Oil Painters of America in Fredericksburg, Texas was an event that filled me with many thoughts and emotions. So much talent present in this event has still left me with so much to think about. InSight Gallery was the host and the exhibition was beyond description. The work displayed was magnificent and the gallery was truly first class. The speaker that brought many to tears, even some men, was Joe Paquet who spoke on authenticity and voice. His profound statements that was peppered throughout the one and a half hour presentations was worth the price of admission. "Make a conscious choice to surround yourself with authentic words, music and art to remind you what is possible." Authenticity is the cornerstone that I took away from this talk. What is it? His example may help to understand the concept. He shared the time when he walked out of the final Harry Potter movie. He was struck by something, he felt, was much larger than the film, it was that fact that Ms. Rowling built this thing, this idea from thin air, moved words around in a personal way, created a world, which had not existed and turned it into a very real thing. That is what we (artists) do everyday, we create, he said. We create what has never existed, bring something to the world and shape it with our own hearts and hands. It's a gift we have which is easy to lose sight of.
Voice is part of this authenticity. How do we arrive at this illusive element that separates the ordinary from the extraordinary? It's what you observe that captures your attention and says, "Paint Me." It's what remains in your visual memory after viewing a(an) scene, object, a person. It requires us to be always vigilant to our surroundings and hone our skills of memory. No easy task but necessary if we want to take our art to a level that separates us from the ordinary. Words that Joe used were uncommon beauty, wholly remarkable, feeling vs. seeing. He further stated that the true path was an organic one. Know yourself NOT your audience.
As I stood and began to walk toward the exit, Joe was standing to the side. I couldn't help but ask the question that still was giving me some angst. Could a series of paintings that encompassed a theme be authentic? As a still life painter your subject matter can be contrived. You bring the elements together as opposed to a plein air painter who discovers their subject matter. His answer confused me and still I didn't understand. With his keen sense of understanding, he simply asked. Do you know the different between extrinsic motivation and intrinsic motivation? He had to say no more. I got it. When we paint for an audience or because our galleries want more of a particular subject matter, then we are not being authentic. Painting a theme or series is not what matters. It's the motivation for painting a subject that makes the difference.
My big aha was this for me personally. If I paint similar images over and over because I love those objects and because each time it brings something internal that satisfies me and is like the first time I painted it, then it is authentic. If I paint those subjects over and over again because my buyers want those images, then it ceases to be authentic.
As I have stated in earlier posts and blogs, this making of art is a journey. And too often we don't know what we don't know. I'm sure though, when we need the knowledge and understanding, it comes to us. We just need to be hungry for it and aware that we don't know it all. If our cup is full (full of our own ego and self) then we have no room for new understanding. You can not fill a cup that is overflowing.
Tuesday, June 4, 2013
Thursday, May 2, 2013
In Love with Light
In my opinion, painting is all about painting the "light." The more you know about light, its qualities, and how it effects your painting, the better painter you will be. So much information is out there about light and I don't want to rehash this available info so here are some short statements that you can follow up on for yourself.
1. Bright, strong light blows out the color of the object so that the color is the color of the light and not the object. The local color and details will be visible in the halftone and even in the shadow area.
2. Know the color of your light source. Cool north light makes cool colored objects look like their true color. Warm light on warm colored objects looks like their true color. The shadow side will be the opposite.
3. Everything is either light or it's shadow; it can't be both.
4. Light in a painting effects every bit of your painting. It will determine edges, the "air" around the objects in still life, and the movement of your eye throughout the painting. It also effects the mood of the painting and is a powerful element to be considered carefully.
These are just a few concepts about painting light and if any are foreign in your quiver of knowledge, spend some time reading many of the experts of our field.
Been busy teaching with some painting in between. My October workshop is now full but if you are interested, I have a waiting list in case of any cancellations.
Some of my work since my last posting.
Lemons and Blue 16x20, oil on panel
The mood I wanted to convey was of serenity and softness. I had never painted satin before but it was really fun and I think I captured it. My "air" color was cool greenish gray and it helped to send the bright Flo blue dish back into the atmosphere.
Flo Blue with Clementines 18x24
Sorry the second image is a little crocked. This setup was lit with a warm light to help make the Clementines pop. The cool Flo Blue pitcher had to be treated with less intensity because of the warm light on the blue vase.
This next week and a half I am concentrating on my teaching and then getting ready for the Oil Painters of America National Exhibition in Frederickburg, TX. I can't wait to see all these magnificent paintings that are on the website in person.
1. Bright, strong light blows out the color of the object so that the color is the color of the light and not the object. The local color and details will be visible in the halftone and even in the shadow area.
2. Know the color of your light source. Cool north light makes cool colored objects look like their true color. Warm light on warm colored objects looks like their true color. The shadow side will be the opposite.
3. Everything is either light or it's shadow; it can't be both.
4. Light in a painting effects every bit of your painting. It will determine edges, the "air" around the objects in still life, and the movement of your eye throughout the painting. It also effects the mood of the painting and is a powerful element to be considered carefully.
These are just a few concepts about painting light and if any are foreign in your quiver of knowledge, spend some time reading many of the experts of our field.
Been busy teaching with some painting in between. My October workshop is now full but if you are interested, I have a waiting list in case of any cancellations.
Some of my work since my last posting.
The mood I wanted to convey was of serenity and softness. I had never painted satin before but it was really fun and I think I captured it. My "air" color was cool greenish gray and it helped to send the bright Flo blue dish back into the atmosphere.
Sorry the second image is a little crocked. This setup was lit with a warm light to help make the Clementines pop. The cool Flo Blue pitcher had to be treated with less intensity because of the warm light on the blue vase.
This next week and a half I am concentrating on my teaching and then getting ready for the Oil Painters of America National Exhibition in Frederickburg, TX. I can't wait to see all these magnificent paintings that are on the website in person.
Thursday, April 18, 2013
FALL WORKSHOP
Want to learn about how to "lean your colors" when mixing the beautiful grays? Do you have some simple compositional skills that include Baroque and sinister diagonals? This October 14th through 18th, I will be teaching a five day workshop here in my own studio in Port Orange, Florida. Spaces are still available. Check out Workshop and Classes on my blog.
Working from direct observation will not only deepen your knowledge and understanding of your subject, but also how light effects objects surfaces when creating the luminous still life, portrait, or landscape. Developing your powers of observation will not only lead you to an improved ability to see colors, but also to see more clearly color temperature changes enabling you to create airy, luminous colors, lifting you to your next level as an artist.
Become the painter you want to be; sign up today!
Working from direct observation will not only deepen your knowledge and understanding of your subject, but also how light effects objects surfaces when creating the luminous still life, portrait, or landscape. Developing your powers of observation will not only lead you to an improved ability to see colors, but also to see more clearly color temperature changes enabling you to create airy, luminous colors, lifting you to your next level as an artist.
Become the painter you want to be; sign up today!
Wednesday, April 10, 2013
Portrait Class
This week's class and demonstration for my students was how to paint eyes. Now folks, there are eyes and then there are eyes. And to add to my teaching frustration, there is more than one way to approach it. My first concern and goal for any of my students is how can I make it understandable and doable. The day before, I decided to do a couple of charcoal drawings of faces (from photographs). I love drawing with charcoal and this was a labor of love. First was a young lady that I had used as a model a few years back and David took hundreds of photos. The second is a charming young Amish boy. I forgot to take a photo of the young lady.
Drawing with charcoal on canvas helps me have a first run of examining the features and creating accurate placement.
For my demo, I focused just on the eyes for both drawings. First I modeled how I mix the colors and lay them out in a simplified string(s). The more I teach, the more I learn and hopefully, my students as well. Here are the final products of this one hour demonstration.
After class, I finished both portraits just for the practiced. Some pointers to remember when painting eyes.
1. Create the socket first by massing in with dark-Trans. Oxide Red and Ultramarine Blue
2. Brow line will me the upper portion of the socket.
3. If the lid crease is visible, lay in a warm red-burnt sienna with a touch of alizarin.
4. I then look for where the light is hitting the brow and eye lid.
5. The eye lid/lashed is laid in dark.
6. Working down, I create the iris which usually is connected visually to the eye lid.
7. The bottom of the socket is curved and created just like you would any curved surface.
8. The white of the eye is NOT white. Usually a cool bluish turning warm into the corners.
These directions are overly simplified. If interested in getting better at eyes, look to the old masters. There are numerous high res images on the net. Use them as a model to make fantastic eyes.
For my demo, I focused just on the eyes for both drawings. First I modeled how I mix the colors and lay them out in a simplified string(s). The more I teach, the more I learn and hopefully, my students as well. Here are the final products of this one hour demonstration.
1. Create the socket first by massing in with dark-Trans. Oxide Red and Ultramarine Blue
2. Brow line will me the upper portion of the socket.
3. If the lid crease is visible, lay in a warm red-burnt sienna with a touch of alizarin.
4. I then look for where the light is hitting the brow and eye lid.
5. The eye lid/lashed is laid in dark.
6. Working down, I create the iris which usually is connected visually to the eye lid.
7. The bottom of the socket is curved and created just like you would any curved surface.
8. The white of the eye is NOT white. Usually a cool bluish turning warm into the corners.
These directions are overly simplified. If interested in getting better at eyes, look to the old masters. There are numerous high res images on the net. Use them as a model to make fantastic eyes.
Thursday, April 4, 2013
Painting Workshop
5 Day Workshop
I am pleased to announce a 5-day workshop to be held at my studio in Port Orange, Florida, October 14-18, 2013. Mark your calendars and make your plans now!
Port Orange is a small community just a few miles south of Daytona Beach and about 5 miles from white, sandy beaches of the Atlantic Ocean. The workshop opens with a meet-and-greet Sunday evening for early arrivals. Q&A's and open discussions scheduled workshop evenings for those wanting a little more info. Lunch is provided each workshop day, with coffee and tea available anytime during the workshop hours.
The focus of the workshop is painting the still life incorporating the indirect method and techniques of the old masters. Demonstrations and lectures will be given each morning focusing on a skill(s) needed for each day's work. My workshop features a small group setting of no more than six students so that I can give one-on-one instruction to better meet your individual needs. Some painting experience is required. More information on the curriculum is forthcoming.
Please join me for this great opportunity learning to paint in the indirect method and spend time in a unique and historic area of Florida. One evening will be spent at Cracker Creek on a wine cruise down the waters of Spruce Creek. Check out their website here.
Lodging is available within three miles of my studio, as well as, ample motels on the beach which is approximately five miles away. The Daytona International Airport is just ten mile from the studio. Contact me for information at artist@dbelmquist.com .
Workshop Fee: $495
A deposit of $100 holds your place; remainder of fee due 30 days before class (Sept. 14). See workshop policies.
Travel and Lodging: Workshop participants are responsible for their own travel and lodging arrangements. Port Orange is located about 10 miles south of Daytona Beach, so the Daytona airport is the closest. Lots of lodging alternatives from B&Bs to reasonably priced chain hotels are available within the greater Halifax area and just a few miles from the studio. Lodging suggestions are provided in your registration packet. Limited transportation assistance is also available upon request; call the studio or e-mail me for details.
Sunday, March 31, 2013
Beat The Clock
As you may know, I am an indirect painter and love the look of my finished paintings because of the glazing and layering achieved over a period of days-even weeks. So today I decided to put the timer on and paint a small 8x10 still life in two hours. You may ask why would I do such a thing. Keep reading and I will tell you at the end.
So to begin, I put together objects that I was very familiar with--tangerines, cloth, basket, and my favorite port wine bottle.
Step 1: Sketch in the elements.
If the images look "sketchy" it's because I taped a piece of willow vine charcoal to the end of a long handled paint brush. I love the looseness that it achieved and I was able to visually see my image from a distance. I sprayed the finished sketch with a fixative.
Step 2: Add a toner of ultramarine blue and transparent red oxide.
I have such great hopes for the success and the clock shows only sixteen minutes have passed.
Step 3: Block-In
Honestly, I would love to stop right now and let the colors set up before going on but I want to meet the challenge I have set for myself. One issue here is the canvas surface. I am painting on Centurion Oil Primed DLX linen and the paint is slipping around and not grabbing the surface. Another reason I would like to stop but push on the clock is running and an hour has passed.
Step 4: Layering background and work wet edges into wet edges. Add the cool grayed blue foreground.
Last stage: Refinement which means check values in the white fabric, check edges, and develop the tangerines. Also decide how much details the basket in the background needs.
Spent time on the bottle and the strong reflections from the tangerines. Remember, reflections are never as bright and defined as the objects creating them. A little more refining and I think I can call this done.
The clock says it has been roughly two hours. It doesn't feel like what I am use to but I have to remember, it is alla prima. Why did I do it? I will be doing a demo in a couple of months at my gallery in Fredericksburg, Texas. When you paint in the indirect method, it is difficult to demo unless you just demonstrate a part of the process. Sorry for not blogging lately. No excuses except I've been in the studio and didn't really have much to share.
So to begin, I put together objects that I was very familiar with--tangerines, cloth, basket, and my favorite port wine bottle.
Step 1: Sketch in the elements.
Step 2: Add a toner of ultramarine blue and transparent red oxide.
I have such great hopes for the success and the clock shows only sixteen minutes have passed.
Step 3: Block-In
Step 4: Layering background and work wet edges into wet edges. Add the cool grayed blue foreground.
Wednesday, March 13, 2013
OPA Blog
I was pleased this week to discover that my thoughts on stages of painting was published on the Oil Painters of America Blog. If you would like to read the article click here and then click Blog on the header in the upper right corner of the home page.
I presently am working on another "Threads of Life" piece, as well as, putting my thoughts and procedures on color mixing down on paper and hopefully into a video. Now that I have said it, I will definitely have to follow through.
I presently am working on another "Threads of Life" piece, as well as, putting my thoughts and procedures on color mixing down on paper and hopefully into a video. Now that I have said it, I will definitely have to follow through.
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