Painting From Life

35th Anniversary today...

2012-02-19T08:04:00.000-08:00

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

2012-02-17T18:25:00.000-08:00

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

2012-02-17T16:14:00.000-08:00

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...

2012-02-15T14:16:00.000-08:00

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)

2012-02-13T05:08:00.000-08:00

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"

2012-02-11T11:04:00.000-08:00

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

2012-02-09T17:41:00.000-08:00

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"

2012-02-06T21:04:00.000-08:00

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

2012-02-06T17:03:00.000-08:00

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"

2012-01-31T20:02:00.000-08:00

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

2012-01-30T20:55:00.000-08:00

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

2012-01-28T18:49:00.000-08:00

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...

2012-01-28T07:39:00.000-08:00

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"

2012-01-26T21:08:00.000-08:00

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)

Gooseberry Falls gouache...

2012-01-21T21:57:00.000-08:00

8"x 10" gouache...

Picked up half-dozen works from my framer today...which here in the north woods of Wisconsin means a near all day affair, four hours driving round trip, and may as well get some grocery shopping in, wood at Home Depot for floating frames, etc.,

I have several works going out to Morningsong Gallery in Carmel By the Sea, California...two gouache and a large acrylic plein air...

This one here I had framed up as a hunch...not heading to a gallery right now anyway, but to see if black matting would set the work off dramatically, and I believe it did.

Available for purchase-
Framed as you see here...
$625 ...plus $45 shipping/handling (will build a crate and insure)
Overseas shipping would require additional charges (contact me)

First Series Live Webinar..."Strategies to Improve Your Paintings" available for purchase

2012-01-12T20:39:00.000-08:00

Received word tonight...that my first webinar series, (five sessions..and recorded live), thru F&W Publications "Strategies to Improve Your Paintings" (....For Reasons Paintings Work) will be available to purchase as early as next week or shortly thereafter. Thru North Light Books/Shop...

Those that had registered, participated...will be receiving an email announcing its availability, but otherwise I will left folks knows that perhaps for one reason or another could not attend.

January Creek... 6"x 4" gouache

2012-01-11T17:09:00.000-08:00

Drove home last night past this little scene by the roadside....very pretty with the last light striking the trees behind. The subtle shadowing of the foreground. Just knew I had to paint it...

$160
This price does not include frame. I would be happy by request, to frame and will do so as I prepare my pieces for national shows. An additional $75...would require about 3-5 weeks from time of order; comes matted, black wood frame, non-breaking glass. The work available today...if frame is desired, please contact me.

Two works recently given hand made red oak L-Frames...

2012-01-05T15:41:00.000-08:00

The painting above work, "Fishing Partners" was a product of impressions and work I did teaching a plein air workshop in the Juneau area of Alaska. My son, Jason...and I took a car ferry from Juneau to Sitka and back, just for the experience. Was amazing...and at one point I painted off the back of the ferry.

These are the Chilkat Mountains in the Gastineau Channel, the oft seen seining fishing boats, and eagles. Loved the eagles...one spot nearly 1500 of them gathering. Available at Big Easel Gallery, Wabeno...WI

The painting is oil on stretched canvas, then framed with a red oak handmade L-frame I made...

This 12"x 9" is an oil on a black gesso primed stretched canvas. My curiosity got the best of me, having experimented with gouache on Strathmore #400 series black presentation board, to see what would come painting oils on such a primer. This work is the result...a plein air in NE Wisconsin...a spot I often bring my area plein air workshop students to...Longslide Falls...and, finished another red oak L-frame for it. Which I think brings out the warms in the painting nicely...

(clicking on images brings up larger view)

The latter piece, Longslide Falls in red oak floating frame, 12" x 9" oil plein air is available for sale.. (building a crate to ship, and insure extra...contact me)

$825

Talkeetna Mountains, Willow...Alaska 6"x 6" gouache

2011-12-22T20:29:00.000-08:00

The most rich glorious color in these Talkeetna Mountains of Alaska...

Had been teaching a workshop at Independence Mine...was still unthawing, painting near a waterfalls in a freezing squall ...but warmed up to this most amazing view...

Available for Purchase-
unframed- $250...
$12 shipping/handling
- - -
Framed- $325 (white or black mat, your preference, black frame)
$35 shipping and handling (will build crate and insure)
overseas shipping will have additional charges, please contact me

Lil Su...of the Matsu River...Hatcher's Pass...6"x 6" gouache

2011-12-20T20:16:00.000-08:00

Available for Purchase-
unframed- $250 ...$12 shipping/handling
- - -
Framed- $325 ...(white or black mat your preference)
$35 shipping/handling (will build crate and insure) overseas shipping will have additional shipping charges (please contact me)

Another Deshka River Gouache, 6"x 6"....midnight sun influences

2011-12-16T12:55:00.001-08:00

Available for Purchase-
unframed- $250 ...$12 shipping/handling
- - -
Framed- $325 ...(white or black mat, your preference, black frame)
$35 shipping/handling (will build crate and insure) overseas shipping will have additional charges (please contact me)

Five paintings...Three different media...can you pick 'em?

2011-12-15T06:17:00.000-08:00

I receive interesting and appreciated comments from time to time, here in my blog, on various artist social virtual communities and so forth that will suggest that I own a certain medium, that is...perhaps paint best with, or a signature style that moves folks...(?) They will say, "like your oils, but...this is definitely your medium" ...and have received such comments even as recent as the first two honest efforts painting digitally. (Howard Johnson below, more recent example).

To me, its all paint...and it all has to be pushed about or applied differently, and the fun of course is fleshing out how that comes necessarily to be for yourself. What are the unique traits about a medium that is superior to others or comes up short? What do you have to do differently to accommodate the medium to get a result you've learned to do with another, etc...?

Here are five paintings that I have set aside for a gallery's interest. I love their choice, I believe these are fine works of mine that I myself am fond of, the memories of where I was painting them, and so forth...but, for fun...there are three mediums used here. One could go back and find each one and discover what medium I used...but if you play fair, just by looking...what would your guess be? Two are oils...two are gouache, and one is acrylic...and as always, click on the image to bring up larger view...also, if you can...what distinguishes what you think represents one medium from another that might have brought you to choose what you did? (now that's tough I think)....

Deshka River...Alaska, land of the midnight sun, Gouache 6"x 6"

2011-12-13T20:56:00.000-08:00

Finished this gouache tonight, filming for Go To Meeting...and now it'll be time spent on Final Cut Express editing, producing video...

Finished...digital painting of Jazz legend, Howard Johnson

2011-11-30T21:48:00.000-08:00

This is what I worked on tonight to bring to a finish...and am quite happy with it. The aire about digital painting is tainted by those that manipulate images, so it is clear..this is no photo manipulation. It is a painting in every sense of the word...painted stroke for stroke...

More digital painting...Howard Johnson...

2011-11-27T19:39:00.000-08:00

Spent a cold cold afternoon til dark in the woods...then the last three hours doing more work on my digital painting of Howard...this time, his left hand and more of the tuba...and after three hours it occurs to me this sure seems to be taking more time than I first imagined. Having fun, so that's not an issue...but my eyes are blurring and going bonkers. Time to stop for the night...and put it to rest...

...as always, clicking on image brings up larger view...

Catching up on unfinished projects- Digital painting Howard Johnson, jazz legend

2011-11-27T10:02:00.000-08:00

Time to catch up on some projects with the first webinar series completed...one, this digital painting of jazz legend, Howard Johnson...click on both images to see larger, the closeup is unfinished...basically blocked in with some rendering work on the fingers, or roughed in as I might oft say.

Man made objects...such as the tuba...require a more accurate drawing, and patient rendering, even though I want a more spontaneous brushwork when seen up close. Will post more as this one develops...

Webinar for Tuesday November 8th (session 5)- "Color, Values, Brushwork- Strategies to Improve Painterly Realism"

2011-10-30T08:57:00.000-07:00

The last session of this series, will require EVERYONE attending Go To Meeting to register again. The series was slotted to go thru the first of November, so your old registration after the first will no longer give access. I will post the link to register here when I have it, on Facebook, on Wetcanvas...and hopefully everyone registered to this point will get notice in an email sent out from Sarah...

Its going to be a good session, and had an extra week to prepare due to the power outage week postponed.

Will be sharing the wisdom behind why many of the great teachers of the past, and many great painters today espouse using a limited palette. How to expand what a limited palette of color is capable of incorporating even just a few strategies, and how your own understanding will be greatly increased. Soon...you will understand the danger of buying and adding more and more pigments just because they dangle on a shelf in the art store.

We'll be looking at the importance of values which takes the feet right out from most poorly executed work...a managed values palette to assure optimum success til confidence soars...

and finally...brushwork...how to attack, wield the brush, lay the pigment down, leaving well enough alone!!!

Look for the link... :wave:

Here is the Outline-

Color, Values, Brushwork- Strategies to Improve Painterly Realism

with artist/instructor Larry Seiler

Premise…

Taking control with deliberate purpose filled

strategies toward efficiency and effectiveness

I. The Poetry or Ah-Hah! of painting-

a) First step is to want more

b) difference between “linear” and “painterly”

c) Paint in a way that engages the viewer

II. Color

a) The discipline acquainting with values

b) Split-Primary Palette (color temperature)

c) Limited Palette (basic colors put out)

d) Split-Complementary Palette

e) Other palettes

III. Painting Trees

a) Block-in

b) Limit yourself to limited value groups

c) sculpt with negative space

Webinar for Tuesday November 1st (session 4)- "Imbuing Harmony & Unity with Undertones""

2011-10-29T06:45:00.000-07:00

This Tuesday I'll be teaching/sharing how to force a unity and harmony to a painting with undertones, reds that excite nature's greens, undertones for wiping out and sculpting/fleshing out a waterfalls, and a video painting a recent plein air last hour's light Fall scene, in an Impressionist styled approach.

November 1st, 7pm EST Go To Meeting...here is the registration link-(note- you only have to register once, if already registered you will receive an email)

Go To Meeting With Larry Seiler- Session 1

Here is the outline for Tuesday night-

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

If you have not seen this video among my instructionals at YouTube as yet, seven minutes in length...shows wiping out as a method to flesh out this falls scene...and may refer to it briefly during the session Tuesday night...

Webinar for Tuesday October 25th- "From the Literal to the Suggestive"

2011-10-24T19:10:00.000-07:00

Making up for the power outage experience last week's try for webinar, where host F&W lost power in Cincinnati. Going to be a good one...hope you'll be attending. See a couple posts below for the outline..

From the Literal to the Suggestive...

Billy McGlaughlin Dinner/Concert NOV. 4th (Friday)

2011-10-24T19:03:00.000-07:00

Here in the north woods, a number of artists and friends have over the years been building a front for art to invade the local culture. We have a consortium/gallery where friends Tim and Connie Friesen live, converting the lower floor of their unique Dutch style historic logger baron's home to a gallery and bistro space. Called the Big Easel Gallery, in Wabeno, Wisconsin. Check out the Wabeno Consortium link on the side of my blog.

Seven of us as signature members, our art gracing the walls of the space. Tim and Connie have the most exquisite cuisine on Friday and Saturdays, and Tim makes wood fired pizza on some nights. Musicians perform...and I often do myself...while people eat good food, and hang out for good entertainment. Opening up homes as artists is something of a trend...happening on the East and West coast...and we are following suit here in the midwest. That includes musician artists as well...with the costs of travel, roadies, setting up...many are opening their homes for folks to come and hear good music.

We are now taking that next step...to bring in amazing established artist/musicians...and on November the 4th...Billy McLaughling, Billboard Top Ten performing artist will be playing. A dinner/concert.

Billy's story is absolutely amazing...and his playing unforgetable. Check out this video...and if you are in the area or within driving distance, you won't want to miss this one. We have a handful of tickets left... limiting it to 30 tickets...at $50 each. Dinner...(that you won't forget) and wonderful intimate experience with Billy McLaughlin. Drinks are extra...

You can contact Tim and Connie at- 715-889-3438

Tomorrow Night's webinar...and then...

2011-10-17T08:31:00.000-07:00

Tomorrow night...I'll be sharing a time lapse video of myself painting the Creeper seen here, and a video on Fumee Falls, a plein air...

Next week, the 25th...I'll be sharing the video (42 minutes in length) me painting the Impressionistic piece at Rat River....

The following week, and last of this series, I'll be sharing as one part of the session a number of my gouache pieces as animation steps...blocking in thru completion. I think folks will really enjoy those...and if you click on this link, you'll see one such example I posted on my partner subforum at Wetcanvas-

animation...a Fall Colored Drive...
4"x 8"

Webinar for Tuesday October 18- Outline "From the Literal to the Suggestive"

2011-10-15T18:14:00.000-07:00

From Literal to the Suggestive-

with artist/instructor Larry Seiler

October 18th, 7pm EST Go To Meeting...here is the registration link-

Go To Meeting With Larry Seiler- Session 1

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

Alla Prima..Brushwork..Edges, Exercise still life for Webinar

2011-10-07T23:42:00.000-07:00

Filmed the making of this oil tonight, 10"x 8" on pumice panel. For an up coming webinar Go To Meeting that will be dealing with painterly suggestive realism, brushwork..October 18th...

If you registered and attended the first webinar session on Composition, then you are good to go for all four of this series. If you are just joining us, here is your registration link...free to attend-
Go To Meeting with Larry Seiler

Two Paintings..Two Moods; A Compulsion One Night...Different Another

2011-10-05T06:54:00.000-07:00

In three weeks, I'll be talking about the place of the gesture in painting. Many are familiar with the concept in drawing. I'll be talking also about working with limited palettes, building and developing a color language, and deliberate purposeful brushwork...

Two nights ago, I returned to a site locally to paint, and to film the painting for possible use in the webinar series. I wanted to share the joy...and the very apparent risks of attempting to paint that last one hour's light. Believe me...difficult enough of course for most to paint, but imagine also being a self-videographer at the same time setting up the camera, positioning etc., I still haven't had time to go thru the footage yet, but will begin likely tonight.

An advantage painting a familiar place, having painted it a number of times before is by exhausting one approach, one strategy or several, your familiarity is geared to tackle a more creative intuitive aesthetic approach.

Both paintings above are from the same location...both, the sun low, setting, to the right...and executed that last hour. Both are neutral midgray mud palettes (which I'll explain in three weeks). Yet both appear they could be done by two different artists.

Mood of nature, and your own mood as an artist play a big part. Your commitment to experiment, play...and celebrate with paint versus say any obligation to maintain a regimen of one style or approach to please a rep and publisher is also a part of it.

Deliberate practice calls for you to push yourself outside your comfort zone. While painting is a vehicle for celebrating...deliberate practice is not always fun. The idea is to stretch...and with such stretching comes the heightened (and for many frightening) chances for failure. But the artist wanting to grow learns to embrace and welcome any failings that promise to give opportunity to learn something.

Many might not realize this...nor think it so...but a good many artists you follow, perhaps even hope to take workshops from got where they got from capitalizing on their failures. If they have not settled into the comfort of their accolade and market, but maintain a desire to grow regardless, they are still producing stinkers...though they might not share those. Sharing your stinkers has a way of lowering your status at a time when you want high impressions to continue reaping benefits of reputation...both in painting sales, but also workshops.

To my own thinking...this is that very fragile place any good instructor finds themselves in. Artists first and foremost, wanting to pay bills, establish reputation and so forth...and yet instructors at their very heart's core mindful of their own earlier learnings, difficulties encountered and the hard work to overcome. Teaching naturally calls for a certain transparency, a "REVEALING" of how things actually are, which knocks down some of the public relations state of maintaining high regard.

In the above paintings...different compulsions to paint are apparent. That "why?" of the jugular grabbed by the moment mandating to be painted. One compulsion one night might gravitate to the presence of darks and strong character of the trees. Another night might call one's attention to the bathing of the light, the color...the poetic sense of the moment.

Thing is...its all good. One needs to learn to embrace what might otherwise be intimidating so that your concern is less about proving yourself capable as an artist, to giving into your passion to be a painter.

As always...you may click on the image to bring up a larger view...

Push...Experiment, Be Fearless...

2011-10-04T13:02:00.000-07:00

Preparing for my webinar, session three, "From the Literal to the Suggestive" dealing with the gesture in painting, limited palette, developing a color language and purposeful brushwork. So, last night I went out with paint and my video camera to record attacking late last light sun, and during our peak NE Wisconsin's fall period.

It is something of a challenge just to take on last light and paint with a passionate sense of urgency...but to be your own videographer adds some interesting dynamics. Ya gotta have a sense of humor, and better be pretty solid in the thinking that failure is wholly to be anticipated and embraced. Look at the moment as itself worth such an endeavor. To celebrate and have fun. After all...no one already passing from this world can do such, it is only for the living...and I like Emile Zola's quote, "If you ask me what I came in this world to do? I, an artist, will answer you. I am here to live out loud!"

Do not let intimidation of the potential to fail keep you out of the game. Thru many failures, we come to succeed. In fact, another great quote...this by Terry Paulson, "Winners lose more than losers. They win and lose more than losers, because they stay in the game!"

I don't know this is my best piece, but I had fun...and even in a failure there is something to learn which thus results in a moment of resounding success. I can tell you...the piece has energy...reflects the mood of what I was observing and feeling.

I had taped 53 minutes of tape, so I know that is how much time I had to paint this last light piece before it was too dark. All in all, a good time was had...

October 11th's Session- "120 Paintings"...Go To Meeting webinar

2011-10-01T13:17:00.000-07:00

Getting ready for this Tuesday's first session on Composition for the Painter, but here is a digital 8"x 8" painting I did this morning of a cup of coffee and piece of buttered bread. I will share a time lapse video of the work coming together, but it also represents that though I have painted for near 40 years...I keep pushing and stretching myself. This is only my fourth digital painting...and the session will benefit artists of all mediums. Most of my works of the "120 Paintings" session are oils...some are gouache...but what will benefit those attending that session is you will see a fast track sure growth method for improving as a painter.

This is 8"x 8"...drawn with Watcom digital tablet and wireless stylus, using photoshop...
I will post the link to register for this class very soon...

I'll add the third session set aside to work on my digital painting of Howard Johnson

First Webinar Session Outline- Composition for the Painter

2011-09-22T18:57:00.000-07:00

October 4th, 7pm EST Go To Meeting...here is the registration link-

Go To Meeting With Larry Seiler- Session 1

Composition for the Painter- Larry Seiler

Premise…

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

Scroll down to the 12th of September posting, to see the list of session lessons thru November 1st... 8^)

Second Session...Jazz/Music Legend Howard Johnson digital painting

2011-09-21T19:34:00.000-07:00

Little bit more time to work today...not much, and yet enjoying playing with one more medium to paint. Digital Watcom tablet and wireless stylus, Photoshop Creative Suite...

Click on image to see larger...

New Digital Painting Effort...

2011-09-20T15:42:00.000-07:00

Started another today...a very well known talented jazz artist in the music industry. This is a close up...and, think I will give a landscape a try as well...using the digital a a potential teaching tool...

Click on image to see larger view, of digital brush strokes. My method is admittedly lacking in confidence. I haven't done much in the way of digital painting. This is a bit like my actual painting process in that I work over a toned surface most often....in this case the midvalue flesh tones laid down first, then lowering opacity and flow dramatically...sneak up and build the lighter values on top. Am having fun...I'll be curious how to play with landscapes this way.

Think I'm about finished- David Crosby digital portrait..

2011-09-19T17:36:00.000-07:00

Might emphasize a few accents and wisps of hair, but otherwise, I think I'm done with this one. Need to get some business taken care of, prepare for the webinars coming up...but, I'll play with the digital painting some more. My intent really was to get comfortable using it, which makes it a nice tool online to illustrate, critique other's work...etc.,

Compare with the post previous, and you'll see I worked on the hair more, flesh tones, and overall tightening up...(leaving the mic and shoulders somewhat loose, more suggestive-

Digital Painting of David Crosby...8"x 10" ...first session

2011-09-16T16:44:00.000-07:00

Thought I'd start a digital painting today...working with photoshop and my watcom digital tablet and a wireless stylus. Unlike the manipulation of photos, use of filters to make photos appear painting that many digital artists might do for commercial reasons, this is what it says. From a blank page literally drawn out, painted, stroke for stroke like any painting. Since I teach students working with many mediums, including computer graphic art, and my son Jason encouraging me to consider doing "jobs" perhaps for magazines etc., thought I'd play today.

This is David Crosby, of Crosby Stills Nash & Young...and about two hours today. Not finished...but I'm enjoying where its going...

(click on image to see larger view)

Link to Register for Go To Meeting webinars...

2011-09-15T16:08:00.000-07:00

Go To Meeting- "Composition for the Painter!"

Here is the link for my first webinar, hosted by F&W Publications, session is 7pm EST...and an hour or slightly more depending on discussions/ questions and answers. This is the first in my series, "...For Reasons Paintings Work!"

October 4th... and each Tuesday evening, same time...thru November first...as a start! It is free to register, sessions free...and hope a good number will attend.

Webinars To Begin...

2011-09-12T20:27:00.000-07:00

The first four lessons are set, how many sessions each lesson requires as a live webinar depends on participants, questions and answers. The idea is to learn...to challenge, to give out assignments. The webinars will be "free"...to attend, using "Go To Meeting" ...and from what I understand folks will have an option to purchase recorded sessions, which will be nice if they miss...or something in particular about one session that hit home has to be acquired.

Dates targeted to begin are set for Tuesday evenings, 7pm EST...starting October 4th...thru November the 1st...
Participants will then be encouraged to follow-up in a Forum that will be set up for me in the "Partner- Wetcanvas Live"...where artists can upload images from their assignments, field questions, receive comments and critiques. Listed below are the first four lessons to be covered...

I.Composition for the Painter

II.120 Paintings- (the advantages of one hour dailies)

III.From the Literal to the Suggestive- Painterly Realism
* the place of the Gesture in painting
* advantages of the limited palette
* developing a color language
* building on deliberate purposeful brushwork

IV.Imbuing Harmony and Unity With Undertones

Now I'll make a confession, I am not an expert on Go To Meeting, but I have taught art instruction since 1979...and the first couple sessions will teach me something on working this communication medium, and together we'll grow with this. I have some great tools on my system to make good presentations and discussions. Hope to have you join me...

Beta Tested..Go To Meeting...and Webinars Coming Soon!!!

2011-08-31T17:24:00.000-07:00

Great night following my beta testing with F&W Publications (Wetcanvas.com, Northlight Books, Artist Magazine, Artist Network...etc.,) ...here you see a snapshot of one of my power point presentations on "Composition For the Painter"....and in fielding questions from attendees online in the virtual Go To Meeting environment, I can use my Facetime to pull up my Mac camera...and talk to you, to everyone...real time! It was pretty cool.

Many possibilities to come...using my Canon 2XL...and firewire connection, I could walk you thru actual live time painting demonstration and discussion. I could use my wacom digital tablet to draw, sketch out...to teach, or one lesson might invite attendees to send me several examples of their work to analyze, critique and talk specifics about improving. What makes paintings work for the reasons paintings work, etc.,

All cool stuff. So...if you've checked this blog from time to time to observe my experiments, pushes, thinking out loud....etc., you are sure to enjoy these webinar offerings!!!

Have Officially Become a "Tweeter"

2011-08-26T10:03:00.000-07:00

Not sure how its all done...been on Facebook a good long while, but a real wet-behind the ears newbie when it comes to Twitter, posting my first couple posts. Not sure where they are even seen by people that Tweet or Twit...whatever, hahhaaa...

LarrySeilerArt....my user name...if you know how to look for it! I don't quite get it yet..

Time to do some Gouache studies again I think...

2011-08-25T11:28:00.000-07:00

A scene observed in one of my trips to New York city...painted on Strathmore 400 series board. The aim for this ole "nature" outdoors boy was to confess my experience on a regular basis is not taking in sites of the larger metro city. Rather than paint a full blown color work...I thought it might benefit to simply squint my eyes and focus more on the drama of light, reflected light and shadows. That, and how minimal the thrust of brushwork would be necessary to make a statement? Painting only what I thought was essential marks of paint.

Here a close-up of the central car-

...and as always, clicking on images brings up larger view...

Make Use of Your Peripheral Vision to help Narrate Successful Paintings!

2011-08-24T16:55:00.000-07:00

This is a lovely painting by artist and friend- Ron Guthrie, (Ron is from Solvang, California...) a 16"x 20" entitled- "Oaks At The Chamberlin Ranch"

What I like about Ron's painting especially, is it is a good lesson in what I often teach, encouraging artists to learn to use peripheral vision as a way of seeing their subject, and narrating a successful painting. Orchestrating a heightened attention to the focal subject.

This supplemental useful way of seeing, many artists never take into consideration. Artists tend to the habit of observing, analyzing, and representing what they are looking at directly...painting it as though one thing at a time were the subject of interest...though in the painting that translates to all things then fighting for the role of interest.

In truth....we can only really look at one thing at a time. Hold a hand up at arm's length and looking at it all else blurs out of focus. Look at the area behind the hand, the hand itself peripherally blurs.

I had been in discussion recently with an artist over what I believe would help his development or growing in the treatment of edges...the subject different than say my normal fare, albeit urban...but the concepts and principles of painting are the same. Look at one building...others peripherally appear out of focus...etc.,

One doesn't have to go crazy with the illusion, that is totally seeking to destroy the form, and edges...and yet that in itself might be an interesting assignment just to see how far one can take it with the work yet coming off feeling realistic. Edges, whether we like it or not, and details, saturation of color...tell us about depth.

If I hold my hand up three feet away, and one can see the creases of the palm, of the knuckles and so forth that we understand to be normal. But if I go and stand 100 yards away and hold my hand up, and someone suggests the creases of the palm can still be seen...that creates a precedence that all details closer than 100 yards have to be insanely represented.

There are many details in life we often don't consider. One, in painting wildlife for many years...I knew artists obsessed with vermiculations (details in feathering) of birds. They would painstakingly represent each and every mark of a feather. When finished...they felt they had captured stark stunning realism. The one detail they missed, was the detail of a bird's "softness"...

By painting every mark in the feather...the bird came off feeling like a chunk of wood, or rigid, hard. Going over the detail work and glazing, layering transparently to tame it down, softening it ...kept the idea or understanding of detail and transmitted its more important trait or detail of softness.

By insisting edges at a distance deserve their due...masses should carry significant detail, etc., we lose the [i]detail[/i] of [i]depth illusion[/i]...which on a flat surface such as a canvas support is critical. We have to tweak and push some things just to make what should be obvious all quite apparent.

We also risk losing the "ah-HAH!" or the purpose...the essential component of the narrative that the viewer will understand grabbed the artist by the jugular and said, "Paint ME!!!" for things that compete in a painting then all clamor and fight for attention.

This is a wonderful example Ron gives to us on how peripheral vision works, how it can assist the painter in the illusion of depth perspective. It is a great example of how a focal point is made clear in a narrative. A very fine example how to treat visual voices/details that are not essential.

Many painters would look at each brush/tree in composing the work...and then treat each its due. Looking at each tree individually does cause the focal power of the eye to hone in on the significant features....but what those trees come off looking like [i]while looking at the focal tree[/i] here is what is important to the technical aspect of painting.

The other thing that can be a very nice benefit too of judging lesser important areas to the narrative peripherally, is that peripheral vision is more sensitive to color than direct observation. You will sense more color to the side of where one is looking, and that too can be very helpful in a more complete full representation of how we see. By being sensitive in judging this color...it can complement the focal subject.

I will oft judge the color of the sky looking at distant tree masses, judge color of a nearby shadow of a tree looking at the lighter value of the tree receiving light...study the light of the tree looking at the shadow, etc.,

I'll not pretend to have this concept mastered....but it is one I am aware of, bring to student's attention, and know I need to obsess with in my work.

In this plein air painting I did of "Maxim's Dining Out" note that the sharper edges are the umbrella canopy, the areas of interest in the people eating...compared to the distant church. The edges of the structure of the churches are obscured, broken (ever so slightly), the color desaturated, values lighter...and while a point of interest in the painting, do not fight to wrestle the narrative of the painting. The illusion of depth (like the softness of the bird) comes thru by knowing what detail is more important. (note- all these images clicked on will come up larger to view).

Thing is...while there was a lovely haze from a later sun's light, while standing there, were I to intend to observe and study the church more, I would have seen much more detail. Does the church deserve more detailing? If it were the main casting role in the stage of this play's narrative, sure. Just remember whenever you set up to paint...there are easily a half-dozen paintings waiting to happen. Do not try to tell every story on one canvas. Tell one story...the one main purpose the main actor and all things else are the supporting cast.

Note the assigning of the minor role that the far midground sloping trees have. Their crowns reaching into the sky are not defined. What is important is that while looking at the main tree here, those other trees "feel" like trees. You need not refine appearance to move beyond what successfully "feels" if its role, that of supporting comes to work. Would you see more at this location studying those trees? Absolutely...but this is like the raised hand metaphor. The tree is the hand, all else behind is peripheral and its refining visual information obscure. The end result is there is no question what the focal point is...and the convincing depth becomes a detail of "depth illusion"...depth illusion is space. It is here/near, there...and way back there. Not necessarily a "thing" like a tangible tree, but a most important detail.

I'll share just a couple more...this 12" x 24" shows my experimentation with this peripheral principle. Just how abstract, I am asking myself...trying to flesh out, and yet "feel" realistic as a painting. study the distant "behind" trees...and really...quite abstract. Important to me, and my constant check was looking at the dark base of the grouping of trees on the right, and speaking to myself saying, "okay...forget what those trees look like, are they convincing...do they feel like trees back there while looking at the base of these forward most trees?

I'll encourage you to ask that as well...and do so, by ever so slightly squinting your eyes.

This last example...a plein air of a lone tree I painted about a half-mile from my home...and note the definition of the main tree as compared to the distant trees...note how the edges in the distant contours are scraped, pushed around...

Every so often I see a really fine work of another artist such that Ron has here, which reaffirms and re-ignites me on my push and need to experiment more...

My works from the Richeson Paint Out...

2011-08-12T20:51:00.000-07:00

Now that my desktop system is FINALLY upgraded and working...and can properly enhance my images and manage them, I'll catch you up on the paint out from last week.

We were allowed to paint in four different counties the first two days, the third day...had to be in Appleton or Neenah, works turned in between 2-3pm ...to be judged, and exhibition that followed.

For my good...I took such options of locales to imply we should seek out that which was patently unique to each county's history. That which would not necessarily be found then in another county. Having grown up in the Green Bay area, I had fond memories of riding the Chicago & Northwestern Railroad...a double decker passenger train with the 400 series engine. Today...that place has been converted to a fine restaurant and micro brewery, "Titletown Brewing Company"...

Naturally...I wasn't going to paint the football player or football, and had to reach back into my childhood memory remembering red bricks...different arrangements.

Here was my set up, off dousman street across from the micro brewery.

Here you see me working the paint over a pinkish/orange undertone...and leaving areas open for a train engine to be included...

After four hours of painting, I took all my gear down, packed it in the truck and went to the National Railroad Museum, paid my $9 entree...and was a little disappointed not to find a 400 series engine...but, I did find an old GBW workhorse engine...

Met some nice folks at the museum that worked there, saying my setting up there to paint was a first for them...that is, seeing someone paint.

20"x 24" oil on pumice panel

Thanks to getting rear ended sitting at a stop light up in Marquette, Michigan...I painted this event in considerable discomfort. Pain....head pressure, having a whiplash and concussion. The six hours to complete this first one had me hitting the hay pretty sore first night. Slept in a bit next or second day, then checked out several sites for possiblities. I settled on Green Bay's Bay Beach Amusement Park, setting up in shade...and even opting to use a folding chair. I typically stand...so that was a rarity.

A good crowd...into thousands, parents, children...hitting the rides, enjoying the day. This one, 22"x 28" oil on pumice panel....

Typically right after painting, I put the work in a frame...so, you see this one here. The helicopter ride, a favorite of small children, and ferris wheel peeking in the distance...

Lots of nice folks, people asking questions, making sure their children see an artist working. Of course funny questions too. And, typically you hear the comment that is born of surprise, as folks simply have not seen artists working before.

The third and last day, Saturday...I drove to Neenah...remembering a bronze sculpture I noticed driving by a few weeks prior, on a main street...and turned out to be of Thomas Jefferson, sitting on a stone bench taking notes. I call it, "Thoughts to Pen"...and is 24"x 12" oil on pumice panel...

As for jurying, came up short this time...but, it was fun painting larger, and purposefully stepping out of my comfort zone subject wise.

AGlitches...

2011-08-03T04:24:00.000-07:00

for those that follow along on my journey via this blog, letting you know that my attempt to upgrade my iMac from Tiger to Leopard this past week didn't or as yet fare well. Apple support worked with me over the phone for a couple hours with little success. Was told engineers are considering possible solutions...worse case scenario scrubbing the hard drive. I am using my smartphone for now...not as easy or convenient. Hopefully back up and running full on soon.

Leaving today for the three day paint out Richesons Art Supplier and gallery is hosting. Will report on how that all goes.

Preparing for my next Plein Air Event...

2011-07-25T07:41:00.000-07:00

August 4th-the 6th is going to be one more interesting transition for what we hope will prove to be a stepping forward for plein air (painting outdoors set up on location) here in Wisconsin. Here is a link from FoxCitiesEvents.com giving some details of the event.

I'm approaching this event with intentions to challenge myself, to paint larger than I ever have for such events since no size limits are set. I wouldn't be doing this if I didn't enjoy the exhilaration of pressure pushing myself, for I find in such times I challenge myself I learn a bit more for one, about myself...what I can or cannot do. In my own teaching, my students see my illustration and hear me talk about our "comfort zone"...then the "stretching/pushing" zone where learning takes place, and then that area we are quite aware of I call the "panic zone." It could be argued one does their best painting in their comfort zone...that which is all tried and true, familiar and most controlled. Well...perhaps "best" is not always true...but rather maybe results best anticipated.

In a sense, I'll be studying myself...if I'm truly up to the task, and those that know me know my mantra- "paintings work for reasons paintings work"...thus, I won't be setting out to put out poorly executed work. It will be a high bar I'm raising for myself. A high jumper knows the height he/she can comfortably hit time and again, but records are not won, medals not worn to not deliberately push the envelope. Its not just about winning actual awards that most compels this push of myself, for the first taste of victory for me will be seeing if I can push and pull off what I have envisioned possible.

In tennis competition back in my varsity college years, and then open single events years to follow...it wasn't besting others that brought wins for myself, but aiming to not defeat myself. In essence, you play against yourself...you are your own worst opponent. Those times I most learned something about myself were at the same time ultimate surprises. My wife and I can never forget the time she rode on the back of my motorcycle to a tennis men's tournament in Shawano, Wisconsin. I had sneezed earlier that morning...perhaps not sleeping well during the night restless about playing next day, so muscles were tensed, and the sneeze seized up and pulled my back out. Hunched over and in pain...my rackets and gear packed...we rode off.

I arrived at the tournament hunched over, asking the tournament director where the nearest chiropractor might be? The look he gave me most perplexed and in disbelief, I'll never forget!

The chiropractor worked on me, got me to stand...and I took my share of ibuprofens. And feeling better got back to the courts in time to warm up with my first opponent.

The insanity of this day's tournament would require playing three separate advancing matches (three different opponents) to reach the end of the day's finals to win. That is exactly what I did...and my final match I was sweating profusely...in part from pain as well as heat. I had lost a lot of sustaining energy...trying to drink as much water as was proper throughout the day, but in the end I won and took home the trophy. It was not so much about beating other opponents, but beating my own demons along each step of the way. The self-doubts, the voices of reason...but, my own question of "yes...but is this possible to do?" my propellant of the moment.

We are all well aware of what is not possible to do. We dismiss and give ourselves permission all the time to acknowledge that, and bow out. My life however, has been spent for the better part encouraging and teaching young people to believe, to dream dreams, and to strive to prove what is possible. From keynote speaking...to teaching art in the classroom.

When I walked off the court that day...the director told me he was surprised I struggled so the last match considering how well I had played that day leading up to it, but he had no idea what punishment I had put my body thru. I smiled...shook his hand, took my gear and trophy over to my motorcycle with my wife, and my back seized up again in pain and rode hunched til we arrived back home. Took perhaps a couple days resting for that to heal...and in looking at that trophy, I never recount the individuals I played. I couldn't these many years later tell you their names or color of their hair. What I see is a reminder that I have yet to learn what any of us are capable of if we but believe and push past the constant flood of doubts and negativity.

To dream dreams...that is what lays at our door step...and the path that leads out from that, well...it will require something of us, but we shouldn't fear it or seek to avoid it. Life is a gift...a unique privilege I think from God, our Creator who has created us to do great exploits. When the chips are down...I remind myself, I can do all things thru Him who created us.

In my preparation for painting larger, I have this work I did for Ducks Unlimited. It began just as a plein air, again to see if I could paint this large...but as the opportunity came up once more by this wonderful organization to contribute and be their honored featured artist, it took on greater meaning and energy. Some will recall this one posted perhaps about a year or so ago... 36"x 48"...set up on location with a Lobo Delux...(a folding studio easel sturdy for larger paintings and heavy). If this becomes any kind of habit for me at all...I will have to invest in something like the Beauport or EasyL...based off the favored Gloucester easel from past masters painting larger outdoors.

First day...took 3-1/2 hours to paint perhaps 80% of the background...second day out set up on location finishing it in about another 1-1/2 hours. The ducks added perhaps another couple hours. So...seven hours approximately start to finish...

If you click on images, you'll see a nicer large image...to check out.

The pieces I intend to do for this up and coming event won't be anywhere near this size by comparison...one a 12"x 24"...the other 20"x 24" and one more, 22"x 28"...and my habit of painting the past couple years has been to sketch gestural compositions...see the finished painting in my mind's eye even before beginning. Choose a palette that will drive the work.

First day, painters are limited to Brown County or Outagamie. I already have my spot in mind...have already begun to visualize what I want to do. One day...to execute one painting, I think entirely do-able.

Now some folks would discount and believe they could NEVER play tennis hurting much less competitively...but I know if I push past my own self-doubts and "what if's" surprises await.

I borrow from the legacy of painter Edward Redfield...as inspiration, second in sales only to John Singer Sargent, a contemporary to Sargent of his day, and winning more awards than any American but Sargent. This amazing artist's daily regiment well into his 80's...was to paint large works, such as 50"x 60" canvases...all start to finish (alla prima) in the field, the forests...along rivers and creeks...winter thru summer. Couple examples of his work-

Trout Brook - 50"x 56"

Home By The River- 38"x 50"

I know...I'm no Edward Redfield...but as yet, roughly 32 years painting later, I'm yet not wholly aware just who I might be, what I might be capable of? Those are things that are exciting to me...things yet to discover that are like a life blood.

How I do...what comes as a result, or that proverbial ever asked question on sales potential...not a concern for me. I'm just anticipating what great fun...and what things I'll learn, where my short comings are...where my learning zone reaches its limits at this time and the panic zone begins!!!! Wish me all the best...

Croal Hollow Creek...4"x 6" gouache Accepted into American Impressionist Society show!

2011-07-21T21:48:00.000-07:00

4"x 6" on Strathmore black 400 series

Was excited to learn a small piece in gouache that I painted, has been accepted into the national American Impressionist Society show out of about 1400 submissions.

Having painted in acrylics for near forty years, oils primarily the past 16-17 years...it was something of a pleasant surprise.

Visiting my brother in New York a couple years ago, fighting cancer then passing away, my artist/son Jason and I stayed with New York artist Fred Harper...and I had the pleasure watching Fred working on covers for various magazines and commissions using gouache. I was intrigued, and Fred was kind enough to send me home with some tubes of Holbein pigments. So...thanks for turning my attention to gouache, Fred!

I've painted with watercolor too over past years, but these never really impressed me as being "watercolors" per se, that is...used transparently with washes of color. For my good, gouache is creamy...and had an immediacy to them that fit my alla prima manner of work, that is to say..." a brushwork laid, is a brushwork stayed!" ...and consequently I've heard my manner of using them is unique. As I say...I wouldn't really know...but, I enjoy the immediacy of the paint.

Video Trailer of our recent Alaska Workshop!

2011-07-21T14:41:00.000-07:00

We are already in the planning stages of a couple workshops in Alaska for next summer. Yes...there are workshops and have been for sometime in Tuscany, Italy...and taking nothing away from that. Yes...workshops in California...and wonderful as well. I look forward to painting and teaching in those locations one day. But listen...if you have never EVER visited Alaska yet...you know there lies something inside you...something similar to a bucket list that says..."this is the last great wilderness" on earth, and you want...you NEED...you hope one day to go.

How better to experience Alaska...than with other artists? Thru the eyes of the locals? I guarantee you....from the time your plane touches down, 'til you leave...you mouth is in the dropped position. Call it spiritual shock and awe! You will intend and purpose to visit again because that is how powerful Alaska affects you! You have time...from now til next summer...to put a little away here, a little away there and come experience an amazing amazing time!

Park Rapids, MN workshop...good folks, good time!

2011-07-21T08:57:00.000-07:00

The first day of our workshop was a pretty good cooker of temperatures...and we met at a horse ranch outside Park Rapids, MN. What caught my eye was the very intriguing stables, buildings the ranch offered...but our first painting was dealing with emphasis on essentials and fundamentals, the importance of values for depth illusion and variation/intrigue in the work to stand alone as a fine painting. Thus, choosing a simpler subject for everyone and to be near enough to help organize palettes for one...and teach.

Once everyone was working...I used a values driven palette that I was going to be emphasizing and thought it would be instrumental that folks understood that though it was a limited palette...it would not suffer for lack of color and punch as they, after all...were executing a monochromatic first study from the same palette. Thus...after setting up my palette and seeing Steve Beaubien off and running on his own painting, I did this quick 12"x 9" work above. Painted on what I call a pumice panel...(2-3 tablespoons of #FFFF pumice added to one cup gesso, and a bit of black acrylic to have a neutral darker ground).

Second day proved a challenge, especially for those new to painting plein air, as thunderstorms were predicted all day in the area. My observations of the struggles some folks were having (Steve is a veteran to this though...) just organizing the palettes (from cool to warm colors, setting up darks to lights and having them assigned a spot for easy access...and a decent amount of paint put out to work with) thought we could accomplish just as much if not more working indoors...from life, and thus used a room adjacent to the Blank Canvas gallery (which hosted this workshop). Setting up a bottle of wine, couple glasses and bread. With essentials understood...we would be better prepared for the next day to paint outdoors.

Stressed not just painting everything as is...but to move things around on the canvas/support to make an ideal composition...and this time using color with values, dark...mid, light and white. Here was my demo of the same...9" x 12" on pumice panel-

Next day, more rain...winds up to 70mph were in the forecast, so we decided to find a pavillion where we could set up...and did so in the town of Osage...and, as it would turn out we had rain, stormy clouds, breaks in the clouds, sun...back to cloudy and the artists experienced nature's mood change about 8 or 9 different times. It was a good lesson on why one needs to have basic things like an organized palette down...to paint quickly and efficiently.

Here you see a number of the artists set up and working...

One problem facing workshops in providing assurance of nearby facilities, keeping everyone together and some other conveniences is that, weather can be challenging...and the selection of locations to work from such as this pavilion may guarantee comforts, but not necessarily an ideal view of paintable ideal subject content.

I seized that reality thinking it would be useful for the artists to demonstrate how to go about getting something from nothing...or extracting the possibility of a good painting from the subject with the mantra- "paintings work for reasons paintings work"...and this last demo example was my result, and pleased that one of the workshop artists decided they wished to buy this one...also, 9"x 12" oil on pumice panel...

Overall...a productive and fine workshop and am looking forward to being invited back. I also found myself fond of one of Steve Beaubien's work in their gallery...and just had to have it!

As always...click on the images to bring up a larger image view...

Colosso Picasso... July 30th !!!

2011-07-08T11:17:00.000-07:00

On Saturday the 30th of July, our Wabeno Arts Consortium guild of artist members are hosting an event celebrating the culture of Spain, the art and influence of Pablo Picasso at the Big Easel Gallery...(note, our consortium blog link is on the right side of my favorites links).

Each artist/member has the task of working in their chosen medium and produce work(s) with the challenge of Picasso's overlooming influence. Art works will be for sale from a potter making many fun and whimsical wheel thrown and hand built pottery, a welder/sculptor, watercolorists, acrylic painters, oil paintings...and music with special guests will be on hand. Quite an undertaking bringing all this to our northwoods...but surely those that can make it will have quite a treat.

The location is right off hwy 32 coming into Wabeno from the south, two giant easels to the left on the property of Tim and Connie Friesen. Sure to be a delight!

Here...is my work just finished today...16"x 20" and was influenced from the self-portrait of Picasso he executed in 1901....

Why Plein Air? Is it Superior? What is the Real Purpose of Painting?

2011-07-05T11:58:00.000-07:00

I have from time to time engaged in discussion, which ends up being debate...on what is plein air? How much of the painting has to be painted on location to be "officially" plein air versus perhaps that portion finished in studio? What I share here is my opinion, my argumentation presented once more on another online artist's community venue. I put in enough significant time to present my thoughts whenever I do find myself surrounded by this question, that I have decided to share here what I have last presented.

One artist with some disdain, some cynicism decried the special place we might want to give plein air, making it out as some sport...when really it is only about make good pictures that matters. I myself in my teaching oft say, "paintings work for reasons paintings work" and with that in mind...here is what hopefully you will find some interesting thoughts...

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I hate to say it, ...but life is a challenge, life itself has a sport aspect to its very nature...called, "survival"....and some do it better than others. Simply saying someone is "spot on" does not make it so...and as I always say about opinions, and often preface before my own..."opinions are a bit like armpits. Everyone has at least two of them, and most stink!"

If there is one thing I know from my many years moderating the many forums at Wetcanvas.com that I did, its that artists have opinions, and we tend to wear our emotions on our sleeves. It doesn't take much really to raise dander or hair on the skin of our neck...but that is because we have so much passion to live the life we do. That is...we live to embrace challenge...yet it seems to me in this thread we are working hard to minimize and even downgrade the challenges of that which we call "plein air." So...I will offer yet another aspect, an opinion...and everyone is free to judge it stinky armpit to be tossed aside and dismissed. :)

When I first began painting plein air, I was not aware of any such term...I moonlighted from the studio. I was embarrassed of my attempts proving perhaps more how little I seemed to know about painting- even though I was surrounded in my studio with works done in-studio and a reputation that suggested otherwise.

My agent stopped by unannounced one day, and spotted a pile of small plein air efforts stacked along a wall. Never intended for her to find them, but find them she did. "What are these...?" her inquiry...and mine, "oh...nothing...just sketches, nothing really!"

She ended up winning an argument to take a pile and show them around. I wasn't happy...but about two weeks later stopped by, all sold asking if I had more? I was like, "what....people like those things?" I was shocked, embarrassed still that such might represent me and my capability...but also somewhat surprised to learn a different clientele had an eye for such and would be interested.

When I attended a Wild Wings Wildlife Arts Festival as an invited participating artist...I ended up like a giddy school boy in the playground off to the side with Jim Lamb, Gary Moss...talking about this new thing we were obsessed with painting outdoors. It was discussed on our lunch breaks and walking away from the exhibition that featured our studio works, somewhat guarded, hush hush...but with excitement. Perhaps because we didn't know if folks would understand. Though...the spark that ignited genuine excitement, was that Jim himself had a group display framed up of some of his plein air pieces. Known affectionately for his frolicking puppy prints or retrievers and various sporting dogs.

Late that afternoon, Marc Hanson actually set up and demonstrated a plein air, and it was fun to watch. I'm going to guess this was around 15-16 years ago...again, no phrase other than knowledge this was how the Impressionists did it...as did Church, Cole, Bierstadt...you name it.

Now...many want to do this...and add it to their repertoire to beef their bio, the changes to be part of a movement...sorta like some painted chickadees to call themselves wildlife artists in the 90's...and something that looked like bowling pins with wings attached they called ducks.

Many of the artists I know from the past part of this early resurgence leading to the vogue nature of plein air today, are now shuddering with reminders of what happened to the wildlife art movement. It has always been about making good pictures, yes...but like anything there is a learning curve, and dues that need to be earned/paid to develop and master something.

Many now...are not referring any longer to what they are doing as "plein air"...but simply..."painting setup on location"...

It has been said several times now in this discussion defensibly, that painting is whatever and anything you make it...but always still with aim to make good paintings. There is no argument with that.

Painting outdoors on location can be done to gather information, resources, sketches, studies for work to be done in studio. No argument there.

Painting outdoors on location can be a personal desire to encounter nature, even the wilds more...and experience a spiritual growth, and the outcome of the pictures requiring no rules or expectations for mastery other than a record of one's experience.

We can all define and argue as much as one wishes...but know this, still...this even yet..if one wishes to paint with an association, or to enter shows...there will be criteria, RULES...expectations. At that point...you decide to participate, or not. Such rules for several reasons...one, continuity. I am exhibiting in Richeson's Wisconsin Plein Air Exhibition at the Berstrom-Mahler Museum July 9th- Sept 18th...and as any of us having shown, knows there are rules.

Such rules level the playing field...and, for example, prevents an artist working all hours into the night not doctoring, tweaking, fixing in a motel room using a laptop monitor digital reference photo taken, refining the work to some level that would then suggest to the viewing public later..."wow, here is an artist whose skill exceeds all others! Such a talent!" And the reason "fairness" is important is the public will draw inference that all painted with adherence to set criteria.

Now...if the sole purpose of painting is to make good pictures, being incensed at the breaking of such rules only because the individual wanted to make their "best" possible should and would not be an issue, correct? We human beings seem to want something then a little bit more...and with painting, perhaps to hold up and perform our best under varying and even extreme conditions!!!

Plein air events have helped the public grow in understanding as they watch the artists work...as they come to understand that a painter that paints outdoors must come to terms with elements, sun, mosquitos and black biting flies, incessant silly questions from passerbyers...you name it, and stirs a sense of appreciation and respect.

Its sorta like...okay, one can participate in a shooting tournament at a range or site with targets set up, and the over arching understanding and creed is..."what really matters is that targets are hit!" Doesn't really matter how they're hit...just HIT GOOD.

Like determining just making good pictures is what in the end matters. But this is not so in the mind of many able to take in extenuating circumstances and understand the ante has been raised up.

If the shooting competition decides marksmanship on the move will establish the challenge, then another angle on this is factored in. Still the aim that a target gets hit? Oh sure...but a different level or regard for determining success, why we should be impressed or appreciative...is factored in.

Say one event is shooting targets while on full horse gallop. Or, an event that simulates driving thru an Afghanistan ambush, a single dirt road thru rocky ledges both sides...and you have to shoot your targets with a vehicle is winding the road at good speed with all its bumps.

Again...one might say, all that matters is the target gets hit!

and...sure, we agree generally...good pictures, good paintings are the aim.

Yet having come into the "plein air" experience myself AFTER the fact of painting seventeen years at my easel in my studio, I can speak at least to my own experience that there is a difference between sitting at one's easel...in the comfort of one's home or studio. Taking breaks. Scratching out ideas and sketches...sorting thru photo references, allowing friends that stop by to have some input, learning to let the frolicking screaming and occasional crying of the kids not interfere, taking breaks for dinner...trips to town. And that...of setting up on a location with its set of terms one comes to understand.

Is one better than the other? No...just different. The problem with dismissing thoughts aired on what plein air is in defense of the simple fact of what good paintings are, risks losing the sense that as a way to go about painting...as an event, IT IS DIFFERENT than painting in a studio.

I guess the real question then is...have we come to a point where folks simply don't think "the difference" is worth noting, worth any level of regard or respect?

If the goal is simply and always JUST ABOUT HITTING THE TARGET... then bench sitters with gun rests should and always will have rightfully the highest level of respect.

The human psyche is a bit more complex than that however. We want to be entertained. We want to ask the question..."sure...but what if we...." and then somehow alter and introduce challenges.

We don't want just points on a scoreboard, we want to see leaps leaving the floor from the freethrow line, with a twist in the air and slam dunked.

Is the two points any BETTER because it came from a slam dunk? I mean...won't the outcome of the game always be what playing the game is about, and which side wins the point of it? Are good pictures always the aim of painting?

We can't blanket this discussion with the ease of a determination its all the same, only good paintings matter and then sit down to be entertained as we do with sport on television, one vocalist's stage antics and performance on stage versus another (because only good music matters right?)...

How can we treat what we do...so simplistically?

IMO it comes down to this. We are all like books being written out. Some by virtue of living longer have more chapters finished. We will define what it means to paint, to attain, to have reputation to grow differently in one chapter...and then entirely possible that events that turn our worlds around (like getting ripped off from a bad agent), cause us to reform our philosophies, our worldviews. Thus a new chapter begins.

Some things however exist on their own...outside of our books being written. Things that will be...what they are, despite our attempts to define or re-interpret it.

So...whether we like the terminology, dislike efforts to define what it is...the challenges are there to be embraced by all. If good paintings are all that matter...some may find it easier or better to define "plein air" by one standard. If good paintings matter ...but a twist on extenuating circumstances matter as well...it may create a standard of its own.

Some prize an environment where circumstances are more likely to be controlled and mastered. Some prize an atmosphere of unknowns that sometimes are not for the feint of heart. A particular thrill owing to something inside that yearns to see if one is up to the task.

One better than the other? Well...what trips your trigger I guess?

Why not simply both...with the recognition both have their place?

Alaska...where do I begin?

2011-07-03T22:12:00.000-07:00

Thank goodness for being a painter. I mean, I've been told I have something of a knack for words, but words do not aptly describe such a venture as painting, teaching in Alaska.

Some of the warmest, friendliest folks I've had the pleasure to meet and come to know. Hearty...embracing the weather that is Alaska...with full intent to push on paint regardless. Rain...chill, squalls, mist or what I heard them refer to as "socked in!" We were out there. Painting north of Anchorage...areas of Palmer, Wasilla, Willow...Hatcher's Pass, and Independence Mine.

Plans began within the first couple days of being back home to return next summer. The question is...will it be one, two...perhaps three different workshops offered? One north of Anchorage...one that covers south Anchorage to Whittier, Portage and Kenai? Whatever the case...if you have ever thought to travel...make this destination/workshop your aim for next year.

I will add photos over the next couple weeks...tell of the fun we had, share paintings, but of the 800 photos I have, I will be working on a DVD trailer to promote the workshop for next year.

My aim for these workshops was to build foundations for control, for expediency, to build confidence in the artists. Beginning with value driven limited palettes...then introducing Zorn's palette...next Payne's pigment soup palette, lastly the split-complementary palette.
Here are some pictures to wet your appetite...and a couple painting demos of mine executed...

Of course...to answer the first question right away, YES!!!! I did go fishing...and many thanks to Scott Thompson, artist and sportsman...bringing Kurt Jacobson and myself to the Deshka River...we catching five salmon in all...keeping but one very nice one that Scott caught, and you see what fine slabs on the grill such present!

...and...do click on images to see a larger better view...!

Next...here is some of our gang at work, or shall we say play? Serious play!!!

Of course...we had a bit of scenery to work with...

...and...of course I was there to instruct on painting methods and strategies..

Here...we are struggling with the decision where to set up. There just aren't enough places to paint in Alaska!!!

and of course...you are always reminded of the realities, you aren't in Kansas, nor Disneyland. Here...nature plays for real...but, to me that is part of the allure!

Its really not so scary, but Alaskans have their share of respect, not running up a lonely mountain trail thru thick brush...least not without protection. Let's just say, common sense...

...My wife Deb and I, spent time at this Alaskan Wildlife Conservancy Center where orphaned animals are rehabilitated, this curator was fielding questions while feeding two kodiak bears, sixteen months old...

...and...to finish off, I'll share one painting here in particular I like that I did at a waterfalls at Independence Mine in Hatcher's Pass. I was there to teach, and in so doing a particular obligation to restrict one's self as an instructor to stay within the bounds of what is being taught...the painting an example. On this one last day of the second workshop, I sensed opportunity to do one for me. Everyone was busy working on their own paintings, quite invigorated with a sense of what they needed to focus on. This one perhaps may be hard to yet see...but I am working to push edges and break or destroy form more.

Our umbrellas to shade and protect from above did little to prevent the freezing drizzle squall that came in sideways for about the last 15 to 20 minutes. I was very impressed, and proud to call my friends and fellow painters these Alaskan souls, who embrace their weather and look for no sympathy or quick escape. Karen Whitworth, a very fine painter herself...was painting next to me. When I looked over, at about the time my fingers were now quite numb...her hair was drenched and hanging...but no complaining from Karen. Not at all...she certainly sets a standard and maintains her own.

I took a paper towel and patted down the corner of my painting just so I could have it dry enough to sign my name. If you click on this one, you will likely note the droplets of water accumulating throughout the painting. Thank goodness oil and water do not mix!!!

20"x 10" oil on pumice panel...

Menomonee River plein air, 9"x 12" oil on linen panel

2011-06-12T19:43:00.000-07:00

Without much doubt...this is likely my last plein air effort here at the home front til nearly the end of the month, heading this Thursday to Alaska...both my wife and myself. Will be teaching two plein air workshops, and meeting some great fine folks...

Painted this today set up on upper Michigan's side, the Menomonee River...which divides NE Wisconsin from Upper Michigan. This mouth leads into the gorge, our smaller version of Colorado's Snake River...

here you see my set up..

My painting, 9"x 12" oil on linen panel..

...and, sportin' a new look with one, yes...the Aussie style outback hat to keep elements like rain and sun from hampering my need to paint, and yes...as you can see, ran out of my Just For Men!!! 8^)

Floating L-frame..."Long Slide Falls" oil

2011-06-04T07:08:00.000-07:00

Framed up the first of three pieces for the Richeson's exhibition. Not a lot of time, leaving for Alaska in a couple weeks to teach a couple plein air workshops...and a day after return these pieces need to be delivered. This is 9"x 12"...the dimensions to make the floating gap work inside frame are 12-3/4" x 9-3/4"....

Three Works Accepted in Richeson's Plein Air Exhibition...

2011-05-29T06:57:00.000-07:00

Received word that three of my works submitted to the Richeson 75 Wisconsin Plein Air exhibition to be held at Bergstrom-Mahler Museum, have been accepted. Pretty excited about this one..!!!

Few Touches...finished, "Spring Comes"...8x10 plein air

2011-05-27T04:49:00.000-07:00

Perhaps about ten minutes additional paint time to bring more continuity to what I sensed was a slight busyness in the water, competing with the grasses. So, quieted the water a tad...heightened the values and edges of the grasses and quite satisfied with the piece now...mirroring the emotion/feelings I held for this isolated scene. Compare with the post just before this one...

Sometimes...

2011-05-22T20:02:00.000-07:00

Sometimes...painting is showing what you know, proven skill...dazzling the eyes of the viewer. Sometimes...painting is a journey exploring a subject, seeing more...wrestling and fighting with yourself seeking to isolate the necessary from distraction. Today...with about 1-1/2 hours on hand, I chose a mundane subject...a spot off a road, ruts from an ATV trail...with a bit of water streaming by...

This is one of those I'm not immediately satisfied with. A good study, opening my eyes...but yet, more simplification is needed. I may play with this one some in-studio...using the reference and plein air study, eliminating unnecessary visual voices and arriving at the essential.

The water comes off as an important actor on this stage, as does the grass...one not more than the other...

Rather than defeated, not so much discouraged, I have found something to peak my curiosity and interests. A challenge to come to better terms with. Resolving this to my satisfaction, will help my eyes and decision making capabilities stronger in the field.

Painted at Long Slide Falls...last weekend, 9"x 12"

2011-05-14T06:29:00.000-07:00

The sun has made sparse appearances, today...Saturday, it is dreary, cold and raining...but last weekend, it came out to play and so did I...!!! Went to one of my favorite haunts, Long Slide Falls of the Peme Bon Won river...

my set up appeared as such...

I was striving for a greater brief interpretation of distant planes, and an economical use of brushwork, using color and values to capture the moment.

Thinking About Buying a new Plein Air easel...Beauport

2011-05-01T08:30:00.000-07:00

Thinking about buying the cheaper version of the lengendary Gloucester, this one from ASW Express....the "Beauport"...

The easel is legendary for its light parts that spread out so far, that the wind simply does not affect it. This would be great for my painting of the shores of Lake Superior for one...

There is good information on my friend Anthony Sell's blog...as there is a little makeshift fixes one should do with this easel, as anything that tends to be an imitation of the real thing...and Daniel Corey's blog

...and, here is a video put out by Beauport showing how it sets up, adjusts...etc.,

You likely not find enough room for viewing this wide format version, but just click on it to see it on YouTube itself...

First two Red Oak Floating L-Frames completed...

2011-04-28T17:15:00.000-07:00

Here are two of my frames, now completed...red oak, rubbed with Howard's Beeswax and Orange to finish, shown with two plein airs, 8"x 10"... Oliver River, and Piers Gorge...and I'm pretty pleased with the results. Sure I'll only get better...

My Bessey Strap Clamp...for Floater L-Frames...

2011-04-21T13:12:00.000-07:00

got my Bessey Strap Clamp today, finally...and had some red oak and poplar wood already cut up in preparation. Just in about one hour's time made two frames...

the corner pieces freely run along the strap, the ends will form the angle of your miter. Tightens down very nicely, firm...and sure makes frames a lot easier to make! For my red oak, I'll be sanding, then using Howard Feed-N-Wax Beeswax & Orange Oil...a several coats applied then lightly gone over with steel wool. For my poplar frames, I'll paint them black acrylic, seal with varathane, then several coats of wax rubbed....

When finished the frame will be mounted so that it appears to be floating. About a 1/4" gap space between the canvas or paint panel and frame.

Two Final Lessons/Demos for my Ninth Grade students

2011-04-20T13:15:00.000-07:00

Both of these painted in one class period, during about a 30 minute time limit, with student grade acrylics on tagboard...

Both efforts were with complementary colors...the first blue and orange, the second yellow-orange and blue-violet...plus white and black. The second work used a day time mountain lake reference...the idea was for students to imbue a mood using a color harmony. Beginning with yellow-orange slowly turning violet and dark values as everything neared the viewer's eye. It is by design not so realistic...but as a step by step to teach concepts. Both demos had the students looking at various references, and putting together their own narrative respective to asymmetry and viewpoint perspective. I can say that I never heard this class work so intently and focused as I have this last day on their painting unit...

So...How Young to start 'em off painting???

2011-04-08T09:18:00.000-07:00

I have often found amusement on virtual artist communities, one that I moderated myself for over a decade...how artists will argue about color theory, especially the move toward use of magenta, cyan, yellow, and even green (as a possible fourth primary) and away from the traditional color wheel. One gent pushing what he called his "REAL colorwheel" comes to mind, calling art teachers today teaching the traditional RYB colorwheel as near criminal, districts owing it to their students to forbid such teaching. Ironic...to my thinking in light of so many masters, even recent masters whose works continue to challenge us, woo and hold us in awe. Painting with so few colors, limited palette. Works of Zorn...who oft painted with his yellow ocre, black, white and red...stunning works.

A colorwheel is only an abstract model at best from which we can experiment and develop strategies.

In addition to my painting regimen, my art business, writing...travels and teaching, I teach K-12 visual arts in a small community district's school. My kindergardners are capable of understanding basic mixing of primary and secondary color. They are introduced to the concept of warm colors...cool colors. Quite criminal in many minds...and pushing kids in 2nd-3rd grade in areas of values...shapes, amazed what they are capable of by the time they are seniors in high school.

This week...working from inspiring images of landscapes...I have my 5th and 6th graders doing monochromatic tempera paintings on simply white sulphite 80lb paper. This is the result of about a five minute demo given this past week...and yes, "five minutes" because if you teach young people you then understand classroom management, and how long you can afford to keep their attention...

12"x 18" tempera monochromatic painting of distance planes on white drawing paper-

Here today's demonstration to my ninth graders learning to work now with acrylics, approaching the same emphasis on representing distance planes...on white tagboar. About 5-7 minutes...roughly 16"x 20"

I was pleased how I held the ninth grader's attention on this one. They see a lot of my own paintings around the room that I bring in from painting outdoors, or occasional competition pieces or donations for wildlife causes...seemed to be more plausible, or doable in their facial expressions...which was very assuring and exciting for me. I can see, they can't wait now to try this themselves...

this demo was a bit longer, about 8-9 minutes for a restless 4th grade class...an Amish horse and buggy on a rural road, green the mono color...about 14"x 18"

Back in the Day...

2011-04-07T08:19:00.000-07:00

Once again, the host featured artist for the Ruffed Grouse Society here in the NE Wisconsin Chapter, and this year...will be setting out a number of my past shirt design images. Highest bidder gets to pick one, which I'll frame up. Prior to my returning to the classroom to teach art, one of my stretches to earn a few bucks here and there was doing shirt designs. I think forty-four images in total...for several different companies. Typical, was to pay the artist .21 cents per t-shirt, and .23 cents per sweatshirt sold. My images sold in 44 different states in sporting good stores, Target stores, various retailers...

Here is a composite showing seven such shirt designs being offered at the banquet fund raiser this weekend...

And these three were also popular designs, the paintings themselves now gone. These type images were painted with white backgrounds which are easy then for shirt companies to apply to any color or blend of fabric. Such images are appropriately referred to as "vignette" illustrations.

You can see various wildlife and sporting art in my wildlife art blog link...

Nice Distinction...International Plein Air Painters "Featured Artist of the Month"

2011-04-04T09:06:00.000-07:00

IPAP or "International Plein air Painters" is a pioneer international association/organization in the resurgence of the plein air movement, a throwback to the Impressionist ventures of artists getting out of the studio to paint set up on locaton.

I am a signature member...of IPAP and spending time on the site will introduce to you to some very good, some well known...fine fine painters. I am honored to be this month's "Featured Artist"...

M60 A3 Operations Desert Storm era Tank....11"x 14" oil

2011-03-31T19:19:00.000-07:00

Not enough time tonight to finish on location...could go back and add more atmosphere and sky....or leave as is. Had a blast painting, was a bit chilly tonight...

Full and Flowing- 9"x 12" oil on primed linen...

2011-03-30T19:58:00.000-07:00

Finished one this afternoon that I had been working on, and plenty of time to drive to another spot. Set up on a bridge over this swollen creek. I undertoned it with blue to get a jump on the cools in the shadows...and you can see a .gif animation at Wetcanvas.com where I have a thread on this painting. The animation shows the undertone, and a few steps to its making...

Here is the undertone, and only maybe once or twice have I opted for a bluish undertone. Went with my gut hunch on this...

...and my palette was set up by scraping off the left over paint from my previous painting, then whipped up with the paint knife. I used a bit of cadmium orange to warm it up, then used it to paint my tag alders (brush) and as a base for painting the water...

Finally...you can see my El Greco Trident easel set up on the bridge. My linen is taped to a foam core board, and I can later adhered the linen to a wood support...

Second Session...Camp 20...Split-Comp Tetrad palette...14"x 18" oil

2011-03-29T17:48:00.000-07:00

Mad rush to the site...as I was needed to take down apart our Select Number bed that is having some problems, replace it with a bed from another bedroom...and that done...out to my spot by around 5pm...but, just about the right time...though, only about an hour to do more work on this. It is for me an experiment and I know it may sound weird, sometimes I paint for myself "the artist"...and sometimes to connect with the teachings of others and better understand as "the art instructor" ...or educator.

I've painted with a good number of strategies, and have played much with the split-complementary palette. Really feel I have that down. This "tetrad" is a new experiment...and its been fun. Think its given me some insights...

Here was what I was looking at for the last part of my hour tonight...or let's just say, why it would be ineffective to paint from a photo reference representing this time of day! hahaa...

Here then progress, and not yet finished...though, I might be able to finish this returning earlier now...not thinking I so much need the late sun to touch up and paint what I need to...

A Split-Complementary Tetrad Palette...Camp 20 Creek oil..WIP

2011-03-28T18:34:00.000-07:00

Working on putting together my second E-learning online session, on understand and putting to use various limited palette strategies as often taught by Edgar Payne, and Emile Gruppe...as well as "moi" yours truly...

Went out tonight...a bit late, and grabbed a large panel which is uncharacteristic of me as I settled into the understanding that this one will take two different evenings at least to finish.

Gruppe advised his students when painting toward the sun to paint a combination of yellow and white paint into the sky first, the painting the cooler blue into it. Takes less cool color to get the warm color right, than warm color to get cool color to work. I sensed a slight green in the sky...and thought a strategy that would make use of yellow green might be very nice. Also sensing some blue-greens as well...and thus decided on the Split-complementary tetrad strategy.

Here's what it looks like on my palette...and color identified-

Use your regular pigments to create the mixes you need, ideally making enough to work the brunt of the painting. What we have here...are the split-complementaries of green (red-violet and red-orange), and the split-complementaries of red (blue-green and yellow-green) In essence it gives me two reds to work with...the blue-green acts as my blue, and yellow-green becomes or substitutes for my yellow. Each RYB colorwheel strategy uses each of the primaries.

In Gruppe's teaching...he says that each primary color exists in everything we see because we have three cones that detect the primary red, yellow and blue. He set up typically a warm and cool of each primary as his palette...plus white. When you select a strategy, it is something like a game however...but it forces or imbues a unique working color harmony that translates to a mood.

You can see from my shadows here...that the sun was low, I was racing against time...

...and to paint outdoors comfortably in the winter, I like to layer my clothing. I am wearing wool fingerless gloves. For my torso's warmth, I wear a thermal longsleeve shirt, a sweater over that...a quilted jacket seen here, and a vest. Note also, I'm wearing rather larger glasses that I had specially made just for my painting. They cover my eyes well...(its not a fashion statement), and protect from harmful UV...and those that know me, know my habit often to paint looking toward the sun-

Lastly, the sun gets to a point where it is pointless to continue. You frankly just cannot see the subject any longer. Time to pack up...come back hopefully tomorrow!

A plein air this afternoon....9"x 12" Alderton Road Sun

2011-03-27T16:51:00.000-07:00

Painted on Senso Linen, and opted to work with a split-complementary palette strategy this afternoon...blue my dominant color, yellow-orange and red-orange my splits. Plus white...and a touch of black...(touch!)

Temps were 28 degrees Farenheit, sun was shining and quite inviting. Here was my set up...pulled off the road, behind my truck...

Moodlin'...Online Virtual Art Instructional Sessions!

2011-03-27T09:59:00.000-07:00

Just finishing up reading thru this near 350 page manual on Moodle...and you probably can imagine how fun reading manuals are! I've downloaded the Moodle software to my server host, and going thru the necessary steps to build the site, its own separate website site. A lot of options from lessons, workshops where folks can then go paint, upload their efforts and forums/chat rooms to discuss. Interactive instructional sessions...using podcasts and power point or .pdf that are seen online as webpages...just many options. Sessions would have me live, ready to field and answer questions...

With all that is happening in our state as concerns education, and the threat of the arts especially getting cut I'm looking to expand my options and opportunities as an art instructor. That being said...my hour or so sessions will have a fee, but small...and yet the content and scope of my workshops themselves that I travel and teach. A nice way to sit at home in your 'jamas with a hot cup of coffee or preferred beverage and not worry about the costs to travel or attend a workshop.

Planning on breaking sessions down to pertinent specifics, or like chapters...the first on "Composition & Design for the Painter"...the next on "Setting Up & Using Color Palette Strategies"

So, while I haven't been painting up a storm of late, I've been busy equipping myself and preparing for this virtual instruction venture.

The sun is shining today...thirty degrees out, and so I will have to get out this afternoon to paint for sure!

New one...Red Hot Tomale...muskie lure...9"x 12" oil on linen

2011-03-18T14:08:00.000-07:00

Started one today...not finished...

The "Muskieburger Red Hot Tomale..."

This thing is actually pretty huge...a foot or so in length at least!

Working on Webinars... (virtual online art instruction seminars)

2011-03-13T20:04:00.000-07:00

Have been hard at it, putting my first hour long webinar for painters together, over 70 slides this first one, on "Composition & Design for the Painter"...

Have been working on setting up the active interface thru my host server, those that register and attend online will see each slide, hear me speaking from your system. As I understand it right now, participants will be able to ask questions similar to the chat windows that come up on Google or Facebook...and you'll hear me address certainly the most pertinent good ones!

I'll be announcing when this will be available, after I've got everything workin' up to snuff and am satisfied, test running it...

I've already begun working on the next virtual learning session as I break down and explain a half-dozen limited palette color strategies as used and taught by that master painter/teacher Edgar Payne, and for which I myself use quite frequently. The plein air work I posted today and prior to this post, uses one of those strategies, but I will go into depth and field questions...

So, as they say..."stay tune for more!"

Sun Came Out to Play Today...9"x 12"...

2011-03-13T19:41:00.000-07:00

Been itching to get out, but the sun has not been all that cooperative this year. Today, however...the mood was there, and then so was I...!!!

Just down the road, creeks starting to open up, sure sign spring is around the corner!

Here my set up...

...and with workshops coming up this summer, and some webinars I'm putting together for online art instruction, my secondary purpose is to gather photo references for lessons, and this day...I decided to demonstrate one of Edgar Payne's limited palette strategies using a dark neutral as a mother color, pulled into each color. Such imbues a natural working harmony, gives one nice control allowing you easily enough to slip into the gut hunch zone...and is one of about a half-dozen palette strategies I use and teach.

Here you see my darker neutral I mixed up, circled in red...and an arrow indicates I've added a bit of that neutral to each of these colors/values mixed.

What you see next, I've toned my linen support, wiped a bit of tone off to lighten values and indicate my subject layout intentions. Over that, I've mixed a darker reddish/orange with turps and my medium, and have drawn various masses. I am envisioning a rule of thirds grid in my mind's eye with intent for one bright near snow mass to fall on the lower right quandrant.

Then...the overlay shows I have painted and indicated the darkest accents and brightest...for really two reasons 1) in the event the light should change, I've nailed those indicators vital to the initial impulse of what caught my attention on this location, and 2) I have set parameters now committing that no other marks henceforth shall be as dark, nor as light/white...

Though I'm not sure about the light I had left to shoot the finished effort, I believe I have adjusted the image to be fairly accurate. I may re-shoot the work tomorrow under more ideal lighting...but, as said...pretty good...

9"x 12" linen...Early Running Creek....

...and as always, images can be clicked on to see larger image...

Finished- Long Slide Falls 28"x 22" oil on linen

2011-02-14T13:44:00.000-08:00

Callin' er done I think...

Today I wrestled with the water...bit more shadows on the left, and at the whitewater applied a good amount of white pigment.

Learned some time ago...that if you want a pigment to appear its brightest, best to use a paint knife and lay it on thick and flat. The minute ruts left behind of a bristle brush actually invites the play of shadows each rut casts upon another...and a color appears a tad dull. So, I applied the pigment quite heavy...smooth with the paint knife, but where I think the eye should pick up on more turbulence of the water...I mixed up another batch of white pigment, used a wide bristle...and laid in very thick strokes...

Here is a smaller view, as if standing 4-5 paces back...(and all images clicked on show up bigger)

4th Session...Long Slide Falls...28"x 22" oil on linen

2011-02-11T14:25:00.000-08:00

Perked up the chroma intensity of purer pigments, warmer in color temperature along the upper right foliage and rock faces. Deepened the values of water in shadow just a bit more...and brought the more center/right rock to a greater rendered finishing...

This area is left to be more abstract, looser in brushwork...a tease on the eye...but being less finished than the other rock by virtue of compare and contrast, is designed peripherally to call less attention to itself. A fun thing really when you consider how front and center the rock is.

Also...breaking a fundamental rule in the landscape where purer color, darker darks, crisp edges should all define that which is closer...opting to trust the peripheral pan of the work by the eye to find the interest in the area above...or, this area more-

I'll look it over for a few days now before deciding if it satisfies what I set out to do...

On the same subject...I labored to put a good explanation together on the direction I'm trying to push as a painter, sharing examples of some fine painters, their influence and inspiration...as well as a few examples how I'm taking such things to experiment with the landscape...here is the detailed post taken from a thread of mine at Wetcanvas.com

Plein Air Workshop Announcement- Park Rapids, Mn

2011-02-11T07:34:00.000-08:00

Looking forward to my time in Park Rapids, Minnesota this summer, dates are July 13th- the 15th... 9am-5pm daily, though I'm sure we'll paint a nocturne one of those nights for those eager enduring ones...actual meeting/paint location will be the Toad Mountain Ranch, in Osage, MN...a short drive from Park Rapids.

For information on attending, contact Steve Beaubien, 218-237-5112 or 605-940-8446

This event is hosted by Blank Canvas Gallery and Education Center

I will post more information shortly on my main artist's website, which will detail the scope of learning I will be teaching...

Hope to see you there!!!

3rd Session...Long Slide Falls 28 x 22 oil on linen..

2011-02-10T15:41:00.000-08:00

Can only ignore a work in progress so long before the canvas starts questioning one's whereabouts and motives! "Quiet already, I've been busy dang it!!!!"

But...did get another couple hours here for a third session...