Wednesday, January 06, 2010

4th Session...Oil Portrait granddaugher Ava 12"x 9"

























scraped down...not as much this time, laid a layer of
copal medium over the painting...then mixed up color
and began scumbling and repainting. Having put the
hints of color in bolder brushwork earlier, now working
to soften edges and look to get a more fresh younger
effect...much work yet to be done. Worked on hair a
bit too, feeling pretty good about it at this point..

Friday, January 01, 2010

Hwy 32 Argonne Farm... 4"x 10" gouache

I passed by this farm quite often this fall, heading
to my fall/rut bowstand here in NE Wisconsin..and
was always attracted to the light...

4"x 10" gouache on mat board- (click on image to see larger view)

Thursday, December 31, 2009

Third Session...Ava Dawn 12"x 9" oil
























Had the itch, though it is vacation, to come into my art
room today and work on this painting...laying again a fresh
layer of midvalue flesh tone over the whole face, and again
repainting the form, color...eyes and everything.

Tuesday, December 29, 2009

Painting in the Wintry Cold...three degrees!

I've written at length, contributing articles to various forums online on painting outdoors during the winter. Pictures have been published in paint magazines that have shown me standing knee deep in snow. I am amused that such brings so much attention in light of being myself an outdoorsman, hunting...and fishing. Here in the north woods of Wisconsin, it is common for residents to play year round. In the winter...its snowmobiling, ice fishing, snow shoeing, skiing...on and on.

To my way of thinking, if I can stand there on a frozen lake where winds wip up and across...enjoying the afternoon or early evening with friends waiting for tip up's to hoist their flags (indicating a strike from a fish, preferably walleyes), then its no big thing to be found painting. Its just a matter of dressing properly, and getting the paint to be pliable and paintable.

This afternoon...the sun came out, it was glorious though cold. My coldest effort painting todate has been a minus 13 degrees...so today was a piece of cake.

So...let me introduce to my world, and how we painters up here gear up to paint outdoors...

First...I wore three thermal shirts. Dressing in layers is important and captures air between the layers to generate heat. I wear thermal pants, wool socks...but it begins I think with the feet staying dry and warm. My preference is wearing my Woody Elite Muck boots...waterproof, and keeps the feet warm to as low as a minus forty degrees-



















I wear a pair of blaze orange bib pants that are insulated and water resistant, my late season hunting pants, and these zip down over the boot...



















Here you see me painting...a good warm outdoors camo coat goes over the bibs and all, warm, waterproof...and I'm wearing a simple fleeze pull over hat-
















For my hands generally, I like to wear fingerless wool gloves, and here you see I've tucked a chemical heat pack (that initiates after opening and shaking), beneath my fingers while yet holding my brush. Takes a bit of knack, but I do it without much thinking...



















My paint panels are already prepped for speed, which is important for quick disappearing late afternoon light, and to help endure the cold. By adding a couple tablespoons of pumice to a cup of gesso, I create grit to grab the paint, plus the surface more rapidly absorbs the paint. When I wash in an undertone with pigment plus turps...it is near dry by the time I wipe off my palette, and for workshop students I've demonstrated the truth of this by wiping my hand across the block in for them, with no sign of paint on my hand.

I will choose this day to work with a split-complementary palette...one because there is a definite mood to the light which the split-comp very easily and naturally imbues, and secondly...it will be efficient for my intuitive working, and fast...which will keep me ahead of growing cold and eventual loss of light...

After squinting my eyes at the scene...















...I've determined that the dominant color present in the light is
a hint of yellowish-green...and so that will be my dominant color on the palette, and thus violet and red will be my splits, plus white-
















To better understand the split-complementary palette...follow the link to my videos at YouTube (found on the right side of my blog here)...where I have a couple videos that demonstrate it...

My block in of turps...plus copal medium looks like this-















A little thing I learned back in Boy Scouting (years ago) was that you can hold your arm up at length, turn your hand parallel to your eyes, and set the top finger beneath the sun. Each finger's width represents fifteen minutes of time, and you can calculate how much time you have to paint.

As it would turn out...I had about an hour and twenty minutes after setting up...but, when the sun got to this point...I really had poor light to any longer judge the colors I was mixing on my palette...















...I decided I had captured the essential of the mood, the moment...and decided it was time to pack it in. Here then is the result of this later afternoon's effort...9"x 12"

December
s River Edge...

Wednesday, December 23, 2009

Ava Dawn...Session 2...oil 12"x 9"























Scraped first session away of portrait this morning...
and repainted ending session two-

Tuesday, December 22, 2009

Granddaughter Ava Dawn...to complete the set (for now)

With the painting of my first grand daughter Isabeau
and now my wife's portrait completed, its time to turn
attention to the younger grand daughter, Ava Dawn Seiler

The method begins much the same, as an alla prima effort
in one session...and then the portrait scraped out the
next morning, leaving a film residue, very nice flesh
qualities slowly built up layer by layer.

I started by blocking in a midvalue flesh tone for the
face/flesh...then mixed up lights and darks painting
directly into the wet midvalue. Sargent used this method
and described painting the eyes a bit like drop a poached
egg into its socket. The eyes very naturally emerge
using this procedure.

blocking in...midvalues-























and the alla prima finish to the first session...
rendering form with color and values-

Monday, December 21, 2009

Gouache- 4"x 14" Croal Hollow Creek Series, 2nd








Finishing my wife's portrait now felt like paint'n
a new gouache tonight, which has been awhile...

Finished...at last! 28"x 22" oil of my wife...from back when



















A bit of softening of the hair, breaking some lines and
edges...and I believe this one is done! Just need the
appropriate frame now.

Thursday, December 10, 2009

Sixth Session...Portrait of my Wife...28"x 22" oil























Tonight brought the painting much nearer to a finish, and
perhaps my most radical additions or alterations thus far. In truth...the painting was bothering me a bit with what felt too classic and stagnant as a background, and so I interjected some brushwork, color and value to what I think excites the painting more...pulls her into the environment and unifies the work. By making the background lighter nearer to her right eye, I was able to darken the hair and hat to create more depth illusion, well...IMO... Worked more on the hair, the shoulder and arm. Still think I have some work to do on the hair, but it needs (with the help of my copal medium) to tack up and dry some.

A closeup...and as always, clicking on the images brings up a larger image view...

Monday, December 07, 2009

Continuing on with my wife's oil portrait... 28"x 22"

Its been a couple months, a number of paintings, the
great Wisconsin deer hunt come and gone...and decided
its high and time I work on finishing this painting.

Worked on flesh color/tones tonight, the hat, the
shirt...some on hair. Think perhaps next session may
well come close to finishing...emphasis to be on hair
and background...




Sunday, December 06, 2009

Why So Important to be RECOGNIZED?

I spent the morning watching an hour long online interview of my artist/son Jason with Bobby Chiu called, "Chiustream" about Jason's success, thoughts on living the artist's life, growing up, working at his work. Very good...
Jason Seiler Interview by Bobby Chiu

Congratulating him on a well done interview, I then have a few thoughts of my own on the present state of things, thinking I'll share some of what I believe are becoming disturbing trends for our times, our culture...for present and future generations. Understand these thoughts are my own...

Thoughts that have developed over time teaching art in the public schools, teaching adult painter's workshops, writing and producing my own art instructions, books, moderating art online forums and fielding questions from artists...offering helps and so forth...having been a long time observer as much as anything else. I would like to believe I am wrong...but more and more I see evidences convincing me that I am not.

I give my son credit, and I know how hard he works, how dedicated he is...but I also know that what drives him is not the need for attention, and for an artist to be truly successful in my opinion s/he must aim and elevate him/herself above such.

IMO...you would do well to know that the obsessive need for attention is an inclination, a learned enculturated model of the times, but in fairness...and having often in jest said that opinions are a lot like armpits, "everyone has at least two and most stink"...I am human, and could well be said my opinion here on this stinks. I am fine with that, and perhaps it is fair to say I've aged enough where that fear we all dread may be coming true. That is...I may well be turning more and more into dad!

So, here are my thoughts...about the state of things today...that we are witnessing more and more the obsession or need folks have to set their sights on the goal of attaining "recognition."

Watching the Tiger Woods story develop...seeing more women now coming out to say they too had affairs with this superstar athlete! How crazy is this, that people want their fifteen minutes of attention and fame so bad that they demonstrate little shame related to having had an affair? To what it is the public will then know thereafter? It would seem, that attention is attention...whether it is good and reputable, or shameful. So poor in character I fear...people becoming, and so desperate.

Some want to do well today at art only to the extent they'll get some attention. A love for attention and this skewed idea of some twisted elevation or status in life such will bring, rather than a love for discovering what with hard work and sacrifice they are potentially capable of proving...becoming!

Personally, I'm sickening of it...and I question more and more my own work as an artist. Its one thing to promote oneself I suppose to earn the opportunity in a competitive market...but just don't want the sickness developing in society to affect me.

I was reading this morning...out of a book called, "America's Secular Challenge- The Rise of a New National Religion" by Herbert London

In it...London was talking about this obsession with people today for getting "attention"...to where folks have blurred the line that separates infamy with fame, being infamous versus famous. At one point the author says, "Madonna's marketing in the form of public nudity, blasphemy, depicting herself in degrading sexual acts and the rest of her unique brand of immorality. She is, as they say in the business, recognizable, and that means easy to sell. Marketing undergirds the manufacture of celebrity, and getting people to notice you is all that counts, so handlers push the envelope of attention, forcing the culture to new extremes. Recently a young man who committed a savage murder said, unrepentantly, "Well, at least now I'll be noticed." Alas, he was correct."

He talks about Paris Hilton celebrity reaching status after well-publicized sexual piccadilloes, Lindsay Lohan for alcoholic binges and temper tantrums...and so forth.

Talking about infamy and fame he says, ..."had the distinct meanings some time ago. Infamy designated a reputation derived from evil, brutal, and criminal actis; and fame stemmed from doing something positive and valuable."

Talks about how Tupack Shakur, Paris Hilton are infamous, not famous...and that it is in the interest of the National Enquirer and Star to confuse these words...but such tears at the fabric of society. I like that he then ends the thought that "fame" and "infamy" must be disentangled. (where you and I come in) When people derive celebrity from acts of genuine charity, concern for others, and behaviour that should be emulated, we should call them famous--and only then."

So...my ever increasing belief is a growing weight of responsibility upon those of us that understand the importance of such, being ourselves artists...and instructors...people of faith (perhaps), we who recognize the tendency of this and future generations interested in wanting recognition first and foremost. That natural inclination and tendency to be lazy and lacking ambition. If it doesn't come easily and expediently, seeing such as a sign that which is not meant to be. Wow...consider what would have become of Michael Jordan then when cut his sophomore year in high school in basketball for not having been good enough. What if he had believed that!

The lack in character and fortitude to work hard...willing to forego that which leads one down the path of excellence if attention can otherwise and quickly be gained. Unfortunately, the general public has been duped and groomed, enculturated as it were...to be impressed with those that gain attention as well...losing what I believe was the old sense of former generations calling the mediocre to a higher standard. It would seem thus, that attention justifies whatever attempts that secures it, mediocre...shameful, whatever...and the public is all to quick and willing to give status to any having gained recognition.

An artist can be a lousy crappy artist...but because such and such a magazine puts out an article on them, or they win at an exhibition, then it justifies their mediocre efforts. Sadly, it also makes really good artists appear bitter and poor sports for poo pooing such poor abilities having attained unearned honors.

I've participated in a number of events where some out of touch artsy fartsy judges, or professors from colleges are called upon to determine winners. Perhaps themselves not even experienced in the same genre or medium, giving out honors to immature painters mixing dirty paint, poor compositions, and thereby lowering the standards as the non-winners but eager hopefuls look on and naively come to a determination that THAT'S how good they need to try and paint and imitate for their chance at recognition!

But...sadly it would seem, earning "recognition" is what people are putting their energies to...in which case ANY way or form of getting such recognition becomes its own justification. Such is a poor standard, a horrible goal, and I myself am lamb blasting and attacking that idea more and more. You need to come to believe that what is ultimately in you has to be vastly more of an interest to you yourself than what others will recognize. Come to expect more from yourself not happy to accept kudos for what your own conscience knows has yet to realize its potential. You can smile...say "thank you"...but know as you return the kind gesture you must press on.

Its a strange line we walk...because attention has always been an important requirement for the kind of success that assures the making of a living. An understanding for which I myself have struggled with the past 20 years because attention has led to some bad experiences, getting ripped off over $250,000 the first couple decades of working...which hurt my family directly or indirectly. Now...I find myself suspecting those wanting to give me attention, to what end...and how they might benefit? Who will potentially be hurt should I lose myself to the trappings of attention? Also...will those that recognize my work do so for the good they can genuinely see in the work...or because they are easily led by the winds of attention I may be enjoying, thus somewhat envying/hoping some of the same for themselves?

My hope is that artists would discover the joy of a work taken to its potential, that does not ride on the back of attention it receives or not. Its been said it takes a lifetime to earn a reputation and two minutes to ruin it, but I also say that one can lose themselves, their vision...one can be enslaved by the perpetual motion success and reputation promise. It is one thing to possess the gift, quite another should the gift possess the artist.

Those that seek recognition for recognition's sake will discover hollow empty expectations awaiting them. Disillusionment will be the cup they sup.

Happiest you will be to recognize life itself is a gift, and that the making of one's art in its highest potential form becomes a sacrificial viable means to worship, to celebrate life. It is a giving back...adding gifts to the world, blessing in return...and in that you the artist experience a sort of being paid in full even before considerations of an awaiting potential market.

You have participated in the Creator's toybox...played without pretense, and found Him honored and pleased!

You look in the mirror...and do not see someone on the other side of those eyes staring back that is hiding. You are not found wanting...

Friday, December 04, 2009

Croal Hollow Creek... 4.5"x 9" gouache....




Well...go from a 24"x 48" oil to a small 4.5"x 9" gouache which is interesting in and of itself. Took a lot of pics ofthe area I and my son Jeremy hunted and camped on for eight days in southwest Wisconsin...really enjoying the lay of the land with its ridges, acorn/oak trees, bedding area for deer with wheat grasses, the classic creek bottom, and the various moods of nature to embellish it all.

I created a five step animation for this work to see beginning with the block-in how it progressed, using the animation palette option in Photoshop 7.0 but you will have to follow this link to a single post/thread at Wetcanvas I isolated for folks here to check out!

Clicking on images sees them in a larger view...

Wednesday, December 02, 2009

Access Road Oil 24"x 48" Sixth Session













Well...the annual deer gun season here in Wisconsin
behind now, and my attention turns once again back to
painting. Took some time to take this one further
tonight..


...and a closeup...



Wednesday, November 11, 2009

Little more work on 24"x 48" Access Road oil...on black gesso












Got a good jump on it tonight I think...much closer to
being done.

Monday, November 09, 2009

24"x 48" oil...black gesso experiment, paint like a Gouache!

Well...I've been playing with gouache of late and the
medium has been feeling very comfortable. My approach is
much like I paint oils...but I've been pushing my oils for
a certain/particular look or direction which I think the
gouache studies might actually help.

I started a 24"x 48" oil tonight, and never have I painted
oils on a black ground or gesso. A friend of mine (Connie)
uses it often for her acrylic paintings, and has offered.
Since I've played with gouache now on color supports
including black, I decided heck...why not!

Here was my start tonight...a closeup to follow...


























Ran out of titanium and flake white, need to make an order
but, found some zinc white so will give that a go!

Here is the painting after a bit of work today...progressing
with oils, but very much like the gouache...













Scroll down to October 12th...and you can see the gouache
study this large one is now based on. Clicking on the
images brings up a larger view.

Thursday, November 05, 2009

Wetland...duck week & reeds- Gouache 6"x 8"
















A small gouache study tonight...6"x 8"
on blackdrawing paper...

Demo for High School Student Painters Today

My high school students (juniors & seniors) began their painting week, 2nd quarter...and today, I demonstrated the concepts of blocking in shapes, color and values, and refraining from worrying about what a thing "is"...or its details. Artists have a unique language, seeing shapes, color, values, texture, line...and so forth...

Each year, I am seeing less and less patience on the part of young people to embrace what is thought difficult, as though a sign therefore such is not meant to be...and, seeing less patience. I try thus, to keep my demo's very quick while talking thru it...and this one was about 15-20 minutes start to what you see here.

I put out generous amounts of paint, acrylic...which they will be using...and then used a rag wrapped around my finger to demonstrate no concern for detail at this point and the initial step of blocking all parts in. A student took
this photo of me using the rag and painting-























Here then is the painting...the last five minutes, I used a flat (brush) to suggest some detail...vertical lines for tree trunks. As always, clicking on the image brings up a larger view.












Each year, I do one of these quick demonstrations...not representing how I typically paint, but I find them fun and when finished expressive and intriguing visually in their own right.

Thursday, October 29, 2009

Gouache...Forest Edge.. 4"x 8"













































image- 4"x 8"

Too rainy to sit in my tree stand tonight, not
that I'm whoosie...but very hard and frustration
to track results...so, took a few photos and
opted to paint this simple gouache tonight, of
a forest's edge.

Thought I'd show the steps, from block-in using
an acid free mat board for my paint support, to
the finishing steps...

Click on images to see larger view...

Saturday, October 24, 2009

Open House- Arts "Happening" in Wisconsin North Woods!
















We held our first end of season culminating event,
open house at Tim and Connie Friesen's beautiful
Wabeno historic lumber baron's home. Eight artists
representing batik, welded sculpture, floor coverings,
poetry, plein air, paintings, and rugs...with work
set up in three rooms. Art literally everywhere!

The photo above shows artists and friends relaxing
after the event, excited about how things went, very
well attended. The event continues tomorrow,
Saturday.

Here in this next photo, you see the wonderful floor
scapes or coverings of Connie Friesen...and the room
beyond I was set up playing guitar for most of the
evening.
















Check out Connie's floor scapes/coverings
Here...

Tuesday, October 20, 2009

Dawson Lake Shorelines- Gouache

















Image size- 6"x 8" on an 8"x 10" 300# black paper...

Since some have asked for steps to my painting one
of these, I have three that should give some insights-