Armstrong Creek...Peshtigo River, NE Wisc...8"x 10" plein air

What a delight getting out last couple hours tonight...coyotes yelping, blue-winged teal winging in and whistling by...  a small one...but quite fun..

 

Webinar...tomorrow night (Thursday) March 15th 6pm EST

 

Free to Register-
Webinar Registration

Imbuing Harmony & Unity thru Undertones

     with artist/instructor Larry Seiler

      Premise…
Undertones give the painter a great deal of creative freedom and license to the level of finishing of a work.  Less finishing…the painting has a more abstract contemporary flare.  Certain colors will complement or excite the palette.

I.                    Our Deficit as Painters of Light-     

a)           Edgar Payne’s analysis

b)           Undertones and how they excite

c)            Warm, neutral…or any color

d)           partial undertoning

II.                Video- “Last Light Impressions”

a)          Palette setup

b)          Composing & Mid Value block-in

c)           Sky trick taught by Emile Gruppe

d)          Sky Holes or Sculpting Trees

e)          Finishing…and assessing the experience

III.            Questions/Answers

More progress on "Field's Edge"

Really put out and juiced up the paint this afternoon...and decided to add textural impasto work to the field, plus worked the sky more, and some of the foliage.  Believe I need to work on the deer himself yet...

 

For the Literal to the Suggestive...Go To Meeting, March 13th 6PM EST

Two sessions behind us now...next is my progression as a painter from the more detail oriented realism...to developing suggestive realism.  I imagine will prove to be quite interesting for folks...

From Literal to the Suggestive- 

     with artist/instructor Larry Seiler

March 13th  6pm EST  Go To Meeting...here is the registration link-

Click here to Register Free...

      Premise…

                 Painterly realism or the suggestive invites the 

                 viewer to engage the work and participate in 

                 the narrative actively.  With its poetic brushwork 

                 and elusive nature (what some critics might refer 

                 to as the “unfinished look”) the painting borrows 

                 from the viewer’s own life experiences to read 

                 between the lines. In their reflection, frequent 

                 studying…their own imagination is called into 

                 action making them in a sense a co-creator to 

                 the work.

        

  

I.                    My Awakening      

a)           Burning out

b)           Indoors, painting what I loved about 

           being outdoors!        (the irony of labor)

c)            Smack dab into Schmid!

d)           The Turn around- prepping myself to respond/

           react to a genuine moment

e)           A Painting Speaks- metaphor on communication

II.                Taking Ownership

a)          From intimidation to control- Color

b)          The rudder and the anchor- Values

c)           Implementing the neglected Peripheral

d)          Brushwork…mastering the Gesture

III.            Demonstrations

a)          The Creeper

b)          Fumee Falls

     V.     Questions/Answers

Progress..."Field's Edge"...

Some refinements of the field, textures, more work on negative space, color/values suggesting trees, more foliage...and some knifing work to suggest additional branches...brush.  Coming along

At Field's Edge... 12"x 24" oil

Starting a new one...another whitetail narrative.  
The initial blocking in of masses, values and color for me is like the purest art of the art.  Here the abstract undergirding of what aims to be a working compostion and of sound design plays itself out.  If done well...if expediency nails the essential...the painting is quickly and nearly already accomplished.  The rest is tweaking, finishing...a marvelous efficiency.

On another venue, Facebook...I have comments to that effect that for some the painting is fine as is...

(clicking on image brings up larger view)...

My intent...is to throw a mature buck within the tree line to the left, that will be incidental, that is...likely to be overlooked and missed by most folks finding the landscape painting itself pleasing enough.  This is how encountering a mature buck tends to go.  The one more likely to be intentionally seeking the presence of something special in wildlife is likely to note something different than the trees and vegetation.  It might be in way of slight movement, but it will likely be more in its distinguishing silhouette.  

Now some might say....from the rule of thirds in design, it might make better sense asymmetrically that the buck be standing on the lower right already in the field.  Well, the beauty of a paint knife is you can first try one thing, scrape out if not happy and reposition!

Rules work...and its been said rules are meant to be broken, which I argue is often said to tout and appeal to our creative license and rebellious nature as artists...but will agree that rules can be broken if one understands which rule, and why it is best to break the rule.

If I want to give the viewer a sense of tension...if tension is part of the narrative, then disturbing the visual balance may be one way (psychologically) to deliver that feeling.  Adding a buck to the left mass may add greater weight...true, but it stirs up the tension of the moment as well and may be worth the visual risk taking.

Mature bucks work alone...travel alone, calculate every movement, and is a reason they get as old and as large as they do.  Stupid...does not lead to maturity.  A buck considering running across an open field must have good reason to do so.  Perhaps it is an encroaching threat from behind.  Chances are this would be the narrowest area of the field, a bottlenecked area, and just beyond (to the right) might be a creek bottom with thick tag alder brush.  The threat behind pushing him to make a decision he is not altogether thrilled about.

I will use my manner of peripheral vision to determine what gets what level of degree of finishing and detail to pull off what I want.

Lastly...a reminder that beginning this Tuesday, the repeat of the first series "Foundations- For Reasons Paintings Work" webinar, Go To Meeting starts.  Time is 6pm EST...and you will see a few posts below the outline of the first session.  We will do this series twice per week, for 2-1/2 weeks...thus, the 6th, 8th, 13th, 15th and 20th...
here is the registration link...to sign up, and it is free...
Registration Free- Webinar Series 

Session 4...quite the changes, "Ridge Top Bruiser"...16"x 20"

I decided to paint out the original buck bedded down...

...and some students of mine were none too happy about it, several teen boys like, "Where's the buck?" and told them, "well...you know how mature bucks are.  One minute you get a glimpse, turn your head...take your eyes off them, and they're gone!"

I assured them I wanted to approach representing the buck a little differently..

So, here now the work with the new buck, and like his posturing, attitude much better..and a closeup.  Again, images clicked upon bring up larger view...

 

Update...Ridge Top Buck...16"x 20" WIP (work in progress)

Linen gallery wrap...added a few more trees to the image, including one more thru the deer...and painted on the sides...

 

Addie...gouache, finished...(I think...for now) 8"x 6"

okay...well, this is one of those examples I teach about where everyone is probably sure this refers to everyone else, but happens to me as well...painter, teacher...no matter.

My piece this afternoon did not pass muster, (second piece below).  My grand daughter saw it, nineteen months...and I asked her once again who this was?  She once more said her cousin...whom lives in Chicago.

So...I painted the hair darker.  More her natural color not in bright warm light.  I fixed something that bothered me with the nose.

Pushing outside your comfort zone invite learning, and learning is built upon a measure of failure...

Churchill said it best, "success is going from failure to failure without losing enthusiasm!"

so...I may have exhausted this time that which is known to me on this particular work to make it work to meet my satisfaction.

I like it...for what I succeeded to pull off...and will live to paint another day...

8"x 6"  Addie...(as it appears now)

earlier today...

35th Anniversary today...

A few blinks...and the years pass by.  You just got to stop, reflect...and endeavor to take more of it all in...

Love you Debbie...with God's grace...many more years to come...

Repeat of the First Webinar Series...beginning March 6th...6pm EST

Received word that our first series with Go To Meeting last October...had glitches in the recording end, and the much awaited series to be available...

 

...will require us to offer the live series once again, all five of the sessions.  The glitches have been fixed...and needless to say...if you missed the first series, or a number of the sessions...this will be your opportunity.

The primary purpose for the redo...is to provide the necessary content to complete our offering series...and soon following will be available thru F&W Publications for purchase.  And thus to expedite, we will be holding the Go To Meetings twice weekly beginning Tuesday, March 6th...at 6pm EST (an hour earlier than last October)...and then Thursday the 8th...followed by the 13th, 15th and 20th...

Those that registered and participated in past F&W Go To Meeting webinars will be receiving an email notice, and link for registration. Also, when I get the link to register, I will provide it here in my blog and on Facebook...as well as Wetcanvas.com   Hope you'll be joining us...here is the outline for the first session, March 6th.... 

Composition for the Painter-  Larry Seiler

      Premise…

            The modern enculturated eye routinely comes to a determination when to tune in, when to tune out.  The challenge of the artist to consider the accumulated available knowledge we have of visual communication in a commercial/aesthetic modern age, and make use of that to advance interest in their own work.  Avoid shooting ourselves (metaphorically) in the foot!

I.                  Seven Art Principles

a)          Balance

b)          Contrast

c)           Gradation

d)          Harmony

e)          Variation

f)            Dominance

g)          Unity

II.                Symmetry & Asymmetry Visual Balance   

a)           Positive & negative elements

b)           Over-busyness (implement 2/3’s rule)

c)            Organizing parts to favor asymmetry

III.            Traditional Classic Composing TYPES

a)          Circle ordering

b)          S’ ordering

c)           Fulcrum (asymmetrical)

IV.              Focal Points (Rule of Thirds) to Direct Eye

a)          Establish point of interest

b)          Manipulate elements/narrative to support

     V.     Questions/Answers

Top Ridge Bruiser...16"x 20" oil on linen...WIP

Work in progress...painting an oak ridge in SE Wisconsin...a mature buck beds just over the ridge...a nearby scrape...started yesterday...a bit of refining...playing with it yet to go...

 

Donation for Ruffed Grouse Soceity...11"x 14" plein air...

so busy...preparing for exhibitions, teaching, painting...various things I really panicked wondering what I'd do for the annual Ruffed Grouse Society, once more being asked to be the guest artist for the NE Wisconsin chapter...


So...off the wall comes this plein air, and added a pair of ruffed grouse in flight...making "The Quick Escape" which is what I'll call it..


When danger comes one side of a river...the birds will flush and make a hasty exit to a remote spot on the other side of the river...

goauche of our little grand daughter, Addie...(WIP)

A work in progress...needing a tweak here and there to get chin, eyes...few things more accurate.  Painted while "listening" to the Grammy's last night...

our little Addie...about 19 months and boggles the mind with how attentive and observant, how smart she is to pick up on things, and what she'll say next.  Already counts to ten...and recognizes and says names of all the alphabet. And is a Packer's fan!!!  hahaha

Another Student...gouache portrait..8"x 6"

Blessed this year with some great advanced art students...and just great kids (well, kids to me...!)  

Trying to push this one...loosen up, limiting my time and palette...using a Zorn palette... (red, white, black, and yellow ocre)... 8"x 6" (click to see larger)

Low Tide... 4"x 12" oil On Route to Whittier Alaska

Itching to paint some oils...following my teaching day today, painted this small study...wonderful glorious mountain views from South Anchorage heading toward Whittier, Alaska...

click on image to see larger...

Portrait WIP (work in progress)...gouache, 7"x 5"

Here is the finished effort...two nights work, gouache...a step by step of one of my students...and the first night's effort beneath to compare...
7"x 5" on acid free matboard

Filmed for up and coming Go To Meeting...gouache plein air in Winter

Using a Canon 2XL video camera...set up to peek over my right shoulder, painting with the support (acid free matboard) taped to the inside lid of my Guerrilla paint box. The reference an open creek in winter.

The video demonstrates how to dress and prepare for cold, how to use glycerin to keep water and pigments put out from freezing...and the step by step painting.

4.5"x 10" gouache...finished, "Sunset Point"

from upper Michigan...west shores of Presque Isle, northern Marquette...on Lake Superior

Available for Purchase-
unframed- ...$315 ...$12 shipping/handling

- - -

Framed- ...$385 (white or black mat, your preference)
$35 ...shipping/handling (will build crate, and insure)

Sunset Point...Marquette, MI...gouache

More gouache...(where are the oils?)...but, preparing for the webinar on using gouache...

4"x 10" gouache on #400 series Strathmore...

(I know a lot of gouache works, where are the oils??? But...preparing for a webinar on working with gouache)..

this is a session I did not finish in one setting...

started a bit later tonight while watching "Taken" with my wife here at home. I kinda listen...and glance at the television ever so often...

But...teaching comes early in the morning. IF it were a Friday night or weekend, I'd keep working..

This reveals a stage of squinting eyes, putting down swaths of color/value as blocking in. I'll finish next setting and share finished work here...

peace

Kissing Clouds...the Mountains of Hatcher's Pass

Alaska is an enchanting wilderness...a painting urging to be painted at every turn.  This last summer, teaching a couple workshops north of Anchorage...was momentus.  Making new friends, meeting by "God'cidence" a cousin of mine (crazy, but true...signed up for my workshop!!!), and a fondness for Alaska that unless you experience first hand is difficult to really express.

This is a common scene, the coulds kissing peaks of mountains at so many turns, one you never tire of.  Shadows moving and painting the peaks...

4.5"x 9" gouache...on matboard... (click on image to see larger)

Available for purchase (unframed)
$275 plus $12 shipping/handling

Framed- (matted white or black, your preference, black wood frame)
$350 ...plus $35 Shipping (a crate will be made and insured) Overseas shipping would require additional charges (contact me)

Roos Schuring- Dutch Impressionist...

You know...I think I have assembled a most fine number of painters both in websites and blogs, with links to visit.  If my blog were bookmarked by any, might not be so on the basis of "the works of Larry Seiler"...but to my thinking those links he has here!  I have a number of friends whose work I admire, have exchanged paintings with over the years...one, a Dutch painter who goes by Rene Plein Air 

And mention Rene, because I've come across another.  What is it with these UK and Dutch painters that catch my eye?? Hhhmm...

But...rather than just add another name to my list some might miss, perhaps I should introduce from time to time the artists there, what it is that catches my eye and interest.  Today, I have added Roos Schuring...a Dutch Impressionist.  Take a moment and follow the link to her work/blog...and do sit back with a nice cup of java and just take the work in...enjoy, savor...(click on images to see larger)

Seascape Autumn #23

Seascape Winter #11

A couple examples of her work...
I don't know about you...but sometimes I can use a reminder that my own work is going in the right directions.  What I mean by that...with social media such as Facebook...we can see works of artists that remind us of old habits and ways that perhaps we abandoned that another artist is receiving a good deal of accolade and attention for. For me...it is that labored in-studio endless blend out, working and intent to hide the evidence of the painter to leave behind only an image.  An image that viewers then hold in high esteem for the skill of how carefully the artist hid his methods...you know, where you have to get really really close to see any sign of brushwork.


A temptation sometimes because I did that for near 17 years and held a reputation and career on that.


Its a difficult delineation, because good feelings are often mistaken for overall good feelings.  Feels good to be recognized, period...and in the moment getting one's back slapped and hand shook, few analyze the "what" for what they are being congratulated on.  Few consider their audience...if educated in painting, a patron and lover of aesthetics and the arts, or one that acquires "pictures" to hang in their patient's waiting room to assure their status quo.


I guess part of my problem is my head may be too trippy.  I may think too much.


And then, you see it...a reminder for why you must paint.  Oh...there are works to be done.  If you are an "artist"...bills to pay, just knowing who you are...there are works to be done, commissions, jobs.  But every once in awhile you see something that reconnects you to the spark, the passion of what it means to be a painter.


Now...in my mind, I see a difference between being an artist...and being a "painter"...and perhaps only my "painter" friends may really understand.  There is magic in a work where its purpose is to resonate with the one painting it...not with ideas of its potential destination while in the making.  Not saying such works lack "skill"...but, that seems to be the defining thing isn't it?  We say the work is good...because it shows skill...but I say not all works demonstrate genuine passion, or dire urgency that required the artist to paint.  

And those familiar with what it takes to paint, I mean really "paint"...the misnomer is that "unfinished look" that often nips at our heels requires an uncanny skill most have no idea of.  The less is not lack of skill...to say more "with less"...is incredible brevity of eloquence!


This may well differ for one artist over another...and well it should because this is about our very soul and being.  

What may be static to my eye (given it is a good sound painting compositionally), may be the cause of much excitement to another.  And I think these many years later, looking back in hindsight at my own progression...talking to others, what excites us in work is what speaks of a breakthru we ourselves are at that moment seeking ... knocking as doors to open up to us. 

Our tendency toward cynicism might come from having traveled such to its inevitable end, and discovering all we thought it might be once having command, is not so wonderful after all.  Falls a bit flat.


Ironically...one paint style and side of the profession painting would promise for me made it necessary to earn the eye of patrons and those of power and influence.  Earn their respect...and you "arrive..."


At long last...only to find out you rather do not much care for these folks after you actually get to know them.  Snooty...uppity, who owns what...who impresses who, schmoozing...arrogant.  Aaargh...twas an ugly realization for a guy that finds himself more at ease with folks that can let their hair down...laugh hearty, and be real.


So...as I look to works I used to do...that is, workings that required a particular skill set...every so often I see the accolade, and find myself for a moment missing such, for whatever crazy misguided reason.  I find myself questioning and wondering...should I not produce such and such a work, proving again what I am capable of?  But then...such proofs to whom?  To what aim and purpose?


And every once in awhile comes a shot of heavy caffeine...a slap in the face, a shot of cold icy water in the face, someone shaking me vigorously screaming..."Larry, wake up....wake up...you're having a bad dream!"


So...this morning such comes from you Roos...thank you.


As I told Roos on Facebook...commenting on one of her works...my manner of painting such directness comes often when I do a small 5"x 7" quick study just prior to a lengthier plein air work.  Knowing how mood can so quickly shift her in the northern midwest...caught between the Canadian fronts, influences of Lake Superior on one end, Lake Michigan to the other...I'll do a quick impression of essentials before light changes.  I'll then place the small study inside a small pizza box and set it on the sands near my easel.


As my larger 11"x 14" then progresses....should the light change, the mood...I'll consider my smaller quick study to act as a rudder to maintain orientation, direction.


In a sense...I have not considered such quick studies the work I frame, present...but in truth, there are probably the truest more honest to-the-point statement.  Perhaps honestly the REAL art though it took perhaps only 10-15 minutes on my part.

I like the direct statement, the confidence, the assurity of the paint.  I do not know Roos...but to leave a mark alone says a lot to me.  An attachment to the light...fearlessness to put color down and leave it.  Knowing the proper direction of the brush to wield the stroke.  The right spot for perhaps the paint knife.  Intuitive...gut hunch?  Maybe.  Often the changing mood of nature, the swiftness with clouds and weather requires such...and it is exciting.  It is a coming together and trusting of oneself with the moment, the paint at the ready.  A melding with the urgency.


Thus...Roos inspired me once again this morning...for directions I've been going.  Thanks for the slap up side the head... *reaching for a fresh cup of hot java...

Longtail Island...bay of Green Bay, gouache 6"x 6"

Finished tonight...6"x 6" on colored (neutral tan) acid free matboard...

Available for Purchase (unframed-)
$250 plus...$12 shipping/handling

- - -
Framed- (white or black mat your preference; black wood frame)
$320 plus $35 shipping/handling (will build a crate and insure) Overseas shipping would require additional charges (contact me)