Tuesday, May 5, 2015

Old Shadows - Plein air During Kathleen Dunphy workshop

In my preceding post, I talked about my great experience attending a workshop with Kathleen Dunphy in Murphys California on the last weekend in April.  We had a few weather challenges, but the intensity of the workshop and the learning experience was never interrupted.

On the second day, we finally got a break in the rain and I was able to get in one painting.  I tried very hard to use the lessons gleaned from Kathleen's invaluable teaching.   I think her guidance shows. 

Old Shadows    Oil on linen panel    12" x 8.5"


My Art Site: Bruce Hancock Fine Art

Workshop with Kathleen Dunphy - Murphys California


I've followed Kathleen Dunphy's excellent blog for several years.  I highly recommend it.  http://kathleendunphy.com/blog
And if you've followed my blog for awhile, you know that I had an opportunity to meet her once when I was fortunate enough to receive her "Juror's Award" at a show in Murphys.  I later took advantage of her good nature by....well, it's a fun story and you can read it in an earlier post.
(Meeting Kathleen Dunphy, April 27, 2013)


I FINALLY was able to register for one of Kathleen's fairly rare workshops - they fill up fast!- and on the weekend of April 25 - 27, I spent a fabulous three days learning from the best.  It is hard to describe how impressed I was with Kathleen personally and as a teacher.  To say that she is charming and gracious would be understating it.  I couldn't get over her patience with all of us in the workshop.  She never stopped smiling and joking.  But she brought more than good humor to the classroom.

Kathleen Dunphy, Artist and Teacher   April 25, 2015
This is the hard part to relate.  Maybe just telling how her teaching open a door for me will do it best.  On the first day of the workshop, we spent most of the day in lecture and demonstrations by Kathleen.  At about 3 pm, we went outside to paint.  It wasn't until later that I truely appreciated this approach.  I mean we are in a painting workshop to paint, right?  Well....

I finished my only painting of the day about 6 pm.  I felt the feelings of frustration and disappointment that are almost a hallmark of plein air painting for me.  When I returned to my hotel room I began to reflect on Kathleen's lecture during the day.  In particular I thought about her comments that as artists we can "fix" painting problems with logic.  We don't have to be ruled by emotions, particularly the negative ones.  Fighting down the feelings of futilitythat threatened to defeat me again, I found Kathleen's class handouts and my sketchbook and I began to analyze my painting, LOGICALLY.  Realizing that I might have settled too quickly on a design, I drew a few new thumbnails exploring other ways I could have composed the painting.  Using Kathleen's guidelines,I wrote notes about what I felt went wrong during the painting process, and then what I will do specifically to correct that next time.  And when I was done, the frustration was gone. Gone.  Imagine that.  I couldn't wait for tomorrow and another chance to paint. That was when I realized the power she had given me.  And why in a painting workshop, sometimes painting isn't the first order of business. 

It's up to me of course.  To be a painter, I have to paint.  A lot.  But I don't have to paint the same way I have always painted and HOPE to magically improve somehow.  For the very first time - amazingly enough at my age - I understand that improvement isn't about luck or about taking the right workshop or buying the right easel.  It's a logical process.  Every painting is an opportunity to study and learn, even the ones that eventually go in the burn pile.  (And hopefully, those will be fewer and fewer over time thanks to people like Kathleen.)  I seems so simple when I write it now.  Why of course, what did you think?  But that is the whole point,isn't it?  I didn't.  But I will....that's my promise to myself. 

My only regret about taking Kathleen's workshop is that I didn't do it long ago. 
Kathleen Dunphy, Artist   Demonstrating at Ironstone Vineyard lake


My Art Site: Bruce Hancock Fine Art

Saturday, April 18, 2015

A Spring Morning in Capay Valley -- Oil on Linen


A Spring Morning in Capay Valley  12" x 36" oil on linen




In a previous post, I talked about painting a study of this beautiful scene in Capay Valley, not too far from Sacramento.  My plan was to paint a diptych for the final version.  During the study, I felt as though the left hand side of the painting needed more interest - particularly in a diptych - and so I painted in a wooden entry gate.  It did add interest and I liked the result.

However, I recently decided to do a single elongated canvas for no particular reason other than I had the stretcher bars handy and I liked the scene.  I continued with the plan of adding a gate at the left side during the start of the painting, but as I progressed I felt less and less strongly about the need to do so, particularly given that I was back to a single canvas.  In the end, I laid in the grove of trees at the left with a palette knife and then pushed the paint around with a stiff bristle brush trying to get a lot of texture.  I also added shadows to the left to add "weight" and balance and also to move the eye to the lighter areas of the painting.  I think it works OK.  The texture definitely adds interest and the painting seems balanced to me.  When I do the diptych version, I'll reconsider the gate.

This is oil on oil primed classen's linen.  It's the first time I've used this particular brand.  It isn't hard to see why it is so popular.  The texture is just right and the paint stays on the surface of the oil priming beautifully.  Eventually I will have to re-stretch this painting.  I did not have a center brace for the stretcher bars and the inexpensive brand I used has no provision for one.  As a result, the stretching process bowed the stretcher bars along the 36" width. I'll order some good quality bars with a center brace and redo it when the paint drys, which is going to be a little while!





My Art Site: Bruce Hancock Fine Art

Tuesday, April 14, 2015

Attitude in a Pink Cap - Oil Study

Sometimes you just paint something for the heck of it.  The 'artistic value' may be lacking, but the fun quotient makes it worthwhile.  In this case I harbored the idea of doing a larger painting of this subject, so I decided to do a 12" x 12" study first.  At this point, I doubt I will go any further with the idea...maybe. 

I was drawn to the darker figure on the right: her 'attitude' intrigued me and it was what I tried to catch.  I also wanted capture the sense of intense light which is the essence of summer days on the beach in California.
 
I painted this on Ampersand Gessobord, a very smooth surface with very limited absorbancy.  I am intrigued with this painting surface and I've done a few small paintings on it, but I still have a learning curve to climb. 

And I love that pink ball cap.

Attitude in a Pink Cap  STUDY   12 x 12  oil on Ampersand panel. 
 



My Art Site: Bruce Hancock Fine Art

Thursday, March 5, 2015

The End of the Evening - still life


End of the Evening   Oil on 12" x 12" linen panel




Sometimes paintings seem to flow almost effortlessly, but far more often, they have to be pushed and pulled into being.  This is one of the latter.  Right from the start it was a struggle: from the setup to the block-in to the massing and color notes, I fought with it every step of the way.  In fact, I feel that the one thing I did right during the whole battle was not to give up.  I'm very aware that one of the most common mistakes that an artist can make is to quit on a painting too soon.  The temptation to wipe it down, scrape it off or just plain toss in in the failure pile can be very strong.  And while there are times when that is definitely the right thing to do, it's important not to give in to the temptation without a fight.

Midway through this painting, I felt completely lost.  I knew that along the way, I had skipped right over many of the lessons I have spent so much time and energy learning, and now I was starting at the resulting mess.  But I did remember one piece of advice I learned from Dan Edmondson: when you've completely lost a painting, do this: pick ONE piece of the painting and concentrate entirely on it.  Forget the rest.  Don't let the totality overwhelm you and confuse you.  Pick one thing and bring it out of the chaos using the techniques you know...paint application, color and value and modeling.  When you have that piece "recovered", move on to the next piece of the painting and repeat.  Eventually, the painting will come back under control and suddenly it isn't so crazy anymore.

And that's the story behind "End of the Evening."  Now if I can just remember it next time!
(Thanks Dan!)
  

My Art Site: Bruce Hancock Fine Art

Sunday, February 15, 2015

Amador City Shops - Plein air

Yesterday my friend Howard Rees and I met in Amador City to paint.  It was a wonderful spring day with a clear blue sky and temperatures in the low 70s.   I tried to remember my last plein air outing.  I think it might have been with Howard and a group of painters in Ft. Bragg and Mendocino last October!  Wow, could that be?  If so, that's far too long between outings.  I've mentioned here in the past that I have a love / hate relationship with plein air painting.  I find it so frustrating at times, and yet it is always invigorating and inspiring to get outside, set up the easel and just absorb it all.

After we were done, Howard and I had pizza and beer in a favorite place in Sutter Creek and we talked about plein air painting and the need to shake off constraints and accept that some - many - paintings will not be successful in their own right.  That's always easy to say and difficult to accept, but learning and growing is as much about what you do that doesn't work as it is about what you do well.

On this wonderful bright day, I picked a simple subject.  Perhaps I should have tried some of the more picturesque old western structures in Amador City, but I found these dark shaded shop doorways against a brightly lit building front to be interesting.  As I painted I experimented with a palette knife for texture and interest.  As I did so, I was thinking of famous artist Tibor Nagy and my friend Ruth Andre for inspiration.  I admire the palette knife work of both. (Ruth was going to join Howard and I but had to cancel due to not feeling well.)  I was judicious in my palette knife use - 'letting go' is still a struggle for me - but I think the texture created with the knife saved this painting and gives it some character. I'll be taking a workshop with Kathleen Dunphy in April, so I used her limited palette of cad yellow lemon, naples yellow deep, permanent red medium, ultramarine deep, gold grey and white.  It's a palette I use more and more anyway, with some variations, so this was a good time to stick strictly to those colors only and get in a little more practice. 

Back in  the studio I restated the darks using a knife and lost some edges using mostly my fingers and then signed it.  It was a super day.  Howard and I vowed to get out again soon.


Amador City Shops   Oil on 12 x 12 linen panel

Setting up in Amador City on a gorgeous Valentine's Day
   

My Art Site: Bruce Hancock Fine Art

Sunday, February 8, 2015

Morning in Capay Valley - A Color Study



Recently I took a short morning drive through the Capay Valley just Northwest of Sacramento.  The weather was beautiful and winter sun was still low in the sky.  I specifically wanted to take photos for future art projects while using – and learning – my new DSLR camera.  On the way, I stopped in Woodland long enough to take some pictures of the downtown area, and in the process I was reminded that there are a LOT of plein air painting opportunities in this neighboring small town.   I’ll have to go back there soon with my Easy-L at hand. 

One photo I captured was a very picturesque view of a distant barn and animal shed across a purple tinged field surrounded by green hills.  The early light cast long shadows across the bright green hills creating beautiful contrasts.  I knew I wanted to paint this scene with the intent of capturing that light and the sense of peace and timelessness in this little valley.

Capay Valley Farm Original photo format.  
I started out by cropping the photo in a couple of different ways.  This is a very effective way to visualize possible compositions, and it is made so easy with modern photo manipulation computer programs.   I use Adobe Elements, which is a junior version of the very pricey Photoshop, but very good free programs such as Gimp are readily available and do an excellent job.  For landscapes I really like an elongated composition and I often paint with 6 x 12 or 8 x 16 panels.  There’s something about the 2:1 width to height ratio that seems very natural for landscape painting.  In this case however, I was intrigued by an even more elongated 3:1 ratio.  I cropped the photo to that size.  The change in the feeling of the picture is dramatic, in my opinion!   
 
Capay Valley Farm photo cropped 3 to 1
At this point the idea of a diptych (2-panel) painting occurred to me.  I’ve never done one and this elongated concept lent itself to that idea.  So I settled on two 12 x 18 panels to maintain the correct overall ratio, got the required stretcher bars and stretched some oil primed linen canvas to end up with the final panels. 

First, however, I wanted to paint a preliminary color study in oil. Recently, I’ve had very good luck with doing studies before starting a larger painting and this project seemed like another very good candidate.  (In fact, I should have done it before stretching the canvases for the final painting.)  I found a piece of the same linen canvas I intended to use for the final painting and taped off a smaller version of the two panels, being careful to maintain the 3:1 ratio. 

Here is the first study.  The scrap linen is simply taped to a drawing board and then the tape is used to mark the correct ratio for each of the two pieces of the triptych.  I separated the two panels with a strip of tape to keep in mind that there will be two paintings, not one painting split in the middle.  Of course, they have to relate and flow together, but I felt that keeping the physical separation in mind was important.  

Capay Valley Color Study WIP   Oil on linen   approx size 5 x 16
Looking at the study, I was more and more conscious of something that I was aware of even when I was just cropping the photo, but which I had been ignoring.  The left panel, when viewed alone, has no center of interest.   My first thought was that I could put enough detail and variation in the trees in the middle ground and the hill in the background to overcome the issue.  That might still be the case, but now the study painting made me wonder.  If this were a painting on a single canvas, I felt it could work, but if it was to be a diptych, maybe not.  Of course the panels would always be together and hopefully would work as a cohesive whole, but the left panel would not work alone.  Did that matter? The more I thought about it, the more I was concerned that it would.

But this is a study, and the very purpose of a study is to expose problems or allow exploration of alternate approaches without a big commitment of time and expense.  With that in mind, I began to think about what I could add to the left panel that would add interest yet also be a harmonious piece of the whole.  I thought of cattle or horses grazing just forward of the tree line in the bright morning light.  I'm pretty sure that could work, but getting the right scale would be important.  Again it's a study, right?  And then I remembered a photo I had snapped on the same day at a gate going into a different farm.  I found and printed the gate picture and tried to visualize how it would fit into the painting.  

Capay Valley Oil Study -  with gate photo, sketch overlay to position gate

This photo shows the photo of the gate.  The perspective wasn't quite right - too straight on - so I used tracing paper to do a pencil sketch overlay to figure out how the perspective of the gate, how it might fit and what scale would make sense.  I also decided that I like the dead tree next to the gate in the photo, so I used it as a kind of boundary to the painting.

Capay Valley Oil Study - with gate added to left panel  WIP

Here's a closer look at the "finished" study.  The wonderful part of doing a color study is that you can’t really screw anything up so have at it!  I decided to paint in the gate as sketched and see how it would look.  I used a Q-tip dipped in OMS to “draw ‘ the gate structure by removing the existing wet paint.   Oil primed linen is allows you to lift off wet paint right down to the bare white canvas and start clean.  The gate works exactly as I had hoped. 

In a sense, I now have two studies...and both can be the basis of a larger painting.  At this moment, I think the 'gate' will be included in the diptych, but I may do another single panel landscape and follow the first study...and my first inclination.  For some reason it has more of the sense of space and time standing still that first drew me to the scene.  Unbalanced?  Maybe, but I still like it. 

In either case I see that I will need to emphasize the light and shadow on the hills more and to find some areas in the middle ground for intense light such as the face and roof of the barn and the shoulder of the rise just below the barn in order to bring attention to those focal points.   But I don’t feel the need to correct or add to the study at this point.  It will serve as a guide both for what I want to do and what I want to improve on.   Now on to the next stage!

My Art Site: Bruce Hancock Fine Art