Oil Painting

Great Expectations

Tina Garrett · Oct 6, 2014 · 3 Comments

21 Days “Painting” on the Road

“The only people for me are the mad ones, the ones who are mad to live, mad to talk, mad to be saved, desirous of everything at the same time, the ones who never yawn or say a commonplace thing, but burn, burn, burn like fabulous yellow roman candles exploding like spiders across the stars.”

― Jack Kerouac, On the Road

Like so many of my fellow artists I suffer from unrealistic expectations. This means when I set out to do something, though it may not be grand or expensive, (it usually is), it certainly cannot be ordinary or dare I say easy. I believe this affliction is a common character trait of artists — a main driver for the skill of being able to dream big dreams and imagine impossible ways to make them come true, an asset in many ways because it gives us the guts to try and put our work out there to be considered by the world.
However, gone unchecked, these Wild Toad expectations sometimes can drive you right over the ledge. First stop, my most recent adventure into the land of great expectations, a 21-day road trip. A working/vacation trip to California via Kansas, Colorado, Utah and along Nevada’s loneliest highway into Yosemite’s Tuolumne Meadows and up and over into the Valley and out the other side — in the first week. Week two would begin in San Francisco where we would visit my husband’s relative (whom was to celebrate his 110th birthday in October) then drive down the Pacific Coast Highway touching base with my family in Huntington Beach, stop to take a one-day workshop with Jeremy Lipking in Agoura Hills, to me the pinnacle of the trip. On to San Diego by week three, then wrap around towards Vegas and the North Rim of the Grand Canyon and find our way home through Oklahoma City.

Taking pictures of hot air balloons — Tina, not plein air painting at the Hot Air Balloon Rodeo in Steamboat Springs, Colorado.

At some point the reality of 21 days on the road set in. How would I practice for Lipking? Would I forget everything I think I know? So with a percentage of my recent OPA Spring On-Iine Showcase winnings I purchased my first real grown up plein air easel and in true form set myself up with all the gear to paint plein air on the road.
This will be easy. I’ll paint the morning of the Hot Air Balloon Rodeo in Steamboat Springs! I’ll paint El Capitan in Yosemite! I’ll paint on the beach in Surf City! I’ll paint up to four pieces a week, if the kids are having fun and I get up in time for sunrises. Ha! Ha! I’m a genius. By the time I get to L.A. I’ll have 6 to 8 pieces under my belt and be practiced and ready. Heck, I’ll even sell them on Facebook and make a little vacation spending cash!
Can you hear them yet? The pieces of my broken heart and impossible dreams tinkling to the cold hard floor? I didn’t have a clue what plein air painting really requires, having only painted plein air maybe 4 times. Ever. In my two whole years of painting. At all. I vaguely recall now that I actually hated plein air painting all those four times. Something about bees, or maybe it was hornets, comes to mind.
Why didn’t I stop myself? No, I drove right off. And the air was clear and blowing fresh in my face. Just like it is any time you drive off a cliff.

Painting outside with a hat on — Note the color charts done in transit from the passenger seat the day before.

My first warning, the flashing red hand, “Do Not Cross” sign should have been the incredible amount of crap I was packing. I actually brought more in cubic square feet of painting gear than I did in clothing and toiletries. Real plein air painters know how to get around needing everything studio artists require.
I was so proud of myself when I managed to do color charts while riding in the passenger seat. I paint mainly portraits. I’m not familiar with very many blues, or green at all for that matter. I-70 is flat and there was plenty of sky and vista to reference. I only clobbered my clothes and the interior of the door. It was all good. Incidentally, the dash is a great place to dry paintings.
In my dreams I was to be awake fresh after 11 hours of driving and set up in a perfect position for the gorgeous morning of the Hot Air Balloon Rodeo in Steamboat Springs. In reality, we set out on our bikes together to watch the launch. I would go back to the RV for my paints after I scoped out the scene. I had plenty of time, right? But as the sun got higher and we finally found parking I got more and more, lets just say, frustrated. By the time we parked our bikes and walked forever to get right up under the baskets of the balloons, I was down right fit to be tied. I knew then the balloons would launch and set back down in a matter of minutes. I might get far enough away to get a photo or two, but it would all be over before I had so much as set up a palette.
Okay, major plein air painting realization: The sun moves quickly and so do hot air balloons.

painting of cliffs and water — One of the four paintings I was able to paint, was a thank you to a couple that invited us to stay at their phenomenal guesthouse overlooking the beach in Monterey. I was really glad to have my paints with me then and very proud of that piece considering my plein air track record.

After hot miserable tears, I resolved to paint the view from our RV later that evening. I left everyone to setup and make dinner and insisted on having 2 hours to myself to paint. And I did sell that little painting on Facebook. See! I can do it…
That little piece was the only piece. All in all I painted en plein air 3 times, four if you count the time I set up my easel at the beach but had to run through the hot sand half a dozen times to get the essentials I realized I’d forgotten, such as brushes and then paper towels, etc. I never actually painted that day. I gave up after two hours of struggling to set up and was then overwhelmed by beach umbrellas.
Essentially, I was worse for ware by the time I sat in Lipking’s workshop. (But you’ll have to read about that on my blog.) I have since recalculated my plein air expectations to include admiring those incredible artists who do it so well and simply doing it more often myself. Yes, more practice. That will have to be good enough.

The Best Oil Painting Critiques Advice

Margret Short · Jul 14, 2014 · 1 Comment

Recently, I had the pleasure of participating in the Oil Painters of America Critique Program. For a nominal fee of $25.00 (which helps fund the program), artists have the opportunity to have a signature or master level member review their work and give instructional advice on how they might improve their technique.
Looking back through the critiques I have done for OPA, there are certain techniques I see repeated by beginners. If I could give just one important bit of advice, it would be to use more paint. One of the most beautiful benefits of oil paint’s properties is the viscosity of the paint itself. Juicy impasto adds tremendous interest and excitement to a painting.

Detail of Festival of Panathenea by Margret E Short — Detail of Festival of Panathenea © Margret E. Short

Look at your current canvas sideways across the surface and take note of how thick the paint actually is. My guess it’s pretty thin. Begin to think sculpturally. Squeeze lots of paint onto your palette. Once you do this, you will feel compelled to use it up. Do not be miserly, even with the more spendy pigments such as lead white. In the above painting detail, the generously and freely built up texture adds sparkle as the light hits the surface of the canvas.

Detail of Deruta Delivery 30x30 by Margret E Short — Detail Deruta Delivery 30×30 Oil on Linen © Margret E. Short

In this painting, I have used natural cinnabar, which can be expensive, but I did not let that hold me back. Both smooth and heavily textured strokes portray the pattern of the fabric. The texture can actually be felt if you run your fingertips across the dry surface.

Oil on copper showing impasto on the surgace by Margret E Short — Oil on copper showing impasto on the surface © Margret E. Short

Use the thick strokes of paint in your area of focus. Place pieces of paint and leave them alone. Do not fuss and over blend. Be bold. Make a statement with paint. This painting is from the Minerals, Metals, and Dirt project and painted on copper. Because the copper is completely non-absorbent, the paint builds easily on the surface.

Detail on Cupids Arrow showing impasto and brushstrokes by Margret E Short — Detail on Cupid’s Arrow showing impasto and brushstrokes © Margret E. Short

Contrarily, use thin translucent paint in the areas of shadow and background. This push and pull will give the viewer lots to do while their eyes travel around the composition. Give them something to think about so they don’t exit the painting too quickly. The tulips in Cupid’s Arrow illustrate both thickness and brushstroke varieties (directions).
Experiment with some of these ideas and watch the surface of your paintings come to life with splendid thick juicy paint, crisp and blurred edges, and textures you can sense with your eyes. Your viewers will never walk away for lack of interest again.

Click here to learn more about the Oil Painters of America Critique Program

2014 Spring Online Showcase Winners Spotlight

Oil Painters of America · Jun 3, 2014 · 5 Comments

The OPA Spring 2014 Online Showcase was held from March 1 to May 17, 2014, open to Associate members only and awarding $5,000 in cash awards. The Online Showcase runs three times each year and is completely digital competition held at www.opaonlineshowcase.com for only $14 per entry, with no limit to the number of entries allowed.

These award comments are thanks to our Spring Online Showcase judge, OPA Signature member Tim Deibler.

The Summer 2014 Online Showcase runs from June 1 to August 15, 2014 and is open to OPA Associate members. Enter Today!

First Place Tina Garrett “Gaze”
This work caught my attention the first moment I saw it on the monitor. The expression “one in a million” kind of describes my feelings for this piece. The artist’s skill in portraying this rather unusual subject is nothing short of masterful. This has been painted as the eye would see it rather than how a camera would see it. The most intense color and sharpest details are on the face. The more you move from this area the less obvious things become. The accuracy and delicacy of the floral pattern is still distinct, but does not compete with the face or the frame. The background has totally gone out of focus making the figure even more dimensional giving it the feeling of existing in real space. The drawing is impeccable, the edges amazing and the color harmonies are beautiful.

Second Place Robert Hemme “Global 1200”
I found this painting totally fascinating and returned to it over and over. The artist’s sensitivity to form and light combined with the very careful use of values and edges makes this an amazing piece. The limited use of color makes the sense of atmosphere so strong that I feel like I am there observing the scene. Because of the careful use of values and temperatures, all of the little railings and details give reality and dimension to the scene without distracting from the larger shapes

Third Place Nancy Boren “Stepping Out”
The various textures and the strong sense of light and shadow are what I really admire in this piece. The artist has created a visual experience that almost rivals reality. The mane feels like it has just been combed and braided, I can feel the various textures in the head piece that has just been tied on. The leather bridle, the abstracted and unfinished ground and of course the warm sunlight. The exceptional drawing and the energetic brushstrokes literally transports me to the scene, I feel the sun, I can run my fingers through the mane and I hear the surrounding sounds.

Honorable Mention Christina Mastrangelo “America’s Cup”
My favorite part of this painting is the artist’s amazing ability to guide us through the scene through the use of white. The white sails, the white stripes of the flag, the white candle and finally the white book. The shallow depth of field, the careful use of hard edges, limited color range, accurate drawing and almost theatrical lighting make this a very powerful painting. It is her careful use of values and temperatures that makes this piece worth serious study. What color is white you may ask?

Honorable Mention Doohong Min “Brunch”
This painting is all about mood. It creates a sense of warmth and intimacy. The softness of the edges, the backlighting of the figure, the subtle and beautiful blue and orange color harmonies create this feeling. The artist’s sensitivity is wonderfully conveyed in a very personal way.

Honorable Mention Loretta Fasan “Costume”
This painting has a real WOW factor to it. This painting radiates with light and warmth. I love the beautiful and delicate way the face is treated. The various textures that surround the face add excitement to the work but does not over shadow the beauty and sensitivity of the portrait. The sense of design, the rich fiery color and the skill of the artist make this one of the most unforgettable images I’ve ever seen.

Honorable Mention Michael DeVore “Pueblo Pot”
The simplicity of the design along with the beautiful drawing and value arrangement caught my attention on this piece. What the artist has created feels so real and natural, that I believe I could walk around the corner and see it. It doesn’t feel forced, contrived or staged. The colors harmonize, the pottery has weight and dimension, the whites are different and beautifully painted. The artist has skillfully created a sense of reality on the canvas using a bare minimum of shapes, values and colors.

Honorable Mention Karen Blackwood “After The Storm”
Once again this artist has managed to transport me from my home in Colorado to the ocean. Through the controlled use of shapes, values, minimal color and edges, the artist has created a scene so real and vivid that I want to go and get a jacket. With only a few mid values and a single dark mass, this piece is basically a symphony in white. The control of values and temperatures in the white and the use of soft edges make this a piece I will be personally studying for a long time.

Honorable Mention Scott Johnston “Peter Devine”
Another example of impeccable drawing, superb value control and minimal color. This painting is so real and life like that I keep expecting it to start talking to me. The textures of skin, hair, material and paper are all so realistically portrayed that it leaves me speechless.

Honorable Mention Vicki Walker “Similarities”
The artist has simply and beautifully captured the innocence of childhood. The blue dress act as the compliment to the child’s reddish orange hair and the orange. The simplicity of the background enhances the simple beauty of the child and her clothing. I like the way the sense of light and shadow has been handled, staying away from strong value contrasts.

Honorable Mention Zimou Tan “Relief”
It would be difficult to find the words to express all of the human emotions that the artist has expressed in this painting. Looking at it from an artistic point, I find the drawing and the arrangements of all the various bodies very intriguing. This complex composition highlights the artist’s drawing and composing skills to the max. The individual expressions, subtle color and tone shifts and superb paint handling make this a truly remarkable painting.

Honorable Mention Sergio Roffo “Spring Covering”
This is an excellent example of a painting that is full of light and air. This piece has beautiful color, a wonderful sense of depth through careful value, color and detail gradations. The placement of the rock and the way it is painted leaves no doubt to the focal point of this piece. I was enjoying the sunshine on the rock and water long before I even noticed the town in the background.

Honorable Mention George Bodine “Alley Chef – Paris, Artist’s Copy”
I really like the originality of this kitchen piece. I actually feel like I am peaking through the window and seeing a chef busily at work. The composition is perfect down to the tiniest detail of the most unimportant article. The artist has created the mood and atmosphere using carefully designed values and shapes.

Only Human

Mr. John Hulsey · May 5, 2014 · 5 Comments

Last night, as I began teaching another painting workshop, I wondered again what motivates people to put up hard earned cash and move their bodies across town (sometimes across the country) to take a painting workshop. For the most part, these are not aspiring professionals wanting to hone their skills, but folks with careers in other lines of work. I used to think that painting was just a hobby for them and a group class was a safe bet for some entertainment and relaxation. But now I’m not so sure. I have given it some thought and I believe that there is a deeper, more fundamental motivation that drives us to want to learn to paint.

Artists Sketching in the White Mountains by Winslow Homer — “Artists Sketching in the White Mountains”
by Winslow Homer

We have written before about creativity and the new scientific studies investigating the human impulse to create. It is a fascinating subject precisely because it isn’t well understood, and because in some ways artistic creativity has no practical advantage (that we can see) for our immediate survival. For instance, it takes time and resources to make an object such as an essential tool. To then devote additional time to decorate that tool instead of using it immediately for hunting or preparing food, doesn’t make much sense when food is the priority. In a tribal context, everyone must contribute to the welfare of the whole for the tribe to prosper. So why do we find elaborate and extensive cave paintings made by neolithic hunters from 40,000 years ago? These tribes would have had to support those early artists – feed them – while they took time to make the paintings. Recently, archaeologists have found carved and decorated tools made by our primitive ancestors which are over 300,000 years old. The impulse to express something from within seems to be a very ancient need.
When I think about what motivates my students to be present, I now believe that it is related to that ancient need to create, apart from the other activities in their lives. There is something essential in the act of creation, or in simply learning to create, that answers this need. I can teach them all sorts of useful and necessary techniques which are helpful in the long run. But in the moment, which is all we really have, I try to keep in mind that if I fail to connect to the real reason they are present, then I probably have failed to connect with them at the most universal, fundamental level. It is love of creation that brings us together at these moments, and in that, we are all one big tribe.

Painting’s Curious Power to Connect

Bruce Petrie · Apr 28, 2014 · Leave a Comment

Painting is a curious thing, especially its power to connect.

Why paint after all? Why spend time and energy making marks on canvas with brush and pigment? Why set up an easel outside to capture the scene. Can’t a smart phone do a smarter job of that? Painting isn’t easy and isn’t always fun. Nor is it exactly new and different: humankind has been doing it for 30,000 years.
There’s no universal answer to why paint. But we know that countless people around the world, in every culture and generation, and for all sorts of reasons, have picked up a brush and painted. Painting grabbed them. Once inspired, they toiled to produce masterwork, the best work they could do, and some few produced masterpieces, the best work anyone has ever done. As diverse as all these past and present painters are, the thing that unites is the power of painting to connect.

Sometimes the answer to why paint is: I don’t know, I just do. As a kid, lots of doodles, sketches and characters meandered their way from imagination through pencil onto sheet after sheet of paper. After years of drawing, illustrating and editorial cartooning, a turning point was a workshop in outdoor painting with Thomas Buechner in Upstate New York. After five days with oil paints outdoors, I was hooked. I knew I had alot to learn, mostly by just-do-it trial and error. But I couldn’t wait to learn more.

"Companions" by Bruce Petrie — “Companions” Received the OPA 2013 Online Showcase Silver Medal
by Bruce Petrie

Today, thousands of painting hours later, I’m still hooked. This goes beyond my own work. It now connects with many others, people I know or have the privilege to paint with, people I’ve never known from long ago who still live in the work I marvel at, people of all ages and countries and walks of life who have felt painting’s tug…or enjoy artwork without picking up a brush.
Painting also connects with my work as lawyer and has opened my eyes to law’s fundamental connections with the humanities. For people who think of law and art as separate worlds, one of words and the other of images, I say look again. Strong painting is based on strong visual design–a problem-solving process of composing and communicating what you want to say within the four corners of a two-diminsional flat surface. Law is also about problem-solving, communication and persuasion. Both art and law have ancient roots in principles of the humanities that have been around for thousands of years: inspiration, composition, focal point, balance and craftsmanship. These are present in masterpieces of visual art and also in that most revolutionary and artful of laws–the US Constitution–and its interpretation through decisions of the US Supreme Court. I now teach a continuing legal education course, Brush with the Law…an Artful Eye on Law, which is certifed in five states.
So why paint? For me it’s about connecting: with people; with the long, diverse and ongoing story of art; with the joy of putting paint to canvas; with the natural and visual world that gifts each day with light; with principles and problem-solving. Painting is a “pursuit of happiness” because it connects with things larger than self.

Photograph of a veil of rain during plein air painting — Photograph of a veil of rain

A trip to the museum, and we’re all leaning forward to get a close-in look at a mark made by Rembrandt, a mark that is just a dip in the eyebrow but that gives the expression a world-weary empathy. Or a farmer near Venasque, France who gets off his tractor to look at the field study on my easel and pulls from his pocket a small sketchbook of excellent water colors he does every day in the surrounding countryside. Or watching a group of young apprentices and mural painters cover a brick wall in downtown Cincinnati with a John Ruthven painting of now extinct passenger pigeons. Or a favorite hillside in the Finger Lakes of Upstate New York, the loudest sounds being the buzz of summer bees and the scratching of bristle on canvas, until indigo clouds roll in and open a silver veil of rain.
Painting connects.

Oil Painting

21 Days “Painting” on the Road

Painting is a curious thing, especially its power to connect.

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