Grass is never easy to paint, at least not for me. I don't do many landscapes for that simple reason. Most people think that painting people is the most challenging and difficult. But the elements of a landscape cause me more grief than flesh and fabric. Grass doesn't grow in a mass, it grows one blade at a time. And yet our eye doesn't see every individual blade. As a painter, I strive to portray what we see, not necessarily what is. Grass also doesn't grow evenly. The individual blades grow in clumps, on uneven ground, and at different rates. Portraying all of this requires layer after layer of painting and working and reworking the canvas. Challenging, yet satisfying. Hakuna Matata.
Forgetting the Unforgettable
My mother-in-law passed away almost a year ago. We spent last week at her house working on preparing it to go on the real estate market. Before we left I packed up painting supplies so that I could continue to work even while away from home. I was actually excited about it because there is so much light in her house and I knew it would be a great opportunity to relax while I was there. I had all of my supplies set out and then promptly drove away without them.
Her home is in a small tourist village on one of the San Juan islands of Washington. They have a little art supply store there and I was able to pick up a few things to allow me to do at least a little something. Without my works in progress I was forced to start a new painting. I wasn't sure what to do until we were looking through an old photo album. I almost never paint from someone else's photograph, but this one was done in lighting that I think I can make work. The colors aren't rich and vivid because the photo is faded. But I'm actually excited about the challenge.
My dear husband had forgotten about this vacation and the photo brought back treasured memories. I'm so grateful to have the photos I do to help me remember what I would otherwise forget.
Applying with the Palette Knife
I chose this image to illustrate something simple but effective. When there is a lot of canvas to cover, getting the paint worked into the fibers of the canvas can be tedious and even difficult. I have discovered that using a palette knife to cover large areas of canvas works well. It covers the area quickly, pushes the paint into the fibers, and makes it easy to spread it to the remaining areas with much less effort.
Back in the Saddle Again
Growing up I often heard, "When you come off a horse, you get right back in the saddle again." Well, I didn't get right back in the saddle again this time, but at least I'm back. Sometimes I procrastinate something for so long that it begins to feel like it's been too long to even try again. Nevertheless, here I am. So what happened? This happened...
My mother-in-law had a fatal stroke in May 2016. If you had told me that her passing would create a 7-month creative block I wouldn't have believed you. But life is not always believable. While I haven't been much at my easel, I haven't been doing nothing. Over the next few days I'll be posting a combination of painting work and other professional work from the past year.
Today is officially the first day I've painting since July 22, 2016. As much as the anxiety of it gave me a headache and an anxiety attack, it's good to be back in the saddle again.
Upon Layer
Every time I walk away I think, hmm... Maybe I'm done. Maybe this is enough detail. And then I come back and realize I can do more. A good piece of advice I received many years ago was, "A good artist knows when to stop." I don't thinks it's time yet, but here's another layer.
Layer Upon Layer
Sometimes it's slow going. But another layer on today. I got some pretty good detail in the hat and a few suggestions in the robe. One step at a time. This week my days have all been one step at a time. There has been a lot going on the past month or so and sometimes it's a whirlwind and sometimes it's minute by minute. But, just like the painting, layer upon layer the tapestry of my life is create.
The Hurrier I Go
I may have mentioned this in a previous post, but when I was growing up my Grandma Nina had a plaque on her wall that said, "The hurrier I go, the behinder I get". Today was one of those days. I thought the underpainting was dry enough to add a glaze of color. I was wrong. Instead it wiped out the paint that wasn't dry and left a big white spot that doesn't want to take paint. ARG! Lesson learned... don't rush the process...
From a Distance
Unforeseen circumstances kept me away from both my studio and my computer the past few days. There are just some things you can't do from a distance. But today you can see Manzanita Beach on the Oregon coast from a distance. I love how one single brush stroke can make all the difference between a muddy mess and exactly what I wanted I wanted to say.
Lookin' Good Soldier
Sometimes I can't figure myself out. I was making great progress on the face and feeling really good about it. But it has taken all my will power to get myself back to the canvas. Perhaps I was afraid I would mess it up. I don't know. But man, I have been fighting myself today. I finally did it though, and I think he looks quite handsome. I'm checking in with "Dad" to get his opinion before I go any further on it. But for now, I think he's looking pretty handsome.
They Make Me Sound So Good!
Most artists I've worked with suffer a similar plague, that of feeling like their art isn't good enough. I'm an artist, not a salesman, and I have a very difficult time promoting myself. So when I read the Hoffman Center of the Arts blog post and advertisement for my art class, I was pretty surprised at how good they made me sound.
February’s Oil Painting session starts Thursday, February 4. If you’ve been worried that oil painting might be too difficult, don’t worry. There’s no mistake you can’t fix because the medium is so flexible.
Materials don’t need to be cost prohibitive either, because Karen teaches color mixing with only three basic colors.
Once you’ve given oils a chance, you’ll never go back!
And here’s a hearty endorsement from one of Karen’s recent students:
“I love your teaching style, Karen. I’m enjoying your class very much. I have to say, I normally don’t take art classes, but you’ve changed my mind with this one. You take time with each student, and I’ve learned some great new techniques.” Jan Layne, student in the January session of Karen’s oil painting class.
This is an ongoing oil painting class that takes participants from where they are to the next level. Karen has been teaching art for eight years and is experienced in teaching beginning students as well as those who have been painting for years.
Class participants will learn the elements of art and design, classic painting techniques, and color theory through the process of creating their own paintings. Each session is three hours long.
Tuition: Students pay $165 for 4 sessions at a time. There is an additional $20 supply fee per period if students don’t have their own (bring materials fee to class for the teacher directly). If students know they will miss one of the sessions there will be make-up session on Thursday, March 31st.
Time: Thursdays, Feb 4, 11, 18, 25 10 a.m. to 1 p.m.
Location: Hoffman Center for the Arts, 594 Laneda Avenue, Manzanita
A minimum of 4 students is required for the class to go forward. Please register no later than Thursday, January 28 to ensure the class will proceed.
Students who already work in the medium are asked to bring their own supplies. A complete list will be provided at registration. Students new to oil painting can use provided materials for an additional $20 (paid on the first day of class directly to the teacher).
Click here to register. For questions about the class, contact Karen at peasehouseart@gmail.com.
Local artist Karen Gale (peasehouseart.com): After a 16 year career in education, Karen studied in the Department of Art and Design at Southern Utah University. Since moving to the Pacific Northwest, she has created Pike Road Painters artist group in Yamhill, Oregon as an art teacher, joined Currents Gallery in McMinnville as an artist and art teacher, and founded Pease House Art in Oregon City. She now lives in Bay City with her husband, teaches art locally, paints, and is illustrating a children’s book.
Happy Birthday... And I Cried...
Today is my brother's birthday. He passed away in 1999. Painting this portrait of him has been an emotional journey on so many counts. Like I said, bad references were a major issue. My emotional issues were also a huge barrier. Then, I kept seeing my son instead of my brother on the canvas. But the other day I looked at the canvas and my brother was smiling back at me. I sat there and cried, and cried, and cried. I felt him in the room with me. I felt his love, and his approval, and the joyful essence of him. And I missed him. And I loved him. And I was filled with gratitude that I was able to do this. A month from today is our father's 80th birthday. This painting is for him. I hope he sees Roger too.
In the Twinkling of an Eye
His eyes are twinkling and so are mine. He is finally beginning to really look like himself. I've really struggled with this one and it's a relief to see him taking shape. There is still a lot of work to do, but hope is in the air.
Hat's Off
Well, I'm off and running with the hat at least. It still needs more work, but I'll need to find a better reference before I can finish it. His face is finding it's shape as well. It's slow going, but at least there's progress. It's amazing how being emotionally attached to the subject can make it so difficult to be objective about something even so detached as painting the figure. It's simply hard to look at what is really there. The human being is such an emotional creature. Our feelings, experiences and perceptions effect everything we do and every decision we make. It's not always for the best, but I wouldn't have it any other way.
Shape and Color
I heard my professor, Brian Hoover, say it 101 times and my own students hear me say it over and over again. There are only two things that can go wrong with a painting - shape and color. So the first thing I'm working on is creating a shape that will work. As I said, I am working from several different, very poor and very old references. If I were trying to create a generic person it would be one thing. But this is actually supposed to look like a particular person when I'm finished. So I have to be really careful about getting it right from the start.
Oh So Slowly
It doesn't look like I've done much here, but the truth is that I've done a lot of work that can't be seen on the canvas. The request is that I use one reference for the face, a different reference for the hat and clothes, and I have to adjust the lighting on the subject. So that big blob of brown in the middle of the canvas actually took a great deal of effort. Have I mentioned that this is going to be a very difficult painting? Yes, I'm whining about it.
The Hardest Thing
I was writing this blog post and got into the middle of a very personal and emotional bit about this painting when the page crashed. The internet didn't crash. My web browser didn't crash. My computer didn't crash. Just this page. I feel like I needed a minute to re-think what I was saying. So I'll just say this... This painting is going to be the hardest one I've ever done. It's a gift for someone I love dearly. He requested it of me long ago and I haven't been able to emotionally deal with painting it. But the time has come. I don't have any good references, he wants the references I do have to be combined, and I'm emotionally involved. All of these are a wonderful recipe for a grand disaster. So if you ever wanted to see a painter struggle, just keep following along with this one. It should be a great exercise in trial and error and trying again.
The Ugly Underneath
When I finished with the underpainting I sat back and though, "Ugh!" I wasn't discouraged. I know it's just the underpainting. But it's not pretty. It's flat. There's not value. There's no form. And then my thoughts, as they usually do, began to make the connection to life. One of the reasons I love painting with oils is that they don't dry quickly. I do have old canvases with old paintings on them and I can simply paint over them and make them new again. But with wet paint I don't necessarily start over every day. I build. I layer. I add and move and adjust until the ugly disappears and the pretty pops out. And then I realize that there was never any ugly in the first place. It was just a simple beginning. Sometimes I see myself as ugly. Then I realize I'm really just being built, layered, moved around, and adjusted. The beauty is there all the time.
Time is Ticking
My art show is two weeks away and I'm stressing! I suppose that's not too out of the ordinary. I had hoped to finish both Safe and Tender, but at this rate I'll be lucky to get this one done. She is looking better today though. I think tomorrow I'll move back to her hair and see what that does to her face before I finish her up. Where is the snooze button on life?
Soft Sleeper
She's getting close. Lots of layering. She seems to be sleeping peacefully, but there are areas that need some more work. This is the stage that can go either way. I have had painting sessions where there is just one little thing that needs to be done and I can't get it to save me. Other times I feel like there is so much to do and it comes together so quickly that I can't believe it. So we'll let her get some rest and see what tomorrow brings...
Cheers!
While I thoroughly enjoy painting and easily get lost in it, there are some days that are easier and some that are harder. Today was a grueling day, as far as painting days go. I'm not really complaining. It was simply a lot of hours in one day, and a lot of working and reworking and building layers. But in the end, Grandma Ruby is now able to say to one and all, "Cheers!"