Poppies in the Rough

Trying new things is fun. Very happy using Wallis and the occasional Art Spectrum paper in my KOOOL Binders, I didn't often feel a need to be creative with my paper surfaces. After having it for months, I recently dove into my UArt Sample pack from Dakota Arts; I used the 500 grit, results to follow. For my tastes, I felt that the 500 lacked the grip I'm accustomed to with Wallis, so it held fewer layers. I look forward to comparing the three other versions of UArt.

Because of beginning a new class at the Workhouse last week, I was reminded about making my own sanded paper, although I'd bought the supplies a good while ago. Lynn's syllabus has us creating a surface in a couple weeks, but I decided this weekend to try it out with the Golden's Coarse Gel I bought at Michael's. Fine gel is recommended for pastels, but I thought making the paper with what I had would be good practice nonetheless.

I used the coarse gel tinted either red or light orange with acrylics and applied it on several top pages of watercolor blocks. With a spoon, I spread the clumpy gel onto the papers and tried to distribute it around. I smoothed the orange pages with a 1" watercolor-turned-acrylic-turned-all-purpose brush dipped repeatedly in water and the red with a flat fuzzy house painting sponge pad thing. With the gel this coarse, I don't think the application method mattered too much and I'd choose the pad next time, particularly if I were doing several pages in succession, because it cuts a wide swath.

As you can tell, the surface is incredibly coarse and didn't like taking detail, but I could duplicate a photograph I took at Green Springs meaningfully in my loose style. I think the coarse gel makes sense for me, someone who appreciates impasto oils, but burnishes in pastel. This is a great compromise.


4x6
Soft Pastel on Red Acrylic-Tinted Golden's Coarse Pumice Gel on 140lb Lanaquarelle Watercolor Paper
SOLD

New Affiliation

I am pleased to announce that I was juried in as a Workhouse Arts Associate (WAA) at the Workhouse Arts Center in Lorton, Virginia.

Several years ago when the transformation from federal prison to arts center was announced, I was ecstatic at the prospect. To aid in my inspiration, I love both taking classes and having galleries to peruse; now I have both only three miles away! Being included in the WAA exhibits is icing and a real honor.

As a member of WAA, I'll have several pieces on exhibit all the time. Exhibits rotate every month or two. To clarify how this fits, there are two other possible artists' memberships at the Workhouse, those with studio space and those part of the guild, the latter participating in monthly juried exhibits.

Please visit Lorton Arts Foundation for more information about the activities on the campus, to include a Suffragette museum devoted to the women housed and tortured there, who turned the tide for the vote. Mikhail Baryshnikov has a studio and, further, there is an amphitheater with 300 more seats than Wolf Trap expected to draw similar acts.

Photos are of two of the prison's towers, one the water tower, identifier of the facility from a distance, and the other a guard tower, languishing in these days of retirement.

NOVAL at the Government Center

In an exhibit that rotates quarterly, I now have four pieces with Northern Virginia Artists League at the Fairfax County Government Center, 12000 Government Center Parkway. Thanks to the Arts Council of Fairfax County for supporting local artists.

About 50 of NOVAL's member's works appear the third floor south and the cafeteria January through March, 2009.

Sounds of Wolf Trap
Soft Pastel, 5x7

New Works Exhibit, Lorton

Students, faculty and staff of the Workhouse will be exhibiting original works created just for this New Works exhibition. On display will be works in all media. Two other exhibits are running concurrently as well.

My submission is a 8x10 soft pastel entitled Barrett House Meadow, which was created in September 2008 en plein air. The Barrett House is located nearby on another parcel of the prison property. Go check it out and tell me you enjoyed it. I appreciate the bold sky coupled with its charm. It reminds me of a Van Gogh, although that's not a goal I'd had when creating it.

There will be an artist's reception to celebrate this exhibition on Sunday, January 11 from 3PM until 5PM. Come to meet and see the artistic work of the creative individuals who are part of the Workhouse arts community.

Runs January 7 through February 15.

2008 in Review

2008 was a great year for me and my art. I entered the year desiring to take chances personally. With the mantra to respond more with a yes than a no, I was able to grow many ways as a person and an artist.

Not a good winter painter because I prefer working outdoors, the year started off slowly. From this, I've learned how important it is for me to be engaged in a class through the cold months. Choices need to be made in the coming weeks, choices which include, gasp, working from a photograph. Humbled, I feel like I am bragging when I say how very exciting it is actually have choices in pastel classes!

Getting back on track in the Spring, I took a Sara Linda Poly en plein air workshop; I worked one day in soft pastels and one in oils. Manufacturing opportunities to drive in the mountains, I painted diligently all Summer and into the Fall. To keep me busy as the weather cooled, I took the nude figure pastel class with Ginger White Hergenroeder at Workhouse Art Center, a place near to my heart, literally three miles away. Her style is unique and expanded my tool kit for painting.

Also in the Fall, I began my blog, backfilling paintings in to reflect the days they were created. I also began framing my work instead of "painting to a pile," which I'd done for years. Although I consistently felt serious as an artist, I'd never before felt the desire to share it or do anything with it. Now I'm interested in the community it brings as well, me joining six art organizations this Fall. The level of support and activity in this area is tremendous and I treasure it.

This year I worked from a trusty French Companion, a French Easel, a Mabef lightweight easel, a Sketch Box, an aluminum table easel, a Roz Bag, and, drum roll, now I have purchased an EasyL Pro, which is in transit. You'll be the first to know when I put it to use. I think I can declare my house completely full of art (and camping) supplies when it arrives.

A shutter bug, I also have over 125 folders of pictures I've taken this year, each having one to 2000 photos in them. Besides having a growing son to document, I love having the references even if I do not use them traditionally.

My goal for 2009 is to continue painting the Lorton area, both in pastels and oils. In addition to this Pohick River reflection from last week, I've painted the Barrett House Meadow locally. These are just a few of the places I've pictured and mapped for en plein air locations in this area. Specifically, I will paint the Workhouse and other prison grounds, Occoquan Regional Park, and the Gunston peninsula. And I want to do them in each medium.

I have two trips planned for the year which will help my Roz Bag earn more frequent flyer miles. I look forward to the misty Northwest and the naturally air conditioned MI Upper Peninsula.

One very personal goal involves extolling the beauty of pastels, an often under recognized medium. I believe that the Commonwealth of Virginia is much too large an area to not have a single formal or recognized pastel society. If you believe that as well, please write here or email me. Of course, I do not intend to take away from any other nearby pastel society, as they are healthy and well established. My sincere desire is to promote pastels in Virginia in galleries, with pastel educational and en plein air opportunities, with pastel exhibitions, and for pastel artists themselves.

All my best for you in the New Year. I appreciate your visits and support.

Reworking the Outdoors In

The bulk of my paintings subscribe to a simple truism: what happens outside stays outside.

Sometimes, there is an exception.

I was so taken by the Redwoods along the Avenue of the Giants that I knew I must paint the area in my sketchbook. Being more of the big sky, vista type, I knew that close in paintings of tree trunks would smother me and drive me mad. We found a rest area with a view in Humboldt Redwoods State Park near where "the" 211 meets "the" 101 at the Eel River fork. I liked the foggy softness of the distance, the silhouette of the tall trees which were made smaller, and the primitive road perched on the edge of the mountain.

Frustrated, I could not convey the gray of the day, which went along with the gray of the week, with the pastels I had. After coming home and using just the new Maggie Price grays from Terry Ludwig, I was able to drastically bring down the key (brightness/saturation) to match the overcast day.



Near the Eel River Fork
5x8.5" on Wallis Belgian Mist

It went from garish to subtle, although some of the original brights peek through pleasingly.

Pastels can be blended to a degree, but they are not like oils, acrylics, or watercolors where they can be toned down easily. With tubed paints, for example, if the blue is too bright, you add a little something from the orange family (its compliment on the color wheel) to gray it out; it is my habit to do that with almost every blue I mix. With pastels, sometimes you can juxtapose the blue and orange next to each other or on top of each other to tone them down, but sometimes that won't work either.

I love the pure, vibrant color of pastels and it is wonderful to now have more tools in my chest to keep the key balanced. Pastels use exactly the same pigments as tubed paints and the trick is in being able to apply them effectively despite their non-fluid state. Pastelists make the powder work for them. And there's always another set to be had. This Maggie Price/Terry Ludwig one is a must have which would have improved this whole series of paintings under overcast skies.

Central California Sketch

We're sadly on our way home by this time. It was exactly one week ago, the day after Thanksgiving.

This piece was created right where Northern California meets Southern California, so I suppose that makes it Central California.

We were cruising this cloudy day back toward LAX, but I squeezed in a painting of the beautiful view from the rest stop at Westley, which is near San Jose on "the" 5. I loved the rugged undulations of the mountains which had bumpy gray-blue skies to match.

I'm not sure if this one or the one of Monterey Wharf is my favorite from the week. Which from this collection is your preferred painting?

View from Westley, CA
5x8.5 Art Spectrum ColorFix in taupe

One more painting from up near the Redwoods is due to be posted here, but I have decided to work on it a bit in order to get the key more accurately. And I'm pleased I'll be able to do that with my new Maggie Price set of 30 grays from Terry Ludwig, one of the most thoughtful gifts I have ever received.

Lost Coast Sketches in Northern California

It was a winding 23 mile trek over King Mountain to arrive at Shelter Cove from Route 101 (or as Californians call roads, "the" 101) and the Avenue of the Giants. Shelter Cove is true to its name, a Lost Coast haven which seemed to favor campers who enjoyed their perch between a mountain and a cliff. We'd literally traversed into the light after having been in overcast conditions for two days.

After walking a little on the black sand beach, I went back up the stairs to paint at a handy picnic table near the Cape Mendocino Lighthouse, a beacon which looked short according to East Coast standards, but when added to the cliff below equaled one of East Coast stature according to the plaque. I painted less than an hour, decided I was happy with the sketch, and opted to go for a stroke limited sketch considering the appropriate pastels were still out and accessible, also considering I wasn't being beckoned back to the car just yet.

I guess my approach going from more complex to less was bassackwards, but it was fun to do. I enjoy challenging muscle memory and the second one is clearly done after the first with confident and distinct strokes. I'd begun with the idea of doing 20 strokes, then was laughed at by my companions in good natured fashion when I actually stopped counting. Regardless, it took less than five minutes. They were on to me for being sneaky and getting in a second painting, so it was time to head out.

Shelter Cove
5x8.5" White Wallis

Shelter Cove in Limited Number of Strokes
5x8.5" White Wallis

Two from Southern California

We began our trip out west with a drive into the Mojave so we could tour Goldstone and see Ft. Irwin up close and personal, the latter a place which impacted our family many times over.

We arrived early for our 1pm Deep Space Network tour, so I took the chance to paint my first visions of the desert right at the Goldstone gate. Of any work attempted for the week, I wish I'd had more time for this one. I could have spent the week (or a lifetime!) here. The skies were unusually dark that day, but we did briefly get a peek of blue here and there.

Goldstone Crests
5x8.5" Wallis Belgian Mist

The next day, we trekked up to Eureka, stopping in Monterey for dinner on Fisherman's Wharf. We went to a lovely restaurant, Old Fisherman's Grotto, near dusk, as I was coming to the realization that painting trips in the winter with light fading by 5pm are not my preferred future. I was, however, able to sit at a table with a beautiful view. I guess this means it wasn't done en plein air? Oh my. Regardless, I enjoyed capturing dusk in a dusky day.

From Monterey Fisherman's Wharf
5x8.5" Cream Art Spectrum ColorFix

California With a KOOOL Binder & a Roz Bag

We spent the week in California enjoying the sunny rainy weather. Not to be deterred, I got in a good bit of painting due to the cooperation of my lovely, flexible, encouraging car mates. I'll post some sketches/paintings over the coming days.

Our first opportunity at sunshine was a wonderful bit of serendipity as we crossed the King Range between the Avenue of the Giants and Shelter Cove on the Pacific to reach the Lost Coast. Nothing is better than finding a well-placed picnic table! I faced the ocean at sunset, plus there was plenty to occupy my companions between the black sand beach and the Cape Mendocino Lighthouse.

My pastels travelled well from Virginia to California, carried them on with only minor questioning at Dulles and a little more thorough inspection/swabbing at LAX. I purchased a Richeson Roz Bag with four trays for the trip, because I felt my French Companion would be too bulky and not protect my jumble of pastels well enough. Because the organized, foam-lined trays of the Roz Bag are made for plump Unison pastels and many brands I use are smaller, I cut 1/2" foam pieces to layer between each tray; you can see them stored in the bag to prevent fly aways while I painted. The Roz Bag was a bit tougher to zip being so full, but it worked well. The only thing I would criticize about the Roz bag is the empty space under the Richeson logo in the center of each tray. I've lost a couple pastels in them already and have not yet wanted to empty the entire tray to maneuver the hidden ones back out. Once I get them out, the spaces will be stuffed with cotton or foam.

This was the second location where I lucked into a well-placed picnic table. The day was chilly, breezy, and overcast, but Westley was a great spot for a rest area. One thing I realized during the week was that I am much better prepared pastel-wise to paint sunny scenes than gray, foggy, hazy ones. Guess I just need to go buy some more low key pastels.

The top of the Roz Bag conveniently fit essentials such as wipes, pencils, sharpener, stiff oil brush, small trash bags, a lid to hold working pastels, and my new 5.5x8.5" KOOOL Binder. Here I am working on Wallis Belgian Mist, but throughout the week I used a variety pack of ColorFix as well as Wallis in white. Separately, I'd brought an 8.5x11" KOOOL Binder, but didn't have the opportunity to use it and go larger. My painting sessions were less than 60 minutes, which suited the smaller size well.

I definitely didn't anticipate the opportunity to paint each day on our trip, but Thanksgiving is a time for being grateful, rain or not. Sincere thanks to our gracious host.