cushion. In diffuse reflection, light rays bounce away in all directions. Diffuse reflection is typical of a matte surface, such as an egg.
I painted this gumball machine while sitting in a coin laundry. There was a little highlight in the center of each ball, a reflection of the fluorescent lights above me. The highlights are even stronger in the chrome trim.
Where do highlights appear?
Unless the sun is coming from directly from behind you, the highlight appears in a different location than the center light. The highlight generally appears at a point closer to your eye than the center light. Unlike the center light, the position of the highlight depends on your point of view. The same highlight often appears differently to your right eye compared to your left eye.
Imagine placing a pocket mirror beside the object and angling the mirror so that it reflects the light source back into your eye. If the surface is shiny enough, any plane on the form parallel to the plane of the mirror will reflect a highlight back to you.
The effect of the surface
The shinier, oilier, or wetter the surface, the brighter the highlight. That’s why eyes, lips, and the tips of noses have brighter highlights than cheeks do. A matte surface with only diffuse reflection, such as a sweater or a sand dune, will not have any highlights at all.
Painted on location in Fes, Morocco, the highlights in this coppersmith’s stall are brightest on the polished copper and silver. I had to run washes over all the areas but these two or three spots of pure white paper to carry the effect.
In other words, imagine how you would paint a regular matte-surfaced apple. If the same apple were given a high-gloss wax coating and you painted it again, you’d have to consider the normal modeling factors plus the specular effects
The effect of the light source
Highlights are also greatly influenced by the character of the light source. On a highly reflective silver surface, such as a spoon or a silver teapot, the highlight color will mirror the light source. A soft, cool light source such as a large window, will yield a large, cool highlight, while a hard, small, warm source such as the sun will result in a sharp, small, warm highlight. A highlight is typically the lightest value in the entire painting, nearly as light as the light source itself, and lighter than the center light.
Let’s look at the idealized example of a sculpted head covered with reflective silver paint. A green light shines from the left, a magenta light shines from the right front, and a blue light comes in from farther to the right. Even with three different light sources, the lights don’t really mix very much on the planes of the head. Instead, each light source accounts for a separate array of specular highlights, and each set of highlights defines a set of parallel planes. Our brains are able to construct an understanding of form based on these fragmentary bits of information.
Four rules of specular surfaces
1. The more reflective the surface, the brighter the highlights and the broader the range of values you need to paint it.
2. The size of the highlight is influenced by the curvature of the surface of the form. The more highly curved the surface, the smaller the highlight; the flatter the surface, the larger the highlight.
3. Whether you’re rendering digitally or traditionally, the specular pattern is a separate layer added on top of the usual modeling factors that you use to render the object.
4. The highlights on any glossy form are not pure white, but rather a combination of the color of the source and the local color of the object.
Annular Highlights
Highlights don’t form only on solid objects. They also can form into a pattern of circles made up of individual scratches on metal or twigs in trees. For example, when you look into the maze of ice-covered bare branches of a forest in winter, you’re only seeing a fraction of the detail. The light illuminates only a few of these branches while most of them blend invisibly into the general gray.
Only the branches that are perpendicular to the direction of the light catch the highlight. The illuminated twigs align into concentric rings around the center point of the light source. These annular highlights help the viewer to subconsciously orient to the location of the light source. The three arrows in the photo are placed perpendicular to the illuminated twigs. If you follow the arrows, they lead to the location of the sun.
You can also observe annular highlights in the scratches of a well-used stainless-steel surface, like the cookie sheet and pot lid, below, left. Look for them in the window of a passenger train on a late afternoon, in a spiderweb on a dewy morning, in a cornfield lit by a setting sun, or on tree branches surrounding a streetlight on a rainy night.
Tips for painting highlights
1. In watercolor, since highlights are the lightest values, they must be left as unpainted white paper, masked out from the start, or applied with gouache at the last.
2. In oil paintings, highlights should be saved for the last, like a garnish of chives or a dash of parmesan cheese on a finished entrée. People observing John Singer Sargent said he saved highlights for the final strokes, considered them carefully, and used thick, heavy impasto for the highlights on jewelry, fingernails or eyes.
3. Avoid a lavish use of highlights. Highlights are like salt. A little makes the food tasty, but too much ruins it.
Mobile Masters Make Art Instruction Accesible to Artist Anywhere
CLAYTON J. BECK III-AN ARTIST WITH CHARACTER
FIGURE PAINTING WORKSHOP AT THE WOODLANDS ART LEAGUE, Sept. 8th-12th/14
FIGURE PAINTING WORKSHOP AT THE WOODLANDS ART LEAGUE, Sept. 8th-12th/14
The Woodlands Art League, www.woodlandsartleague.org , a 30+ year old, nonprofit visual art organization that operates in the Woodlands Tx,, was visited by Clayton J. Beck III, one of America’s more acclaimed and recognized artists. The Woodlands Art League is proud of housing more than 300 members, whose careers have been notably carved and enhanced by the training and knowledge visiting masters have provided throughout the years. Clayton, who was teaching his third workshop at WAL, is one of those artists who has enriched the league’s history not only by means of his unconventional training philosophy but also with his professional advice related to the improvement of the physical space necessary to produce better quality art, lighting, space distribution, etc. Robert Liberace, Judy Carducci, and many other masters have pitched in to make art instruction accessible to a whole Houston community, thus facilitating the means of progressive artistic development for all, and the cultural enhancement of the entire area.
Clayton, walked in with a confidence that is at the same time intimidating and reassuring. New artists were not sure what to make of his well-worn out hat which didn’t seem necessary in this “dark cave”, as he calls the wall to wall mirrored studio where WAL currently functions. As he introduced himself and the workshop, his eccentricities became less eccentric and turned into logical statements. Clayton, reminded us, artists, that nothing that shows up in the canvas is a mistake or an accident but the result of a thought we consciously or unconsciously deposit in the painting surface and that in order for our art to improve we have to recognize what those thoughts are and change them. He pointed out that not having a goal to strike for, at the beginning of a painting session is like getting in a car and start driving not knowing where you are going.
All artists have at one point or another attempted to do color charts but being frustrated we dropped the chore off the list. Clayton encouraged us all to complete them and used them. Debra Latham, one of the artist attendees, from Kingwood, Texas, when asked about the most important thing she had learned from Clayton’s workshop, puts it this way: “The biggest thing I learned was the importance of doing color charts. I’ve only dabbled with them a bit in the past but never to the extent he had gone to. He had such an elaborate way of doing them that I had never seen before. That is one thing on my near future “to-do” list”.
Is it in the light or is it in the shadow? All artists wrestled with that question while we attempted to look at the model as dispassionate as we could to avoid falling into the trap of painting eyes, mouths and hair instead of the patterns of the light and shadow, lost and found edges. We tried to take ownership of Clayton’s remarks, almost never addressed to an individual attendee but to the group in general, prompting us to put the brushes down and observe the model to collect certain information, before we pick them up again and decide where the next brushstroke is supposed to go.
Is It In the Light? Oil on linen, 20×16, and exercise on light
Hilda Rueda. www.hruedart.webs.com
Workshops like the one offered at WAL by Clayton are valuable for artists of every level. Beginners and advance students take pride on absorbing or recalling knowledge that will help them improve their artistic careers. Suzie Baker, an accomplished and nationally awarded artists, who also participated in the week- long course expresses her foremost lesson as follows:
“During Clayton’s workshop, he mentioned several challenges as ways to break out of old ways of thinking, one challenge was to create a painting with no more than 10 brushstrokes per model session. So, let’s do the math: 6 session, 25min each, 10 strokes max per session, that’s 60ish strokes. The economical nature of this way or painting required a deliberate thoughtfulness. I had to spend more time mixing the right value and color of paint, choosing the right brush and amount of paint to load onto that brush, planning the brush stroke (angle, direction of pull and pressure of the stroke). The challenge was as rewarding as it was nerve wracking. Now, I just need to keep it up when Clayton isn’t watching over my left shoulder!”
Suzie Baker, www.suziebaker.com
“Keli in 60 Strokes or Less, 20 x 16“, Oil on Linen, 2014.
The week dwindled down as we attempted to recognize our own mistaken perceptions. We are determined to eradicate all those thoughts and habits, which although feel comfortable, hinder our progress and make us repeat the same mistakes over and over, piece after piece.
The guidance Clayton, and other masters, have provided us with, is invaluable, not only individually but as an art community which intends to be true to its mission of promoting the visual arts, enriching the general community trough art education and offering our artists easy access to professional instruction. We believe it is possible to make art available to all and it is through workshops with traveling masters that big groups can be reached at a reasonable price and at convenient locations and thus the goal of art-educating all can be achieved. Isn’t this the globalization of our art world? We genuinely so hope.