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| Cormorant Rock - 10x10 - Oil on Linen Panel |
Leo Carrillo State Beach
I've been going to Leo Carrillo State Beach to paint often lately. It is almost always nicer there than in the very hot Valley where I live. It seems, however, that each time I go, it is a bit different and I find another beautiful scene to try to capture. I am continually amazed that no matter how often I paint in the same area, I capture it a bit differently.
Continued Learning
One of the the wonderful artists who has been commenting on my FASO website blog posts lately, Russell Black, often reminds me that I'm painting a painting, not a photograph and that, while I should know and employ the "rules" I should also ignore them when I want -- pirate style. This is very true -- and I need to work on not really TRYING to capture the scene as a camera might, but, well, I guess more as I FEEL it. Truthfully, even if I WANTED to be photorealistic, I couldn't, but what he and others have said is to move things around to improve a composition, and basically do whatever is necessary to make a pleasing piece of art. The artist I study with, David Gallup, is always reminding us to use "playful" color -- especially in dark areas. From a distance darks all read as dark anyway, but close up they are definitely more interesting with colorful passages of paint and complex surfaces. David talks about obfuscating strokes and edges to create mystery and let the viewer's imagination kick in. He says paintings should be seductive, leaving things to discover and things to be revealed by further viewings. David is always saying that there should be a play between contrasts and harmonies and that highlights are often more important in describing a form than draftsmanship. To make a painting believable is more important than making it accurate.
I've been going to Leo Carrillo State Beach to paint often lately. It is almost always nicer there than in the very hot Valley where I live. It seems, however, that each time I go, it is a bit different and I find another beautiful scene to try to capture. I am continually amazed that no matter how often I paint in the same area, I capture it a bit differently.
Continued Learning
One of the the wonderful artists who has been commenting on my FASO website blog posts lately, Russell Black, often reminds me that I'm painting a painting, not a photograph and that, while I should know and employ the "rules" I should also ignore them when I want -- pirate style. This is very true -- and I need to work on not really TRYING to capture the scene as a camera might, but, well, I guess more as I FEEL it. Truthfully, even if I WANTED to be photorealistic, I couldn't, but what he and others have said is to move things around to improve a composition, and basically do whatever is necessary to make a pleasing piece of art. The artist I study with, David Gallup, is always reminding us to use "playful" color -- especially in dark areas. From a distance darks all read as dark anyway, but close up they are definitely more interesting with colorful passages of paint and complex surfaces. David talks about obfuscating strokes and edges to create mystery and let the viewer's imagination kick in. He says paintings should be seductive, leaving things to discover and things to be revealed by further viewings. David is always saying that there should be a play between contrasts and harmonies and that highlights are often more important in describing a form than draftsmanship. To make a painting believable is more important than making it accurate.
It's not that all of this great advice is
lost on me... It just takes me a long time to really make it mine so
that I can paint and enjoy and be the best painter that I can.
SALES
Last week, by a happy stroke of luck (and a GREAT FASO website) I sold four coastal scene paintings to a person who lives far from California. They were all plein air pieces and most were painted right there at Leo Carrillo State Beach.
SALES
Last week, by a happy stroke of luck (and a GREAT FASO website) I sold four coastal scene paintings to a person who lives far from California. They were all plein air pieces and most were painted right there at Leo Carrillo State Beach.
I know selling isn't main goal of painting, but it IS a nice bit of validation.
Next week I'm off on a painting trip with my friend, Sharon Weaver, up the coast to Northern California. I'm really looking forward to it.
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