tag:blogger.com,1999:blog-69166855580206863192024-03-13T14:03:20.783-07:00My Art Journey- by Colleen ParkerColleen Parkerhttp://www.blogger.com/profile/13997882611075774837noreply@blogger.comBlogger61125tag:blogger.com,1999:blog-6916685558020686319.post-87174057000839235202021-02-26T09:35:00.000-08:002021-02-26T09:35:38.247-08:00Another Blog Lite- Because We Need to Laugh<p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-0rQJvj-_O4I/X_ysJKLCr7I/AAAAAAAABw0/iU0N-NlaycMEwFnil0GcpR_wjUbzaiswwCLcBGAsYHQ/s480/Screen%2BShot%2B2021-01-11%2Bat%2B2.49.10%2BPM.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="239" data-original-width="480" height="166" src="https://1.bp.blogspot.com/-0rQJvj-_O4I/X_ysJKLCr7I/AAAAAAAABw0/iU0N-NlaycMEwFnil0GcpR_wjUbzaiswwCLcBGAsYHQ/w254-h166/Screen%2BShot%2B2021-01-11%2Bat%2B2.49.10%2BPM.png" width="254" /></a></div><br /><p style="text-align: center;"><br /></p><p>I thought I would start 2021 (though I'm a bit late!) with some funny images I have collected over the past couple of years. I posted a Blog Lite a few years ago and you can take a look if you did not see it. <a href="https://colleenparkerart.blogspot.com/2017/04/blog-lite-just-for-fun.html">Blog Lite</a> As usual, I have not always recorded the source but I will provide it when I can.</p><p>Because I am a plein air painter, I so admire those who defy the elements beyond reason, or paint on a scale not even conceivable for the great outdoors. </p><p><br /></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-eUwup_JggCs/X9vgEew0CWI/AAAAAAAABt8/0fYg9B5p7c4FRpjpwf1bvjQxQXZrPyeswCLcBGAsYHQ/s1440/118676911_10224195910787492_7544312385144850451_o.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1439" data-original-width="1440" src="https://1.bp.blogspot.com/-eUwup_JggCs/X9vgEew0CWI/AAAAAAAABt8/0fYg9B5p7c4FRpjpwf1bvjQxQXZrPyeswCLcBGAsYHQ/s320/118676911_10224195910787492_7544312385144850451_o.jpg" width="320" /></a></div> <div><div style="text-align: center;"> Steven Quartly in the surf. My tripod could not handle this! </div><div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-A-LuC6BdK7M/X9vgGTHgt9I/AAAAAAAABuA/1bl8S81835E0ZUGW2UJxQGHoOWHV6JHyQCLcBGAsYHQ/s960/117701368_10219375422030915_2039504911243826899_o.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="960" data-original-width="929" height="320" src="https://1.bp.blogspot.com/-A-LuC6BdK7M/X9vgGTHgt9I/AAAAAAAABuA/1bl8S81835E0ZUGW2UJxQGHoOWHV6JHyQCLcBGAsYHQ/s320/117701368_10219375422030915_2039504911243826899_o.jpg" /></a></div> <div> Ryan Jensen getting his feet wet and tackling a huge canvas!<div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-ZHvzN3C3oL4/X9vgIkW1RSI/AAAAAAAABuE/Kq3viGPPkC0JQ2z-WTkOXsioo5jjqztJgCLcBGAsYHQ/s1125/IMG_5352.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="830" data-original-width="1125" src="https://1.bp.blogspot.com/-ZHvzN3C3oL4/X9vgIkW1RSI/AAAAAAAABuE/Kq3viGPPkC0JQ2z-WTkOXsioo5jjqztJgCLcBGAsYHQ/s320/IMG_5352.jpeg" width="320" /></a><span style="text-align: left;"> </span></div><p> This is a 48"x48" oil by Kyle Buckland</p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-Izzb1EeW2_c/X_yfPTtv3tI/AAAAAAAABu8/M_dKMp0JDPYqDsUbeQCuoPykwfgZ9jTSgCLcBGAsYHQ/s960/12043065_1608874636043113_8430963078095672296_n.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="632" data-original-width="960" src="https://1.bp.blogspot.com/-Izzb1EeW2_c/X_yfPTtv3tI/AAAAAAAABu8/M_dKMp0JDPYqDsUbeQCuoPykwfgZ9jTSgCLcBGAsYHQ/s320/12043065_1608874636043113_8430963078095672296_n.jpg" width="320" /></a></div></div></div></div></div><div><p style="text-align: center;">Don't know where I got this but I love it.</p><p style="text-align: center;"><br /></p><p style="text-align: left;"><span style="font-size: medium;">Many of us have painted pet portraits. Here are some of my favorite shots of dogs with their portraits.</span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-rp61j09kjFo/X_yf-CMRbjI/AAAAAAAABvM/LFCExjGV4icSYW_2GhA60IP-9IYjxRE2wCLcBGAsYHQ/s960/12038093_10206570469614135_8554970952491520020_n.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="679" data-original-width="960" src="https://1.bp.blogspot.com/-rp61j09kjFo/X_yf-CMRbjI/AAAAAAAABvM/LFCExjGV4icSYW_2GhA60IP-9IYjxRE2wCLcBGAsYHQ/s320/12038093_10206570469614135_8554970952491520020_n.jpg" width="320" /></a></div> </div><div style="text-align: center;"> He seems pleased. </div><div><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/--goyr1_-gL0/X_yf-Dk2-dI/AAAAAAAABvI/3XIgIEVX6HITCSTwzTpkg8qbVonlwwGggCLcBGAsYHQ/s721/133038785_1271871619861588_5206859717500055948_n.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="613" data-original-width="721" src="https://1.bp.blogspot.com/--goyr1_-gL0/X_yf-Dk2-dI/AAAAAAAABvI/3XIgIEVX6HITCSTwzTpkg8qbVonlwwGggCLcBGAsYHQ/s320/133038785_1271871619861588_5206859717500055948_n.jpg" width="320" /></a></div><p style="text-align: center;">Seriously impressed with himself. Painting by Gary Millard</p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-1YKCDReGrBY/X_yhGJ2sUiI/AAAAAAAABvo/2q96SVvHLak_pfRfR3UKom08khwpX9tlQCLcBGAsYHQ/s960/10446588_10202283440519968_2319160335030298517_n.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="960" data-original-width="720" height="320" src="https://1.bp.blogspot.com/-1YKCDReGrBY/X_yhGJ2sUiI/AAAAAAAABvo/2q96SVvHLak_pfRfR3UKom08khwpX9tlQCLcBGAsYHQ/s320/10446588_10202283440519968_2319160335030298517_n.jpg" /></a></div><p style="text-align: center;">Embarrassed? Painting by Laurie Meyer</p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-FwFQ03tis1I/X_yhRvVKGnI/AAAAAAAABvs/-r7Fe_dFBDUHuLz49tyNS2Gg4T2AjykLwCLcBGAsYHQ/s640/67360_833525926692277_2595373221144243768_n.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="480" data-original-width="640" src="https://1.bp.blogspot.com/-FwFQ03tis1I/X_yhRvVKGnI/AAAAAAAABvs/-r7Fe_dFBDUHuLz49tyNS2Gg4T2AjykLwCLcBGAsYHQ/s320/67360_833525926692277_2595373221144243768_n.jpg" width="320" /></a></div><p style="text-align: center;">The ears are spot on! </p><p style="text-align: center;"><span style="font-size: medium;"> For some reason there is no shortage of cave man art comics. </span> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-p9ieOaU18z4/X_yjxYIKGII/AAAAAAAABwM/jvm0NfF3uIIfoCt2uO_WAy6PI9j4y_dVQCLcBGAsYHQ/s900/we-have-to-record-this-ellis-rosen.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="757" data-original-width="900" src="https://1.bp.blogspot.com/-p9ieOaU18z4/X_yjxYIKGII/AAAAAAAABwM/jvm0NfF3uIIfoCt2uO_WAy6PI9j4y_dVQCLcBGAsYHQ/s320/we-have-to-record-this-ellis-rosen.jpg" width="320" /></a><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-iWGelu-NHms/X_yj31ukn3I/AAAAAAAABwQ/YAZS0D8Xnyc7NN-9NQAu97mht56DJBNrwCLcBGAsYHQ/s600/17553666_10154545247007921_3670934767331032045_n.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="600" data-original-width="504" height="320" src="https://1.bp.blogspot.com/-iWGelu-NHms/X_yj31ukn3I/AAAAAAAABwQ/YAZS0D8Xnyc7NN-9NQAu97mht56DJBNrwCLcBGAsYHQ/s320/17553666_10154545247007921_3670934767331032045_n.jpg" /></a></div><br /></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-otqRgY4B1gA/X_yj-qdk1cI/AAAAAAAABwU/OEwTZVLTaGUTAbEThmJwpaD5N_TPtdUgACLcBGAsYHQ/s720/10445943_706437526095233_3093388049801554640_n.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="623" data-original-width="720" src="https://1.bp.blogspot.com/-otqRgY4B1gA/X_yj-qdk1cI/AAAAAAAABwU/OEwTZVLTaGUTAbEThmJwpaD5N_TPtdUgACLcBGAsYHQ/s320/10445943_706437526095233_3093388049801554640_n.jpg" width="320" /></a></div><br /><p style="text-align: center;"> <span style="font-size: medium;">Last- when Strada decides to compete with Apple. I'm almost certain this isn't real.</span></p><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-uVxKqEgETUQ/X_yk5rukdXI/AAAAAAAABwg/FYJq0PVakDkpN1iJvvOg7EH8kNNBEtPxgCLcBGAsYHQ/s467/10372571_955493737795045_7738429381605977621_n.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="400" data-original-width="467" src="https://1.bp.blogspot.com/-uVxKqEgETUQ/X_yk5rukdXI/AAAAAAAABwg/FYJq0PVakDkpN1iJvvOg7EH8kNNBEtPxgCLcBGAsYHQ/s320/10372571_955493737795045_7738429381605977621_n.jpg" width="320" /></a></div><br /><p style="text-align: left;"><br /></p><p style="text-align: left;">Thanks for indulging me. I hope that as this new year progresses we can find some bright spots and time to laugh. Stay well and safe!</p></div><div><div><div><div><p><br /></p><p><br /></p><p><br /></p><p><br /></p></div></div></div></div>Colleen Parkerhttp://www.blogger.com/profile/13997882611075774837noreply@blogger.com2tag:blogger.com,1999:blog-6916685558020686319.post-90224185725128588462020-12-08T07:32:00.000-08:002020-12-08T07:32:08.228-08:00Pushing Color<div class="separator" style="clear: both; text-align: center;">
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I constantly disappoint myself by trying to exactly match a color in a plein air scene or photograph. Nature is mostly made up of grays, but grays are the perfect stage for a "wow"color. This is easier to achieve by adding or including a man made object, but the natural things can be punched up with discretion. Below is a reference photo and two versions that make the water more exciting.</div>
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<a href="https://1.bp.blogspot.com/-ziM1f0-idjU/XhjRdjbxf-I/AAAAAAAABUs/ekBINwItneQIdWzfDdu8WYuXwnJTz8s5QCLcBGAsYHQ/s1600/IMG_1982.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1600" height="240" src="https://1.bp.blogspot.com/-ziM1f0-idjU/XhjRdjbxf-I/AAAAAAAABUs/ekBINwItneQIdWzfDdu8WYuXwnJTz8s5QCLcBGAsYHQ/s320/IMG_1982.jpeg" width="320" /></a></div>
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Our ponds and ocean on the SC coast are a bit drab. Not that I don't love them, but sometimes I get a little bored with the colors. I was drawn to this scene because of the blue water and reflections as well as the strong foreground shadows. </div>
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The first painting is a small gouache study on watercolor paper that I painted in a workshop. I was encouraged to keep the color of the water bold. Rather than using ultramarine blue grayed down with a little cad orange, my "go to" mix, I used turquoise blue with some added yellow for the lighter areas.</div>
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Below is a larger oil painting, keeping the same thing in mind. I eliminated the numerous verticals but I think I prefer the first composition.</div>
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<a href="https://1.bp.blogspot.com/-iVbiGqdC32s/XhjR0NBGHNI/AAAAAAAABU4/V_lmRy0p68w0olGIWMjubnDysESalHAjwCLcBGAsYHQ/s1600/IMG_2634.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1237" data-original-width="1600" height="247" src="https://1.bp.blogspot.com/-iVbiGqdC32s/XhjR0NBGHNI/AAAAAAAABU4/V_lmRy0p68w0olGIWMjubnDysESalHAjwCLcBGAsYHQ/s320/IMG_2634.jpeg" width="320" /></a></div>
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I love the High Line in NYC, always walk it when we are there for a visit. This was an early morning fall shot. I was particularly attracted to the foliage and the backlit figures. In this case the man made objects (architecture and sidewalk) were drab.</div>
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So I left them that way and made the leaves brighter than they even were and put colorful highlights on the back lit figures. One of my artist friends suggested that I remove the wall to the left. I considered this but decided I liked the shadows it creates. Also, if you have not taken this walk, the views from the walkway are like a series of tableauxes that appear after passing each building and I wanted to keep that feeling.</div>
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Last is one of my favorite places on the planet, Stocking Island which is in the Exumas. Mostly undeveloped, it has a wild surf with both the characteristic turquoise color of the Bahamas and the deeper blues of the Atlantic. You can see below that the color is pretty strong.</div>
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I tried an 8"x16" format to eliminate the beach in the foreground. I especially liked this composition because there are 3 basic shapes that are unequal in size- land, water and sky. I made the water even more turquoise, which is how it looks to me in real life. I didn't want to change the cloud formations but added more violet in the lower sky. I'll sometimes add a distant sail, but this one was really there though difficult to see in the photo.<br />
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It is fun and informative to push color. If you don't like it you can always tone it down. This makes me think of conflicting advice I have received in workshops. Some instructors maintain that you should start with a more saturated color because it is easier to gray it. Some say just the opposite, that it is easier to punch up a gray. Personally I do not find one easier than the other. I always say do what works for you.</div>
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Thanks again for reading! And here's hoping for a better new year!</div>
Colleen Parkerhttp://www.blogger.com/profile/13997882611075774837noreply@blogger.com0tag:blogger.com,1999:blog-6916685558020686319.post-70018985286026261532020-10-04T06:57:00.000-07:002020-10-04T06:57:56.021-07:00My New Plein Air SetupIn 2016 I wrote a post about my plein air setup- easel, backpack and all the accessories. <br />
<a href="https://colleenparkerart.blogspot.com/2016/10/">What's in the Backpack</a><br />
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I used this setup for 5 years and it served me very well. I cannot say enough about my love of the Strada easel, and though I have made changes I will always keep it for travel because it is virtually indestructible. I never worried about putting it in my checked luggage. I wouldn't discourage anyone from buying one, and since I bought mine the design has improved. <br />
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But... there are always new products and new temptations. Recently I became acquainted with the Edge Pro Paintbook. If you want to stay safe, <b>do not </b>watch the video on the website. It will be impossible to resist. Remember that I warned you. <a href="https://www.edgeprogear.com/paintbook">Edge Pro Paintbook</a><br />
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Here is what I like about it compared to my previous easel. For about an extra pound, the mixing surface is much larger than the Strada mini, which is what I have. The Strada side trays add extra mixing surface but also add weight, making it closer to the Paintbox. Also they are not included in the price of the easel. Downside is the Paintbox is made of wood, and though very well constructed I doubt it is unbreakable. The mixing surface is a very durable glass. The Strada comes with plexiglass and I didn't replace it, again because of weight, but cleaning glass is so much easier. I had a number of bad episodes when I let paint dry on the plexiglass. I mix on glass in my studio so it feels right. I bought the magnetized mineral spirits can. It holds onto the light weight side trays (which are included in the price) very well. I didn't get the tripod in order to spend less. I stuck with my old mefoto because it is so compact and light. That could be a mistake because it is not as strong, but so far so good. It is rated to hold about 8 lbs., and my loaded easel is significantly less than that. <a href="https://www.mefoto.com/products/backpacker-classic">Mefoto Tripod</a><br />
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My backpack had seen better days, though the appearance wasn't important to me. It had a number of compartments. In order for everything to fit I had to pack it the same way each time. If I was missing anything it was pretty obvious because its spot would be empty. However, packing and unpacking it was a bit of a nuisance. A painting friend (thank you Capey!) tipped me off about this one that she saw at a workshop with Marc Hanson and Dottie Leatherwood who use them - <a href="https://www.reloadbags.com/product-p/inshp-lg_cser-allblk.htm">C- Series large backpack</a> <br />
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The inside is one large compartment. In order to accommodate the Edge Pro I bought the larger size. It easily holds everything I carry and my tripod fits in the generous pocket and straps on the outside, something my old backpack didn't have. That leaves more room inside. There is a velcro pocket inside on the back for smaller items such as viewfinders. The company guarantees them for life. Custom colors are available but not returnable. This backpack is much more comfortable than my old one. I think I could actually hike a good distance with my set up now. When fully packed it weighs about 15 lbs. <div><br /></div><div>I use the same accessories as before- a brush wallet, the collapsable mesh trash holder, a ValueComp card and small viewfinder, all made by Artwork Essentials. <a href="http://artworkessentials.com/products/accessories/accessories.htm">Accessories</a> Scroll down to find these and other useful items. I always have small adjustable locking pliers for paint tubes that don't want to share. They are about $1 at Lowes. I carry a plastic container for my paint, all small tubes, limited palette for less weight. Here are all the accessories that fit inside the pack with the paintbox and side trays, plus a towel and my apron. The small square viewfinder is home made.</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-7XXcEMr9GNY/X3I2hJA3UUI/AAAAAAAABsE/abTSrfX-hBcjcbuYwHwFC5j1LHKmblaLwCLcBGAsYHQ/s2048/IMG_5088.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1536" data-original-width="2048" src="https://1.bp.blogspot.com/-7XXcEMr9GNY/X3I2hJA3UUI/AAAAAAAABsE/abTSrfX-hBcjcbuYwHwFC5j1LHKmblaLwCLcBGAsYHQ/s320/IMG_5088.jpeg" width="320" /></a></div><br /><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-6ElbhgCzWfQ/X3IzhzPQvzI/AAAAAAAABrU/HNpYhtECi4Aqu1gzrSlgumooMOyJSY3_QCLcBGAsYHQ/s2048/IMG_5089.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1536" data-original-width="2048" src="https://1.bp.blogspot.com/-6ElbhgCzWfQ/X3IzhzPQvzI/AAAAAAAABrU/HNpYhtECi4Aqu1gzrSlgumooMOyJSY3_QCLcBGAsYHQ/s320/IMG_5089.jpeg" width="320" /></a></div><br /><div><br /></div><div><br /></div><div>I still use the Raymar wet panel carriers and have several sizes, but I also love PanelPaks. If using a small size I can put it in the backpack for hands free hiking. This clever design allows me to carry one or two wet panels that are the same size. </div><div><a href="https://www.raymarart.com/collections/wet-painting-carriers">Raymar Wet Panel Carriers</a> </div><div><a href="https://www.panelpak.com">PanelPak</a> </div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-1HQbQBjsBCQ/X3Izo7CSU4I/AAAAAAAABrc/4o-jSBrF5sEvuWU3ZzYUBBVJKtA2S8CcQCLcBGAsYHQ/s2048/IMG_5075.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1536" data-original-width="2048" src="https://1.bp.blogspot.com/-1HQbQBjsBCQ/X3Izo7CSU4I/AAAAAAAABrc/4o-jSBrF5sEvuWU3ZzYUBBVJKtA2S8CcQCLcBGAsYHQ/s320/IMG_5075.jpeg" width="320" /></a></div><br /><div><br /></div><div><br /></div><div>Last but not least- a good sun protective hat is essential. I have a large head- a family trait- and "one size" hats never work for me. Tilley makes excellent sized sun protective hats but they are quite expensive. I have found another site that is more reasonable and has great products. The hats are sized and they have styles for men and women. There is a "women with large heads" section!</div><div>
<a href="https://www.sungrubbies.com">sungrubbies</a></div><div><br /></div><div>So here is how it looks in the field- check out that mixing surface! And that turp can isn't going anywhere. I use a cord with binder clips tied to each end to hold the paper towels. Bungie cord hooks don't work well on this easel</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-U8ukqi65ijE/X2vOIyThPVI/AAAAAAAABqM/2Bi-q9GD120c_d-Xww32hFQnQjG5yuy2ACLcBGAsYHQ/s2048/IMG_5065.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1536" data-original-width="2048" src="https://1.bp.blogspot.com/-U8ukqi65ijE/X2vOIyThPVI/AAAAAAAABqM/2Bi-q9GD120c_d-Xww32hFQnQjG5yuy2ACLcBGAsYHQ/s320/IMG_5065.jpeg" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-MiKtpTvcYbw/X2vO8PE9hwI/AAAAAAAABqU/8zvBUHBhoNcEEA9PmyAadO7dtHO7O1DFQCLcBGAsYHQ/s2048/IMG_5063.jpeg" style="margin-left: 1em; margin-right: 1em;"></a><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-MiKtpTvcYbw/X2vO8PE9hwI/AAAAAAAABqU/8zvBUHBhoNcEEA9PmyAadO7dtHO7O1DFQCLcBGAsYHQ/s2048/IMG_5063.jpeg" style="margin-left: 1em; margin-right: 1em;"></a><a href="https://lh3.googleusercontent.com/-3hiYRyEn7Ds/X2yDuOAd4lI/AAAAAAAABqw/2mBhS7ocQ-ge8N_JlNoQrsFvX4jG988igCLcBGAsYHQ/image.png" style="margin-left: 1em; margin-right: 1em;"><img data-original-height="320" data-original-width="240" height="400" src="https://lh3.googleusercontent.com/-3hiYRyEn7Ds/X2yDuOAd4lI/AAAAAAAABqw/2mBhS7ocQ-ge8N_JlNoQrsFvX4jG988igCLcBGAsYHQ/w300-h400/image.png" width="300" /></a></div><br /></div><div class="separator" style="clear: both; text-align: center;"><br /></div><br /><div>And here is the total package- I keep it, as always, in my studio by the door- a completely separate setup (so I never have to remember to add items from the studio). Always at the ready- grab and go! This is a must if you want to paint out regularly. </div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-l28--43qiw8/X3Iz8E14jPI/AAAAAAAABrs/eAULsPwz2Age-6yrxvuCynN8TPrUpUJwwCLcBGAsYHQ/s2048/IMG_5074.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1536" data-original-width="2048" src="https://1.bp.blogspot.com/-l28--43qiw8/X3Iz8E14jPI/AAAAAAAABrs/eAULsPwz2Age-6yrxvuCynN8TPrUpUJwwCLcBGAsYHQ/s320/IMG_5074.jpeg" width="320" /></a></div><div><br /></div><div>I hope you found this update helpful. Happy painting this fall!</div><div><br /></div><div>P.S.-</div><div>Don't forget the bug spray and sunscreen in the other outside pocket. <br />
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<br /></div>Colleen Parkerhttp://www.blogger.com/profile/13997882611075774837noreply@blogger.com0tag:blogger.com,1999:blog-6916685558020686319.post-66770291294116729872020-09-23T08:07:00.000-07:002020-09-23T08:07:56.857-07:00Things about FramesI treat my art as a business, so I keep records of my expenses and sales. Frames represent about 50% of my yearly expenses. This has been consistent for at least the last 4 or 5 years. That was when I decided that my work deserved more than just a cheap frame. I do not make the frames but I do install my panels and canvases myself which eliminates some of the expense. I have found a number of good websites that carry quality frames that cost much less than those from custom frame shops. I have my favorites from each company.<br />
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My "go to" company is <a href="https://www.floridaframes.com">Florida Frames</a>. This is a small business. A human always answers the phone- no phone tree. It is actually easier to order over the phone than via the website. They will send free samples if you aren't sure what you want. If you find a frame you love from a specific company that isn't in the catalog, they will order it if they do business with that company. Their prices are very reasonable. Shipping from Florida to South Carolina is not expensive and is fast. They also give volume discounts (if you buy 3 that are the same frame and size). This is not a wholesale business but their prices are just as good. My most used frame is #1100, made by Juhl Larson. Here it is-<div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-kBJeVE8Fs2Q/X2plEPRdOuI/AAAAAAAABnc/_m7E7I9ky2YYybK8EURu-s16xS8VyforACLcBGAsYHQ/s2048/IMG_5055.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="2048" data-original-width="2033" height="320" src="https://1.bp.blogspot.com/-kBJeVE8Fs2Q/X2plEPRdOuI/AAAAAAAABnc/_m7E7I9ky2YYybK8EURu-s16xS8VyforACLcBGAsYHQ/s320/IMG_5055.jpeg" /></a></div><div>
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The lip is a warmish silver, kind of like pewter and it goes with just about everything. <br />
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I like several frames on <a href="https://www.google.com/search?sxsrf=ALeKk01mp-z5KQm7cG8DSjLeKj84771N1w%3A1600802967910&source=hp&ei=l1BqX5L0NIaw5wLziatQ&q=pictureframes.com&oq=pic&gs_lcp=CgZwc3ktYWIQARgAMgQIIxAnMgQIABBDMgUIABCRAjIKCAAQsQMQgwEQQzIECC4QQzIICAAQsQMQgwEyBAgAEEMyBAgAEEMyAggAMggIABCxAxCDAToKCC4QxwEQowIQQzoLCC4QsQMQxwEQowI6BQgAELEDOgUIABCSA1CrC1jCDmDCHGgAcAB4AIABlQGIAfMCkgEDMC4zmAEAoAEBqgEHZ3dzLXdpeg&sclient=psy-ab">Pictureframes.com</a> They carry a rustic plein air frame, perfect for beach/rural scenes. I use it in black-</div><div> </div><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-s07tGm0Sx60/X2tdH9ziolI/AAAAAAAABpc/iKve-XvsRx0SgbbciB-ZY3CIFBPzsxo3gCLcBGAsYHQ/s2048/IMG_5058.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1536" data-original-width="2048" height="300" src="https://1.bp.blogspot.com/-s07tGm0Sx60/X2tdH9ziolI/AAAAAAAABpc/iKve-XvsRx0SgbbciB-ZY3CIFBPzsxo3gCLcBGAsYHQ/w400-h300/IMG_5058.jpeg" width="400" /></a></div><div><br />
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I also like their slim light weight floater frame for larger pieces. The silver version is very nice, not too shiny, and I have also used the gold. Very economical for large pieces and they add very little weight. Each comes in 2 depths so it is important to measure the depth of your stretched canvas.<br />
<a href="https://1.bp.blogspot.com/-eYG7fkWh348/X2pmMXkhPUI/AAAAAAAABoE/-jzm7bE8kXIKg_rZspbD84xdjvyBFNoigCLcBGAsYHQ/s2048/IMG_5054.jpeg" style="margin-left: 1em; margin-right: 1em; text-align: center;"></a><a href="https://lh3.googleusercontent.com/-SPygt71UrXw/X2pmV47ts1I/AAAAAAAABoY/gWZdc7dGL78WRVA09afc8XKHoYafdcxywCLcBGAsYHQ/image.png" style="margin-left: 1em; margin-right: 1em; text-align: center;"></a><div class="separator" style="clear: both; text-align: center;"><a href="https://lh3.googleusercontent.com/-SPygt71UrXw/X2pmV47ts1I/AAAAAAAABoY/gWZdc7dGL78WRVA09afc8XKHoYafdcxywCLcBGAsYHQ/image.png" style="margin-left: 1em; margin-right: 1em;"></a><a href="https://lh3.googleusercontent.com/-_yrJQsGTyV4/X2pmSlg4oTI/AAAAAAAABoQ/o4upxRK1By0t7ZC7tpbr0hAHlaruBrX9ACLcBGAsYHQ/image.png" style="margin-left: 1em; margin-right: 1em;"></a><div class="separator" style="clear: both;"><a href="https://lh3.googleusercontent.com/-_yrJQsGTyV4/X2pmSlg4oTI/AAAAAAAABoQ/o4upxRK1By0t7ZC7tpbr0hAHlaruBrX9ACLcBGAsYHQ/image.png" style="margin-left: 1em; margin-right: 1em;"></a><div class="separator" style="clear: both; margin-left: 1em; margin-right: 1em; text-align: center;"><span style="margin-left: 1em; margin-right: 1em;"><a href="https://lh3.googleusercontent.com/-KwWQGx5oWwo/X2pmw_WGUlI/AAAAAAAABo0/tRFD97eZfVIe6srvUnrADUsn9rCiN_6pQCLcBGAsYHQ/image.png" style="margin-left: 1em; margin-right: 1em;"><img alt="" data-original-height="299" data-original-width="320" height="240" src="https://lh3.googleusercontent.com/-z-ocibkuP_4/X2pm0cJfa5I/AAAAAAAABo4/9hb-2LB9zowB1y2TIloxXUQWR3P28APjwCLcBGAsYHQ/image.png" width="257" /></a></span></div><div class="separator" style="clear: both; margin-left: 1em; margin-right: 1em; text-align: center;"><br /></div><div class="separator" style="clear: both; margin-left: 1em; margin-right: 1em; text-align: center;"><br /></div></div><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-Sb9E-SUrrFA/X2thz2QXE2I/AAAAAAAABp0/9x1IanV2lds5eRPUqQmwoMc3NLdmmwZiACLcBGAsYHQ/s2048/IMG_5053%2B10.32.57%2BAM%2B2.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1561" data-original-width="2048" src="https://1.bp.blogspot.com/-Sb9E-SUrrFA/X2thz2QXE2I/AAAAAAAABp0/9x1IanV2lds5eRPUqQmwoMc3NLdmmwZiACLcBGAsYHQ/s320/IMG_5053%2B10.32.57%2BAM%2B2.jpeg" width="320" /></a></div><div><br /></div></div><div class="separator" style="clear: both; text-align: center;">This is a 30x40 canvas. The frame adds almost nothing to the size but gives it a nice finished look. Click on for a larger view. This is especially good for large paintings that need to go in tight spaces.</div><div class="separator" style="clear: both; text-align: center;"></div><br />
I also love <a href="https://www.artframes.com/">ArtFrames</a> They have elegant plein air frames of every description and with a variety of finishes. They are pricier than the other sties I use so I usually buy them for special paintings, mainly those by other artists that I have collected. Here is a painting by Barbara Jaenicke in one of their frames that was in an American Impressionist Society exhibition-</div><div class="separator" style="clear: both; text-align: center;"><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-qm-YDfRYscs/X2pXGrLqO3I/AAAAAAAABmw/rB2FUF0ycGA377UjbYJ5eFju7mi8HwzKgCLcBGAsYHQ/s2048/IMG_5052.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1536" data-original-width="2048" src="https://1.bp.blogspot.com/-qm-YDfRYscs/X2pXGrLqO3I/AAAAAAAABmw/rB2FUF0ycGA377UjbYJ5eFju7mi8HwzKgCLcBGAsYHQ/s320/IMG_5052.jpeg" width="320" /></a></div><br /><div><br /></div><div><br /></div><div>If you are on the West Coast and plein air frames are your favorite, <a href="https://www.kingofframe.com/collections/readymade-frames">Kingofframes</a> has beautiful options. They have recently gone to flat rate shipping on small frames making it more economical than it used to be for Easterners. I especially like this one- "Arroyo"</div><div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-VcAgRrwpIUo/X2pU9aPIFzI/AAAAAAAABmk/aKgvil1R4XMhYqzZ4JiEjBJ2rpiFgvSSQCLcBGAsYHQ/s360/961ca0e4d4ebc50c9565af990c490a6f_360x.jpg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="309" data-original-width="360" src="https://1.bp.blogspot.com/-VcAgRrwpIUo/X2pU9aPIFzI/AAAAAAAABmk/aKgvil1R4XMhYqzZ4JiEjBJ2rpiFgvSSQCLcBGAsYHQ/s320/961ca0e4d4ebc50c9565af990c490a6f_360x.jpg" width="320" /></a></div><div>
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I carry my paintings to shows and exhibit areas on a regular basis, so naturally little accidents happen. I have found a wonderful product for touching up minor defects. This is another way to stretch your framing dollars. Rub 'n Buff comes in a variety of colors including 3 different golds. Amazon carries these products at a reasonable price and offers some color sets.<div><br /></div><div class="separator" style="clear: both; text-align: center;"><a href="https://1.bp.blogspot.com/-wdt61LzDSGE/X2pM-AALQbI/AAAAAAAABmM/KN4_ifDfWK85Vb_NfeEnHxrNfuZaYuO1wCLcBGAsYHQ/s2048/IMG_3734.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1536" data-original-width="2048" height="300" src="https://1.bp.blogspot.com/-wdt61LzDSGE/X2pM-AALQbI/AAAAAAAABmM/KN4_ifDfWK85Vb_NfeEnHxrNfuZaYuO1wCLcBGAsYHQ/w400-h300/IMG_3734.jpeg" width="400" /></a></div><br /><div>I used to pick a frame for each finished painting, and once framed I never changed it. Now I rotate frames almost as often as I grocery shop, which is less than it used to be but still... Doing this is good for frame economy. That is to say that at any given time I have paintings in frames that I have on display in my studio or plan to exhibit elsewhere, and unframed paintings that can be rotated back into a frame on an as needed basis. That is why settling on a set number of favorite frames that usually work with my painting style and subject matter allows for maximum flexibility. If a painting sells online and I don't have a frame for it I will buy a new one, but I always offer the option of buying a painting unframed for a discount. Collectors sometimes want to pick their own frames. </div><div><br /></div><div>If you did not read this previously, here is a related post about framing tips- </div><div><a href="https://colleenparkerart.blogspot.com/2019/04/whats-on-back-of-painting.html">What's on the Back of the Painting</a> </div><div><br />
Of course your can eliminate frame expenses entirely by using gallery wrapped canvases or cradled panels. This is a nice contemporary look and some collectors prefer it. I think that my paintings look better framed (and I really hate painting edges!) but many paintings look fine without one.</div><div><br /></div><div>I hope this has been helpful!<br />
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<br /></div></div>Colleen Parkerhttp://www.blogger.com/profile/13997882611075774837noreply@blogger.com0tag:blogger.com,1999:blog-6916685558020686319.post-63906229845696675352020-08-23T06:20:00.002-07:002020-08-23T06:20:53.895-07:00Quick FixesI have posted some fixer uppers before but please indulge me. I love looking at paintings that have been sitting around for months or years to see what I can do to make them better. You can click on any of these images for a larger view.<br />
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This is a 12"x10" plein air painting from 2016. It was a very special day for me because it was my birthday and I got to paint on a beautiful farm with a dear friend. This was early fall near Leipers Fork, TN. I was very happy with this painting. It was certainly the best I could do at the time. I painted it as it was except to simplify some of the underbrush and push the distant trees by cooling the color I was seeing. As each year passed and the painting never sold, the foreground started to bother me more and more. There was a line of rocks just to the left of the foreground trees making a perfect arc to the corner of the painting. Though this was not a landscaped area, the rocks had a contrived unnatural arrangement. It seemed to pull my eye out of the painting and I knew I didn't like it. I added some random rocks and covered up the line that was heading for the corner of the panel. While at it I brightened the lower sky and water reflections. <br />
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<a href="https://1.bp.blogspot.com/-WQSaJJBEhLY/XvSaPww4jcI/AAAAAAAABhE/Mt0G3TdELz8jOMdpRVtd48bHjrtJwD9FwCLcBGAsYHQ/s1600/IMG_0973.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1275" height="320" src="https://1.bp.blogspot.com/-WQSaJJBEhLY/XvSaPww4jcI/AAAAAAAABhE/Mt0G3TdELz8jOMdpRVtd48bHjrtJwD9FwCLcBGAsYHQ/s320/IMG_0973.jpeg" width="255" /></a></div>
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This 11"x14" painting is from my reference photo taken on a golf course. It was the sky that interested me and as usual I didn't want it to look like a golf course. The trees on the hill were really there but I added some. Later I saw that the brilliant light lower in the sky was not as impressive as it was in the actual scene. I also thought the foreground was too dark and the trees on the right side were monotonous. Mostly leaving the sky alone, I added some stronger warm brights behind the trees. I eliminated some of the spaces to make the trees look more grouped and I lightened the foliage. </div>
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<a href="https://1.bp.blogspot.com/-xk8UoYbvjF0/XvSakVvaACI/AAAAAAAABhQ/yAHXpaLrgFU0NedO_dI0aCe3HwwyTC1LgCLcBGAsYHQ/s1600/IMG_1124.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1255" data-original-width="1600" height="251" src="https://1.bp.blogspot.com/-xk8UoYbvjF0/XvSakVvaACI/AAAAAAAABhQ/yAHXpaLrgFU0NedO_dI0aCe3HwwyTC1LgCLcBGAsYHQ/s320/IMG_1124.jpeg" width="320" /></a></div>
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<a href="https://1.bp.blogspot.com/-chQZVhNjUps/XvSak81IZrI/AAAAAAAABhU/ljAymWDEqGgF4KL1mmVOtlXyiTsIl0eQQCLcBGAsYHQ/s1600/IMG_1126.jpeg" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1254" data-original-width="1600" height="250" src="https://1.bp.blogspot.com/-chQZVhNjUps/XvSak81IZrI/AAAAAAAABhU/ljAymWDEqGgF4KL1mmVOtlXyiTsIl0eQQCLcBGAsYHQ/s320/IMG_1126.jpeg" width="320" /></a></div>
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I studied this image of a painting by Daubighny for inspiration, particularly the value and brushwork in the foreground.</div>
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This is a recent 9"x12" plein air painting I completed in about 1 1/2 hours. This is a view close to home that I love, but the distant trees are a boring straight line. I always move them around to create more interest. In this case I made up a stand of trees on the right side to help define the middle ground. I soon realized that something was off with those trees, almost as if they were about to slide out of the painting. The word <i><b>wonky</b></i> kept popping into my head. In the revised piece you can see that I made the trees that were closer taller and the farther ones shorter, which was the main problem. These pines grow to a similar height. Those that are closer should appear taller. If they had really been there I would have seen that. </div>
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In this 12"x9" studio piece the sky was the star of the show, most specifically the sun itself. But the river below with the sunset reflections echoed the drama and I wanted to play that up. I didn't want the foreground to be a dark rectangle so I added some water shapes like we often see at higher tides in the marshes. After letting it "rest" for a while I looked at it with fresh eyes and realized that there were too many straight lines in the lower part of the painting. The one that separated the river from the marsh was unnecessary and seemed to stop the eye from going forward, almost like a fence. It was easy to break up the line with more water and add more of the colorful reflections. I left the sky as it was.</div>
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I hope you have enjoyed these studio edits. I recommend having a designated place in the studio for works that might need revision. If you participate in group critiques pull something from this area so you can get input from your artist friends.</div>
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Thanks for reading!</div>
Colleen Parkerhttp://www.blogger.com/profile/13997882611075774837noreply@blogger.com0tag:blogger.com,1999:blog-6916685558020686319.post-80963354936007787112020-07-17T09:38:00.000-07:002020-07-17T09:38:57.458-07:00Painting from a Plein Air StudyI have talked about plein air paintings many times. They can serve as finished pieces to frame and sell if they are successful, and they are often my favorites because of their freshness and simplicity. Mine are always small, but I have seen very large pieces painted on location. Some artists make several visits to the site on days with similar conditions in order to paint a large canvas. I envy those who can paint fast enough to get something larger finished in one session.<br />
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However many paint on location in order to gather basic information, such as color notes, with no intention of coming up with a finished painting. When I say color notes I mean putting down the value/hue/temperature of the main elements of the painting, perhaps leaving out any kind of detail whatsoever. A reference photo provides details where necessary.<br />
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I always aim for a somewhat finished piece when possible, but sometimes I use an outdoor work only as a guide for a larger painting. Here is an example of an attempt at this.<br />
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Recently I painted with a group of friends on a golf course by a river. It was a bright morning and the sparkle on the water drew me to the scene. As I have said before, I do not like to paint golf courses. Here is my reference-<br />
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<a href="https://1.bp.blogspot.com/-u5bDYDmeMfM/XufEJ2uORaI/AAAAAAAABfk/xieOEOhB_FY7cEEV29N26yJABv8rCCf-wCLcBGAsYHQ/s1600/IMG_4667.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1600" height="240" src="https://1.bp.blogspot.com/-u5bDYDmeMfM/XufEJ2uORaI/AAAAAAAABfk/xieOEOhB_FY7cEEV29N26yJABv8rCCf-wCLcBGAsYHQ/s320/IMG_4667.jpeg" width="320" /></a></div>
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It was a good day for clouds. I had to zoom in quite a bit to see this distant layering of land and water. I didn't want to include the golf course in the foreground. The entire scene was vast, but I thought I could make something of the shapes in this limited area. <br />
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It took a little over an hour to paint this 6"x8" study-<br />
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<a href="https://1.bp.blogspot.com/-BEanQC58wFc/XufFOrFI1hI/AAAAAAAABfs/K0fhmR7l59E7NWnkh5G0WyIMNXC9aWQvACLcBGAsYHQ/s1600/IMG_1288.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1193" data-original-width="1600" height="238" src="https://1.bp.blogspot.com/-BEanQC58wFc/XufFOrFI1hI/AAAAAAAABfs/K0fhmR7l59E7NWnkh5G0WyIMNXC9aWQvACLcBGAsYHQ/s320/IMG_1288.jpeg" width="320" /></a></div>
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I put the darker values in first, trying to exaggerate the shapes. Though not in my reference, I borrowed some nearby land shapes for the foreground. The water was moving quickly in bright sunlight so there were no reflections. I pushed the distant trees farther back and warmed up the sky and clouds. The plein air piece looks a lot more like the actual scene than the photo. <br />
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While working in the studio I never looked at the reference photo. Using the study, I painted this 12"x16" painting-<br />
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<a href="https://1.bp.blogspot.com/-TFYzk8N17BU/XufHta-B_pI/AAAAAAAABgE/JP6DH4oN_WUW7TgJQkaTUzAFzsU1R5HOACLcBGAsYHQ/s1600/IMG_1280.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1193" data-original-width="1600" height="238" src="https://1.bp.blogspot.com/-TFYzk8N17BU/XufHta-B_pI/AAAAAAAABgE/JP6DH4oN_WUW7TgJQkaTUzAFzsU1R5HOACLcBGAsYHQ/s320/IMG_1280.jpeg" width="320" /></a></div>
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I decided to raise the horizon to make room for a more dominant foreground. I played around with the land/grasses shapes to make a lead in through the sparkly water toward the distant water and trees. I darkened the water in the foreground to give it more depth. The painting wound up being more about the water than the sky. After all, that is what spoke to me that morning. <br />
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Painting a bright scene like this on location is best done quickly, thus my tiny canvas. My eyes get very tired after a short time. I break the rule about sunglasses because my eyes are more important to me than my painting. I do remove them periodically during the process to see what I am actually getting down so I can make adjustments. I will save the little study in case I decide to try this again, maybe with a different composition, perhaps mostly sky.<br />
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Speaking of bright scenes, here is a reference I took that was just to the left of the scene I painted. I knew my eyes couldn't take it so I will try it from the photo, hopefully soon before my memory fades. Having done the other paintings will be helpful.<br />
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Thanks for reading!<br />
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P.S- I did it after writing this post. 11"x14", "Rain and Shine" because of the drama I added in the background. <br />
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<br />Colleen Parkerhttp://www.blogger.com/profile/13997882611075774837noreply@blogger.com0tag:blogger.com,1999:blog-6916685558020686319.post-33720396394270335562020-06-25T06:00:00.001-07:002020-06-25T06:00:47.168-07:00Photography TipsThis past fall, after deliberating for about 5 years, I joined our local photography club. This is a group of over 100 photographers of all levels, from professional gallery represented artists to some who only use phone cameras. They have weekly classes as well as a guest speaker once a month. I run our modest sized art guild and have found that monthly meetings and a couple of workshops a year constitutes a lot of work, so I have been very impressed.<br />
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I have no plans to make photographic art. I take photos primarily for 2 reasons. One is to document important life events, such as travel. The other is to collect reference material for my paintings. An occasional photo serves both purposes. <br />
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Since diving into the world of digital photography I have tried to learn to use a camera that is much more complicated than my phone (a Canon Rebel- not high end but has the necessary features) I am beginning to understand some basics that will help my reference photos. If you are a skilled photographer it's time to stop reading this and patiently await my next post. 😜<br />
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Here are a few things that have helped me so far, though I have much to learn.<br />
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#1 <b>The moving water problem</b><br />
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I took a photo of a little waterfall using my iPhone a few years ago while on a hike. I painted this from the reference. You can click on the image for a larger view.<br />
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I liked the light in the painting which I pushed a bit, also the color. But the waterfall looked weird. The camera automatically selected a fast shutter speed which froze every droplet of water. This is not how we see waterfalls. I studied some examples by other artists in my files and saw that they painted the water fluid and misty, like they really look to us. Here was another case of my being a slave to a photograph. Recently I reworked the painting to make the water look more fluid.<br />
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<a href="https://1.bp.blogspot.com/-9YsQX6uDkBc/XuZTv5ZdjeI/AAAAAAAABfQ/iu8FtR-mxpUp3OpddSdIfQ3z4a7dWZEFQCEwYBhgLKtQDAL1OcqzSbATpXPTBDm-SAZelgg-Rkvcib6fJPOnKAxTYTtCyxhxGtAI_bEIYXpsv2NXnuimIH6BtxGVnZ8lJsgj23RyC5TAxQOxgcbAhdsHfGtfYVlZ8ElstkCOykbxp41D6SyDTQ62KXah5snui9TKBhmdqcULOYbBwW9jlf4rXa07uC_iv8mi_d0rxZRsDxl3Fy1vNK4ksk2x_hGmTfHHdKL6b9Q9cV0OyPhYWRpe3e9o6UPNRwMWFFQ1VQFIKe7-foKS5P7zfgac-ebp0zR1Dx_2Du3YHYD89UTM8G-MVUJje_VpMp5NJou7Dh61B50yEqfFAuT0vJfQ261DbepNXG-pwBqZEIprKHlcJ-AhOxypRQPzXPjXOZMgYvbEFSkPIenBncnEvPOgxtqhhqpzD_TpYAGCuezMMZOEpo6PLLfMSmFrmIPQREzAM9VOksMFNDnUNRfuER0Wlr4OJ-nXyC8d0fCVxW1p7hliX9n3TLhhxBj4froFDcAh_KpIjUUu7MuRbvOAQasIYFVwpZWSj6tjsJoB9RfVNmUrw57GIKM1PhDyGmi5Gx9Et6c33WYanqDjCanhYfvpOCTHkndJp8veBWVfyZNS56Kq-DUXKIrP1MKitmfcF/s1600/IMG_1283.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1262" height="320" src="https://1.bp.blogspot.com/-9YsQX6uDkBc/XuZTv5ZdjeI/AAAAAAAABfQ/iu8FtR-mxpUp3OpddSdIfQ3z4a7dWZEFQCEwYBhgLKtQDAL1OcqzSbATpXPTBDm-SAZelgg-Rkvcib6fJPOnKAxTYTtCyxhxGtAI_bEIYXpsv2NXnuimIH6BtxGVnZ8lJsgj23RyC5TAxQOxgcbAhdsHfGtfYVlZ8ElstkCOykbxp41D6SyDTQ62KXah5snui9TKBhmdqcULOYbBwW9jlf4rXa07uC_iv8mi_d0rxZRsDxl3Fy1vNK4ksk2x_hGmTfHHdKL6b9Q9cV0OyPhYWRpe3e9o6UPNRwMWFFQ1VQFIKe7-foKS5P7zfgac-ebp0zR1Dx_2Du3YHYD89UTM8G-MVUJje_VpMp5NJou7Dh61B50yEqfFAuT0vJfQ261DbepNXG-pwBqZEIprKHlcJ-AhOxypRQPzXPjXOZMgYvbEFSkPIenBncnEvPOgxtqhhqpzD_TpYAGCuezMMZOEpo6PLLfMSmFrmIPQREzAM9VOksMFNDnUNRfuER0Wlr4OJ-nXyC8d0fCVxW1p7hliX9n3TLhhxBj4froFDcAh_KpIjUUu7MuRbvOAQasIYFVwpZWSj6tjsJoB9RfVNmUrw57GIKM1PhDyGmi5Gx9Et6c33WYanqDjCanhYfvpOCTHkndJp8veBWVfyZNS56Kq-DUXKIrP1MKitmfcF/s320/IMG_1283.jpeg" width="252" /></a></div>
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There are many ways around this problem, e.g. paint it on location or use your memory to avoid painting it just like the photo. Take a video and use it to refresh your memory. You can also change the way you take the photo. I'll get back to the phone in a minute, but my Canon has a mode (Tv on my camera, or shutter priority) that allow one to change the shutter speed (with automatic adjustments of the <i>f</i> stop and ISO). Here is an example-<br />
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In the photo below I chose a shutter speed of 1/1000 second, very fast. You can see the distinct droplets in the fountain.<br />
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Here is the result when set to 1/20 second, much more fluid. This got the result I wanted and wasn't slow enough to require a tripod. With a tripod very slow speeds can be used for a variety of interesting effects, though when pushed to the extreme the results might not look natural.</div>
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Back to the phone, you can get around this by shooting in "live" mode. The icon is at the top of the screen in the camera app in an iPhone. If that is not what you have you can google this. Older phones might not have this feature. Once you shoot in "live" you can blend photos of moving water into one image which achieves a similar result. <br />
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#2 <b> Paying attention to depth of field (DOF)</b><br />
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"The camera lies" is a common phrase used by artists and photographers alike. We have two eyes, the camera has one. When we focus on something in a scene our peripheral vision gives us a lot less information about what surrounds it. Our eyes also handle high contrast situations much better than a camera can. DOF is the depth in the scene that will be in sharp focus. Generally speaking, a large depth of field will keep most everything in focus. A narrow one will blur things up close, in the distance or both. Here is an example of a narrow DOF-<br />
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For this close up photograph I set my camera mode to Av (aperture priority) and chose an <i>f</i> stop of 5.6 which resulted in a narrow DOF. This simulates the way our eyes see a focal point or area of interest with less detail elsewhere. It won't work for a vast landscape where it is best to use a large DOF in order to see what is in the distance. For appropriate circumstances this is an something to keep in mind. The camera makes hard and soft edges because of the narrow DOF. For fun I tried to paint this pretty much as is.<br />
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<a href="https://1.bp.blogspot.com/-jc8FYqWaouM/XuZNRDq4F-I/AAAAAAAABe0/U7vK-Q7xnS4UMyTdOKnFitnFuZ4q-Z4SACLcBGAsYHQ/s1600/IMG_1284.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1600" height="320" src="https://1.bp.blogspot.com/-jc8FYqWaouM/XuZNRDq4F-I/AAAAAAAABe0/U7vK-Q7xnS4UMyTdOKnFitnFuZ4q-Z4SACLcBGAsYHQ/s320/IMG_1284.jpeg" width="320" /></a></div>
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#3 <b>Editing Basics</b><br />
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Back to the issue of high contrast, dark shadows in photos may be completely black with no information. Bright areas, such as the sky, may look white. I have talked about this in previous posts. There are so many ways to edit photos now. Editing in the phone is getting better all the time and is easy to do. Editing in Photos on a Mac is very good. Lightroom, Photoshop and Luminar are even better. Lightening shadows and lowering the highlights may be all that is necessary for a decent reference photo. See my previous post with an example of this using the editing program in Photos on an iMac. <a href="https://colleenparkerart.blogspot.com/2016/11/taking-reference-photos.html">Taking reference photos</a><br />
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I have learned that shooting in "RAW" increases the editing possiblilites. This setting in my camera is in the main menu under image quality. Jpeg files compress data that is no longer retrievable. In RAW everything is saved. The down side is that these files take up more space on the camera card and hard disc, but it is easy to switch to RAW just when needed. I use it when I am shooting in very high contrast situations. I can then pull more information out of the dark shadows and bright sky when editing. <br />
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My apologies to the experienced photographers who hung in here. This discussion was meant to give information to those less experienced (such as myself) about taking reference photos for paintings. <br />
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Thanks for reading!<br />
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P.S.- I thought artists had too many temptations to spend money on equipment. But the photographers, wow! <br />
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<br />Colleen Parkerhttp://www.blogger.com/profile/13997882611075774837noreply@blogger.com0tag:blogger.com,1999:blog-6916685558020686319.post-4389164059823061882020-05-23T09:29:00.000-07:002020-05-23T09:29:00.425-07:00Thoughts on Having a WebsiteI have many painting friends and we often get into discussions about websites. Some of them have one, others do not but are contemplating. I started my own after I had been painting about 2 1/2 years. By that time I had already participated in a local art show so I felt it was time. Looking back I am sure this was premature but I'm still glad I started when I did. <br />
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Whether I am in a show or just meeting people who want to talk about art, I am almost always asked whether or not I have a website. Answering yes to this question seems to elevate my standing in the person's estimation. It doesn't automatically follow that my art is good, but it does make it clear that I take my work seriously. Having <i><b>and maintaining</b></i> a website connotes professionalism. I'll get back to that later. There are many obvious reasons to have one, but the value of a digital studio that is organized and easily accessed cannot be overemphasized. <br />
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I did not build my own site or pay someone to do it. Instead I used an art platform (initially Artspan) designed for artists and artisans of every description. I was on Artspan for at least 6 years. The price was reasonable and it was fairly user friendly. About 2 years ago I switched to FASO (Fine Art Studio Online). Many well known contemporary artists use this company. I have been very happy so far. The support is excellent and they do a good job of promoting the artists. Only painters are on on this site, which I prefer to being in a much larger group of sculptors, photographers and artisans. The yearly cost is a bit more than Artspan but is worth it and is much less than hiring an individual to build and maintain a site.<br />
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Here is my home page- you can click on the image for a larger view.<br />
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This is a little hard to see here but easily read on the site. I have my own domain <a href="https://colleenparkerart.com/">https://colleenparkerart.com</a> which is what I put on my business cards*, but I can also be found on the FASO site. I had already established my blog on blogspot so I put a link to that site in my menu, otherwise I would have blogged from within FASO. Monthly contests are included, always a good way to call attention to your work. I also have a link to my Facebook business page. FASO recommends including both "contact the artist" and "join email list" in the menu so I have done that. One can generate newsletters as well. I only do this a few times a year showing selected new work, but this is a good way to advertise special events, sales, etc. <br />
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Loading images in this system is very easy and the design options are huge. So far I only keep available paintings on my site, divided into studio and plein air works. Many artists choose to separate the paintings by genre and include sold items, but I prefer not to make visitors wade through paintings that are unavailable. (I do have a small archive section just to show what else I do that might not be represented in my current available work.)<br />
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I have two points I will make based on my over 10 year experience of having a website-<br />
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1. It is better to start too early than later, yet it's never too late. In my early painting days I had many more failed paintings that never made it to the site, so there was less to manage. I developed my routine in a low volume situation which was easier while getting started. <br />
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2. Maintaining one's website, and by that I mean keeping it up to date, is key in my opinion. I meet a lot of professional artists who admit that they have neglected their sites. (I don't ask them, they volunteer this information.) A good gallery will keep its website updated with its own inventory, but I think artists should have a personal site as well, referencing the galleries where specific works are located.<br />
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If you want to do it, don't be afraid! Remember that you do not have to do it all at once. Just getting a basic design and a putting in a few works is a good start. <br />
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Below is a link to FASO. They offer a free trial. (I don't get a kickback for this!)<br />
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<a href="https://try.faso.com/signup/?channel=ga&cta=FASO%20faso%20-%20faso%20exact&title=FASO%20Artist%20Websites&gclid=Cj0KCQiAyKrxBRDHARIsAKCzn8zTxk-KDfodsTpqELQvPP64n9p8AnwMby5zoSNBO6vQ0Z6ys1wsNY8aAtU0EALw_wcB">Try FASO</a><br />
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*I doubt I'll write a post about business cards but who knows. I love Vistaprint. Take a look at their website if you are interested. <a href="https://www.vistaprint.com/vp/welcomeback.aspx?mk=vistaprint&ad=e&crtv=323356943407&device=c&psloc=9010521&pstid=aud-821449301488%3akwd-104664860&psite=mkwid%7cGcLVRUQj&pscid=1935593&psagid=401094919&psint=&psfid=&psnet=g&pspos=1t1&psp1=%248.49&psp2=&psaceid=&gclid=Cj0KCQiAyKrxBRDHARIsAKCzn8xDz0SUIiFAak_qoL3ZRMj8SERXxjtxxRmff6br8q8aJy6CcNoa39caAogfEALw_wcB&GP=01%2f24%2f2020+11%3a23%3a52&GPS=5601199154&GNF=1&xnav=welcome&rd=1">Vistaprint</a> My most recent ones are square with a glossy finish, two sided. Even with the extras the price was very reasonable. I make new ones about every 2 years to update the image and try new looks. I affix my older ones to the back of my paintings since the contact info is the same. <br />
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Here is my new one, front (detail of a larger painting) and back. I should have made the print on the back a bit larger, otherwise I'm happy with it.<br />
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Thanks for reading!!!<br />
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<br />Colleen Parkerhttp://www.blogger.com/profile/13997882611075774837noreply@blogger.com0tag:blogger.com,1999:blog-6916685558020686319.post-88321931607372897842020-04-19T05:04:00.000-07:002020-04-19T05:04:14.542-07:00Follow up on nocturnesMy last post did not format well with the email list and one image was deleted, so if you would like to see a better version of it click here-<br />
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<a href="https://colleenparkerart.blogspot.com/">https://colleenparkerart.blogspot.com</a><br />
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Also, please enjoy these beautiful nocturnes by James McNeill Whistler. Brilliant!<br />
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<br />Colleen Parkerhttp://www.blogger.com/profile/13997882611075774837noreply@blogger.com0tag:blogger.com,1999:blog-6916685558020686319.post-69453752920431146462020-04-17T05:23:00.000-07:002020-04-19T04:58:47.704-07:00Painting NocturnesRecently I have started to try my hand at this popular genre. So far I have only worked from photos. <br />
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Taking photos at night often requires a tripod and slow shutter speeds, but if you are only taking them for reference work they don't have to be perfect photos. I have some adequate shots taken in the city at night with an iPhone- no expertise needed for that. Here are a couple of examples of work I have done that way. <br />
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The reference was taken in Brooklyn with an iPhone. <br />
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Downtown Charleston, SC. Also with iPhone. <br />
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Last month I took a workshop with Chris Groves that covered nocturnes. He asked us to pick a daytime photo, make a value study first, then paint over it with color, adhering to the nocturnal values. Here is how mine turned out-<br />
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Reference shot</div>
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Underpainting using only transparent red oxide.</div>
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Color applied over underpainting using dark values, cooler colors. Letting small bits of the warm underpainting show through creates a pleasant vibration.</div>
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Another approach is to edit a daytime photo to make it look like a nocturne. Not all photos work for this, but here is an example in which I lowered the exposure and decreased the saturation until it appeared to be a moonlit scene. </div>
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This could serve as an adequate reference. I haven't painted from it yet but I plan to give it a try.<br />
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There was an excellent article about painting nocturnes from daytime photos in the November 2018 issue of PleinAir Magazine. Five artists discussed their approach to "mock-turns" with tips on nocturnal palettes and choosing/editing photos along with excellent demonstrations. (I believe that back issues of this magazine can be ordered through the website.)<br />
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Of course nocturnes can be painted en plein air, and many hardy souls do this successfully. I have yet to try because I live in an area where alligators roam after dark. I hope to do it in a more urban environment in the future. Lighting for the canvas and palette is an issue. Some artists recommend using the light from a street light, etc. There are many portable desk lights that would serve this purpose at very little cost. Here is one I recommend because of it's low price and weight. The brightness and tint are adjustable and it runs on rechargeable batteries.<br />
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<a href="https://www.amazon.com/gp/product/B071ZDSL3P/ref=ppx_yo_dt_b_asin_title_o05_s00?ie=UTF8&psc=1">https://www.amazon.com/gp/product/B071ZDSL3P/ref=ppx_yo_dt_b_asin_title_o05_s00?ie=UTF8&psc=1</a><br />
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Things to keep in mind when painting nocturnes-<br />
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Colors are darker and cooler- think blues and greens.<br />
Warm colors should be minimized and less saturated- use the cooler versions of warm colors<br />
Photos with high contrast make the best references.<br />
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Experiment with these if you haven't already. I have more fun when trying something different.<br />
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Thanks for reading!<br />
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<br />Colleen Parkerhttp://www.blogger.com/profile/13997882611075774837noreply@blogger.com0tag:blogger.com,1999:blog-6916685558020686319.post-43048596402674224512020-03-22T11:39:00.000-07:002020-03-22T11:39:04.835-07:00Don't Be Afraid to Make Up Stuff<div class="separator" style="clear: both; text-align: left;">
As painters we are usually faced with the need to simplify. What is left out can be just as important as what is included. Busy areas in a scene can be abstracted to give the viewer a feel for what is there without literally spelling it out. Objects that detract from the story are best deleted. And sometimes a painting is improved by adding things that weren't there at all. </div>
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I will show 3 examples of reference photos and what I painted from them to make these points. </div>
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This first one was a commission. The client liked the color of the house but wanted more color and plantings in the yard. I agreed that although the house was cute, the empty mowed lawn was not that interesting. </div>
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I added bougainvillea on the left and some additional plants in the right foreground. I made the lawn less manicured, suggesting a degree of weediness. I liked the palm shadow on the house but thought It would look better to include a little of the actual tree. I increased the saturation of the house color. I left out the electrical element under the roofline because I thought it was was confusing and unnecessary. Some might delete the flag, but I thought it added a homey touch. This was not the client's house. She wanted a colorful painting that looked southern and beachy and this was something I had in my reference file.</div>
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Next is a bar scene that interested me. I loved the huge display in the liquor cabinet under pink light as well as the light fixtures. It was a challenge to paint the bottles without rendering each bottle and label.</div>
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I left out an enormous amount of detail but tried to suggest a busy feel. I painted this slowly, creeping up on what finally made it into the painting. I only added one computer screen and kept it simple. I omitted the TV screen above, which was not part of my story. I added the glasses in the foreground for perspective. </div>
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This next one will always be a favorite. I have had this photo for many years. Recently I decided I had to do it. My painting companions thought I was nuts, but there was a definite story to tell here. I think what had kept me from trying for so long was that so much of the photo was in black shadow. Painting it like that would have resulted in a very flat scene and would not have revealed what the chickens were looking at- other chickens, of course! </div>
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<a href="https://1.bp.blogspot.com/-sPUMPB8D2v0/XhemKj0g8rI/AAAAAAAABT4/TE8bkK1JVks4KMRrOzLoLTOVhsV33KyKACLcBGAsYHQ/s1600/IMG_0648.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1274" data-original-width="1600" height="254" src="https://1.bp.blogspot.com/-sPUMPB8D2v0/XhemKj0g8rI/AAAAAAAABT4/TE8bkK1JVks4KMRrOzLoLTOVhsV33KyKACLcBGAsYHQ/s320/IMG_0648.jpeg" width="320" /></a></div>
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I lightened the shadows and played up the light coming from the other side of the coup. I added chicken/rooster shapes in the middle ground. I made all the light areas warmer than they appeared in the photo. A lot of cad. yellow light and cad. orange was involved.</div>
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I had a lot of fun imagining what all might have been going on inside. The memory of the actual scene had faded, but I still recall it was on the noisy side.<br />
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When planning a painting, ask yourself the following-<br />
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1. What is the story or center of interest?<br />
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2. Which elements are a distraction?<br />
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3. What needs to be simplified or just suggested?<br />
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4. What kind of stuff can you make up that will improve the painting? This is the fun part.<br />
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Thanks for reading. Be safe!<br />
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<br />Colleen Parkerhttp://www.blogger.com/profile/13997882611075774837noreply@blogger.com0tag:blogger.com,1999:blog-6916685558020686319.post-5252249934380803142020-02-20T05:24:00.000-08:002020-02-20T05:24:52.679-08:00The Benefits of VarnishingI always varnish my paintings before I frame them. There are at least several reasons to do this, but some artists do not and that is OK. <br />
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Historically, a final varnish was applied to a finished painting which had dried for at least 6 months to protect it. Varnishes such as Damar* must be applied to a very dry canvas. Final varnishes protect paintings from smoke, dust, etc. They are removable. When restorers clean paintings the varnish is removed, taking the pollutants with it. After the needed restoration is done a fresh final varnish is applied.<br />
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In the modern world I do not believe that most art collectors subject paintings to the same kind of environmental assaults that the great masters faced, but some protection is not a bad idea. Dust and pollen have a way of settling even in the best of abodes. <br />
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That said, the above is not my main concern. I have serious doubts that my work will survive the ages (just saying), but I want my paintings to look the very best they can. Varnishes enhance oil paintings by making them more luminous and evening out the dull areas. Each color dries in its own specific way. Earth tones and darks usually become dull as they dry. Varnishes return paintings to that luscious wet paint appearance. Transparent darks come alive, dull colors become glossy, and the canvas has a uniform finish rather than patches of dull and gloss. <br />
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Most of the time I use a retouch varnish, either Weber or Windsor Newton. I can't tell any difference between the two. They can be applied as soon as the painting is dry to the touch and they dry within a few hours if not sooner. Retouch varnishes are made to paint into, thus the name. A painting finished this way can be reworked later without removing the varnish. Though not a final varnish, the aesthetic effect is about the same. <br />
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There is now at least one final varnish that can be applied as soon as the painting is dry to the touch. Gamvar, a Gamblin product, is easy to use. If I decide to go this route I make sure that I do not have plans to rework the painting later. I also note on the back of the painting that I have applied a final varnish since I can't be sure it isn't retouch varnish just by looking. <br />
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<b>Whether I am using retouch or Gamvar, here is how I do it-</b><br />
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I apply the varnish as evenly and thinly as possible using a disposable foam brush over the entire painting. That's it. I let it dry 24 hours before framing because sometimes they are a little tacky after initially drying. This is the only time I use disposable brushes. I do it because washing the varnish out of the brush is very difficult. I have never tried a spray varnish so I cannot address that but I know there are those who prefer doing it that way. Here is a link to Gamblin's varnish Q&A article. <a href="https://gamblincolors.com/varnishing-help/">https://gamblincolors.com/varnishing-help/</a> The product comes in a glossy or matte finish. I prefer glossy. At the time of this writing it is not available as a spray.<br />
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Recently I was asked if there was a varnish with UV protection for paintings that are in direct sunlight. I found this on the internet which looks like a good product but I have not tried it. <a href="https://www.dickblick.com/products/lascaux-uv-protect-spray-varnish/">https://www.dickblick.com/products/lascaux-uv-protect-spray-varnish/</a> It is best to avoid direct sunlight on fine art of any medium, but if unavoidable this is certainly a consideration.<br />
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Here is a painting with one swath of retouch varnish applied. I think you can appreciate from the photo how much better that area looks. The background is luminous and the bright colors more brilliant. <br />
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Thanks for reading!<br />
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* <b style="caret-color: rgb(34, 34, 34); color: #222222; font-family: arial, sans-serif; font-size: 16px;">Damar </b><span style="color: #222222; font-family: "arial" , sans-serif; font-size: 16px;">is</span><span style="background-color: white; color: #222222; font-family: "arial" , sans-serif; font-size: 16px;"> a hard natural resin</span><span style="background-color: white; color: #222222; font-family: "arial" , sans-serif; font-size: 16px;"> that comes from</span><span style="background-color: white; color: #222222; font-family: "arial" , sans-serif; font-size: 16px;"> a family of deciduous trees that grow in the East Indies. It tends to darken with age. It can be purchased as crystals for custom mixes or as a liquid or spray.</span><br />
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<span style="background-color: white; color: #222222; font-family: "arial" , sans-serif; font-size: 16px;"><br /></span>Colleen Parkerhttp://www.blogger.com/profile/13997882611075774837noreply@blogger.com1tag:blogger.com,1999:blog-6916685558020686319.post-71740482917046898232020-01-24T07:40:00.000-08:002020-01-24T07:40:10.688-08:00Thoughts on BloggingLast month I completed 4 years of blogging. This is surprising to me because I never thought I'd want to do it in the first place. I follow the blogs of a number of well known artists and I am always struck by the different takes on this platform. Some seem more like newsletters to me, i.e. posts of works completed since the last blog or a selection of available paintings. Some contain detailed instruction worthy of a workshop. A blog can be anything one choses to make of it. There are no rules.<br />
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My goal has been to share any kind of information related to painting that I think will benefit my target audience- new painters, painters getting back in the saddle after a long hiatus, and those new to plein air painting. I do not in any way consider myself an expert on anything. One of my favorite things about making artist friends and painting with them is the exchange of tips, ideas and critiques. I am fortunate to live in an area where one can hardly swing a cat without hitting another artist, but many painters do not. I want to share what I know, especially with those who lack this fellowship. <br />
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Blogging has been enormously fulfilling and often entertaining. For many it is a promotional tool, but I have no evidence that it has been for me. I do put my posts on Facebook and I suppose they are read by some of my friends, but my following remains small. I am not bothered by that in the least.<br />
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This leads to my suggestion that every artist with time and inclination should consider doing this. You don't have to be a great writer. I believe I have proven that! You don't have to do it on a regular basis. I've seen bloggers take months off at a time. Whenever I think of a subject for my blog I jot it down in my office or on my phone for future consideration. I ask my artist friends for ideas. I get ideas from the blogs I follow. Writing is another creative process. I believe that writing about art is an adjunct to better art. After all, if you aren't making art you should be thinking/writing about art. (If not, your mind is wandering...) I consider my blog to be a virtual journal to be enjoyed by others, but most of all by me.<br />
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I have a list of some of my favorite posts by other artists, some true gems. Take a look at the right hand column on my blogspot site under "Favorite Blog Posts by Others". <br />
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Here are some of my favorite art blogs-<br />
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Terry Miura <a href="https://terrymiura.com/blog">https://terrymiura.com/blog</a><br />
Larry Moore <a href="https://www.larrymoorestudios.com/blog">https://www.larrymoorestudios.com/blog</a><br />
Kathleen Dunphy <a href="https://kathleendunphy.com/blog">https://kathleendunphy.com/blog</a><br />
Thomas Jefferson Kitts <a href="http://www.thomaskitts.com/">http://www.thomaskitts.com</a><br />
Anne Blair Brown <a href="http://anneblairbrown.com/blog">http://anneblairbrown.com/blog</a><br />
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These are top quality, check them out and follow!<br />
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Because there were no pictures, here is my last painting of 2019-<br />
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"A Nearby Pond" 12"x16" oil on linen panel<br />
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<br />Colleen Parkerhttp://www.blogger.com/profile/13997882611075774837noreply@blogger.com1tag:blogger.com,1999:blog-6916685558020686319.post-39650942273035392132019-12-08T13:00:00.000-08:002019-12-08T13:00:57.101-08:00Hanging Systems for the StudioWhen my husband and I built our current house- the first and last time we hope- having a home studio was a top priority of mine. Up to that point I had first used a spare bedroom as a studio in a previous home and rented space for 2 years while we were in a smaller house and building. Besides buying a bigger easel, I wanted a hanging system that would display my framed paintings as well as works in progress. I was tired of moving picture hangers and making new nail holes every time I needed to add paintings or change the arrangement, and I never found a good way to hang unframed pieces.<br />
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After some research I chose <b>Walker Display Picture Hanging System</b> which is used by several of our local galleries. Here is their website- <a href="https://walkerdisplay.com/">Walker Display</a> Here is how it looks on a wall in my studio-<br />
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This is just part of one wall, I have two walls of display.<br />
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I chose these components, but there are a number of options-<br />
Picture molding with a sleeve hook, the molding painted to match the rest of the woodwork. Metal molding is also available.<br />
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<a href="https://1.bp.blogspot.com/--ixzbS93mYs/XY4gqXJCCUI/AAAAAAAABPk/SykvqvuHurw5M8wKkrEIdeCfR-YIp9GwgCLcBGAsYHQ/s1600/Screen%2BShot%2B2019-09-27%2Bat%2B10.23.10%2BAM.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><br /></a><a href="https://1.bp.blogspot.com/--ixzbS93mYs/XY4gqXJCCUI/AAAAAAAABPk/SykvqvuHurw5M8wKkrEIdeCfR-YIp9GwgCLcBGAsYHQ/s1600/Screen%2BShot%2B2019-09-27%2Bat%2B10.23.10%2BAM.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"><br /></a><a href="https://1.bp.blogspot.com/--ixzbS93mYs/XY4gqXJCCUI/AAAAAAAABPk/SykvqvuHurw5M8wKkrEIdeCfR-YIp9GwgCLcBGAsYHQ/s1600/Screen%2BShot%2B2019-09-27%2Bat%2B10.23.10%2BAM.png" imageanchor="1" style="clear: right; float: right; margin-bottom: 1em; margin-left: 1em;"> </a></div>
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I used a combination of fiberglass and steel rods because the fiberglass rods bow when holding heavier paintings. The fiberglass rods come in clear if desired.<br />
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I also use a combination of these parts-<br />
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<a href="https://1.bp.blogspot.com/-GRvdZWGG-IM/XY4hGGSj0tI/AAAAAAAABPs/N_F7Q5aJ8_gCSS2iffBOkQbP7iJL7sz5QCLcBGAsYHQ/s1600/Screen%2BShot%2B2019-09-27%2Bat%2B10.24.33%2BAM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="468" data-original-width="465" height="320" src="https://1.bp.blogspot.com/-GRvdZWGG-IM/XY4hGGSj0tI/AAAAAAAABPs/N_F7Q5aJ8_gCSS2iffBOkQbP7iJL7sz5QCLcBGAsYHQ/s320/Screen%2BShot%2B2019-09-27%2Bat%2B10.24.33%2BAM.png" width="317" /></a></div>
This is for hanging framed paintings. The wire on the frame rests in the trough of this piece so only one rod and one holder are needed even for larger paintings.<br />
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<a href="https://1.bp.blogspot.com/-idFPiFjp-3o/XY4hSKrBKuI/AAAAAAAABP4/bW5ZWEV4Y14UghzPxvubMO9FqPnBvLBfACEwYBhgL/s1600/Screen%2BShot%2B2019-09-27%2Bat%2B10.24.54%2BAM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="482" data-original-width="443" height="320" src="https://1.bp.blogspot.com/-idFPiFjp-3o/XY4hSKrBKuI/AAAAAAAABP4/bW5ZWEV4Y14UghzPxvubMO9FqPnBvLBfACEwYBhgL/s320/Screen%2BShot%2B2019-09-27%2Bat%2B10.24.54%2BAM.png" width="294" /></a></div>
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Though these are matched like this in the website catalog, I use a long holder and panel holder together for panels, the long holder on the bottom and the panel holder on top. This is more stable, especially for larger panels. I like to hang my wet panels so I can study them. I also use the hangers when photographing my panels. The pencil is there to keep the metal holder from overlapping too much of the painting in the photo.<br />
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<a href="https://1.bp.blogspot.com/-Uc1Uli7RK4g/XY4mGjIxT2I/AAAAAAAABQM/ZqSOTeZsqDUJZWcJY6lXdgQtrSkAvvXDQCLcBGAsYHQ/s1600/IMG_2878.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1600" height="480" src="https://1.bp.blogspot.com/-Uc1Uli7RK4g/XY4mGjIxT2I/AAAAAAAABQM/ZqSOTeZsqDUJZWcJY6lXdgQtrSkAvvXDQCLcBGAsYHQ/s640/IMG_2878.jpeg" width="640" /></a></div>
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I can tell you that this system is strong, durable, and infinitely flexible. They now offer a metal cable as an option instead of a rod. A downside is the visibility of the rods, if that matters to you. All of the above components must be hand tighten but it is not difficult.<br />
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Another good option is <b>Gallery System Art Displays</b>. Website is <a href="https://www.gallerysystem.com/">Gallery System</a><br />
I had the opportunity to do a one artist show at a local realty and this was the system they had installed. Here is what the relevant parts look like-<br />
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<a href="https://1.bp.blogspot.com/-o-UC9k4l91g/XY4o3QVZKaI/AAAAAAAABQY/ZikAdZ75Q5o3cAPf54ycDar9T1UQMdNqgCLcBGAsYHQ/s1600/Screen%2BShot%2B2019-09-27%2Bat%2B11.13.49%2BAM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="272" data-original-width="204" src="https://1.bp.blogspot.com/-o-UC9k4l91g/XY4o3QVZKaI/AAAAAAAABQY/ZikAdZ75Q5o3cAPf54ycDar9T1UQMdNqgCLcBGAsYHQ/s1600/Screen%2BShot%2B2019-09-27%2Bat%2B11.13.49%2BAM.png" /></a></div>
The metal cable is thin but strong. The push button hook self locks, so no elbow grease is required to get a reliable hold on the cable and adjustments are simple. I had to hang the paintings myself so I can attest to the user friendliness of the system. The thin cable is not very visible, so from a cosmetic standpoint it is superior to the Walker product. The down side is that 2 cables are needed for each painting. Even a small painting does not tend to hang level on one cable. So when hanging one must be careful to keep the hooks perfectly level and hanging one painting above another is tricky but certainly doable. <br />
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Here is one wall of my show to give you an idea-<br />
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<a href="https://1.bp.blogspot.com/-jXq4T-qbF6E/XY4qHZR9XbI/AAAAAAAABQk/AF69hm1aiUcuhb3sysVlgiQq_u8r-w2xACLcBGAsYHQ/s1600/IMG_7970.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1600" height="300" src="https://1.bp.blogspot.com/-jXq4T-qbF6E/XY4qHZR9XbI/AAAAAAAABQk/AF69hm1aiUcuhb3sysVlgiQq_u8r-w2xACLcBGAsYHQ/s400/IMG_7970.jpeg" width="400" /></a></div>
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Lastly, I am familiar with another system that is used in our Town Hall. Our art guild has a rotational exhibit there and several of us, myself included, are responsible for re-hanging the work several times a year. (This led to a previous post about framing hardware.) This system is <b>AS Hanging Display Systems- </b> <a href="https://www.ashanging.com/">AS Hanging</a> As with Gallery System Art Displays, two cords or cables are needed for each painting. The clear nylon cord is almost invisible which is very nice aesthetically. The cords curl at the ends so must be tucked behind the painting for a clean look. Steel cable is also available with a self locking hook similar to Gallery System. The mini hook is the least expensive but has a weight capacity of 12 lbs. each and must be hand tightened via screw eyes. I really don't like this feature, so if budget does not prohibit I recommend going with the self locking hooks or buying a combination and using the self lockers on heavier paintings. As you can see below this is visually very pleasing.<br />
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That is all I know about hanging systems. You can't go wrong with any of these, but personal preference and what you want them to do for you will influence your choice.<br />
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Thanks for reading, and see you next year!<br />
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Colleen Parkerhttp://www.blogger.com/profile/13997882611075774837noreply@blogger.com1tag:blogger.com,1999:blog-6916685558020686319.post-62681710030414653112019-11-15T05:10:00.000-08:002019-11-15T05:10:50.465-08:00Try Experimenting With Different FormatsIn September I showed an example of a landscape commission I painted on a square canvas. Typically landscapes are horizontally oriented but they certainly don't have to be. Consider some of the extremely vertical landscapes in traditional Asian art. I'm now seeing this in the work of contemporary artists as well as horizontal formats with a 1:2 ratio, e.g. 12"x24". Or even a 1:3 ratio. <br />
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I have tried my hand at some of these recently and it has been fun as well as a learning experience. If painting in the studio I look through my "art ideas" photo file and edit by cropping them different ways to see what might work. Basically I look for a better composition within the image.<br />
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Examples:<br />
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Photo of a beach on Cape Cod- what interested me most was the horizontal arrangement of the colorful umbrellas. The foreground didn't add much.<br />
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<a href="https://1.bp.blogspot.com/-qsypiz1jAmc/XXZpX7gqwLI/AAAAAAAABOA/CFtRnbJAsrY4-19cn9ZWJgAmKABeg71mACLcBGAs/s1600/IMG_0981.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1600" height="240" src="https://1.bp.blogspot.com/-qsypiz1jAmc/XXZpX7gqwLI/AAAAAAAABOA/CFtRnbJAsrY4-19cn9ZWJgAmKABeg71mACLcBGAs/s320/IMG_0981.jpeg" width="320" /></a></div>
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Cropped version-<br />
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And from this the painting on a 6"x12" panel-<br />
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<a href="https://1.bp.blogspot.com/-4VFjvKxUq6E/XXZp1Z8q40I/AAAAAAAABOM/Bdb24J7yHxYcsPoCTYoJ3c0Y8tFyo63IACLcBGAs/s1600/IMG_2415.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="811" data-original-width="1600" height="162" src="https://1.bp.blogspot.com/-4VFjvKxUq6E/XXZp1Z8q40I/AAAAAAAABOM/Bdb24J7yHxYcsPoCTYoJ3c0Y8tFyo63IACLcBGAs/s320/IMG_2415.jpeg" width="320" /></a></div>
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Next a photo of waves on our local beach- I love the energy and movement of the waves breaking from the center to the right in the upper half of the photo. <br />
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<a href="https://1.bp.blogspot.com/-tOTf3-_lQ6s/XXZq-xdcN4I/AAAAAAAABOc/ZmXojyIvajMMVZ10zXQEo15XoKpLFqdPwCLcBGAs/s1600/IMG_7733.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1008" data-original-width="1600" height="201" src="https://1.bp.blogspot.com/-tOTf3-_lQ6s/XXZq-xdcN4I/AAAAAAAABOc/ZmXojyIvajMMVZ10zXQEo15XoKpLFqdPwCLcBGAs/s320/IMG_7733.jpeg" width="320" /></a></div>
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And the painting on a 6"x12" panel-<br />
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As for vertical formats, I have not tried this with a landscape other than tree portraits which easily fit. Here is a plein air example, 10"x8"-<br />
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<a href="https://1.bp.blogspot.com/-zLJuOy2c1nc/XXZtdoPBVeI/AAAAAAAABO8/ajROGnOnO-YbbOaDIgL81xLSYSNHZ9kwQCLcBGAs/s1600/IMG_0950.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1600" data-original-width="1263" height="320" src="https://1.bp.blogspot.com/-zLJuOy2c1nc/XXZtdoPBVeI/AAAAAAAABO8/ajROGnOnO-YbbOaDIgL81xLSYSNHZ9kwQCLcBGAs/s320/IMG_0950.jpeg" width="252" /></a></div>
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For an even more vertical format I tried a cat portrait 16"x8"- I think his tail makes it all work-<br />
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Obviously I cropped the original photo quite a bit.<br />
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Try looking at your photos that you like but have yet to inspire a painting. They might work well in a different format.<br />
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Thanks for reading!<br />
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<br />Colleen Parkerhttp://www.blogger.com/profile/13997882611075774837noreply@blogger.com0tag:blogger.com,1999:blog-6916685558020686319.post-28297566553073006702019-10-18T08:11:00.000-07:002019-10-18T08:11:09.274-07:00Improving Paintings with GlazesI am mostly an alla prima or direct painter. By that I mean that I paint wet into wet as much as possible. I often paint small paintings in one session. Though I studiously (though not always successfully) avoid over blending, a bit of wet on wet mixing can result in interesting painterly effects. Painting wet over dry is more challenging for me though I have to do it on larger pieces or when I rework older paintings. <br />
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Glazing is the application of transparent layers of color over dry paint. There are many ways to do this and I'm sure that some artists would say that my way isn't right, but it does work. Simply stated a paint color is diluted with a medium and brushed over dry paint to add, enhance or change the color. The old masters painted a gray underpainting, called a grisaille, and added many layers of color glaze on top. The way light travels through all of these layers results in a luminosity or glow that cannot be duplicated with directly applied paint. Of course this greatly slowed the painting process because each layer must dry before another can be applied. We now have mediums with alkyd resins that dramatically decrease the drying time. Even so, glazing multiple layers on top of an underpainting is not as fast as painting alla prima.<br />
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I never do the above, but I have glazed some of my finished alla prima paintings to make improvements or corrections. The entire painting can be glazed or just a part. I either use Galkyd lite, a product made by Gamblin, diluted with a little clean Gamsol, or Liquin made by Winsor and Newton, again thinning with a little mineral spirits. These are added to the color I have mixed to make it transparent and the glaze is applied with a brush dabbing a bit with a towel if necessary. If I decide I don't like the result I can remove it right away with mineral spirits and try again or forget the whole thing. <br />
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Here is a painting from a recent workshop. The exercise was to use only 3 colors, in this case asphaltum*, yellow ochre and white. (I know, white isn't really a color, but you get it.) The object of the exercise was to get the values right. This is sort of like a grisaille, but the paint is thicker and is not just black or brown mixed with white. It is a tonal alla prima painting.<br />
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This is an architectural detail of a house in the Caribbean that my husband and I love and I wanted to keep it. The real house is pink so this little study didn't do the colorful building justice. I decided to glaze it later with several layers of pink and orange to show the warm glow of the end of day sunlight. <br />
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Though it may not be obvious in the photo, the painting is luminous and obviously more colorful. I used some thin darker glaze to vary the shadows cast by the palms. I also made a glaze using Naples yellow light to brighten and warm the lightest areas. <br />
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Here is an example where I used glazing to improve parts of a painting. <br />
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I glazed a warmer blue (horizon blue) on the lower sky to brighten it. This is difficult to see in the photos, but I glazed violet (ultramarine blue mixed with cad. red and a bit of white) on the shadow sides of the tree trunks and the shadow areas of the foreground. I warmed the weeds in the foreground with a light yellow glaze. I like it better with more lavender, which was already present in the upper portion of the sky.<br />
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And last is a painting that I glazed entirely with Indian yellow. I decided that the overall temperature was too cool and I wanted more color harmony. <br />
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I especially like what the glaze did to the asphalt and the car. </div>
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I hope this gives you some ideas. It is easy to experiment and then wipe if things aren't working out. Save your tonal studies so you can practice. </div>
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Thanks for reading!</div>
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*asphaltum is a transparent brownish-black made by Gamblin. We were supposed to use burnt umber in the exercise but I forgot to bring some so used this instead.</div>
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Colleen Parkerhttp://www.blogger.com/profile/13997882611075774837noreply@blogger.com0tag:blogger.com,1999:blog-6916685558020686319.post-11329885669453929782019-09-09T07:39:00.000-07:002019-09-09T07:39:17.133-07:00An Approach to a Large CommissionI hope you had a great summer. We were challenged here on the southeast coast with yet another hurricane and evacuation, though it was better than expected. Besides the usual summer things I was busy with commissions, just like last year. I'm not sure why this time of year but it is becoming a pattern. <br />
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Among other things I was asked to paint a large local tidal marsh scene for a new home in my area, coastal South Carolina. The clients weren't exactly sure of the size but thought it should be at least 36" wide. They had looked at the galleries in Charleston and had photos of some paintings they loved. Their budget precluded buying something this size in a gallery. I am able to charge less because I do not pay a gallery commission which is 50% in our area. <br />
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Sometimes clients are very specific about what they want and even have their own reference photo. This couple was very different in that regard other than showing a preference for scenes with lots of water and dramatic light. This I gleaned from the photos they showed me from the galleries. They also wanted a lot of blue in the painting.<br />
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I looked through my reference photos and came up with an idea. Here is a local marsh at high tide, so lots of water-<br />
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I love the reflections and the distant trees and thought I could play up the grasses in the foreground to add more depth. But the sky and light are a bit on the blah side and not anything like the paintings they loved. <br />
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I looked through my "skies" file and found this-<br />
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No shortage of drama here but the foreground and water patterns aren't very interesting. The solution was to combine the references. <br />
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When doing large commissions I have learned a valuable lesson. <b>Start with a small study and get the client's approval.</b> This can save headaches and prevent miscommunications. It definitely did in this case. Here is my first study, 11"x14" for a proposed 30"x40" painting.<br />
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I was happy with the sky. I chose a golden marsh because I thought the warm/cool vibration would work well and also because the clients had told me they didn't like green. Our marshes are this color in the late fall. I put a lot of reflected light in the water which I was sure they would like. I sent them the image for review. <br />
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Turns out they had decided that a 30"x40" wasn't going to work in their space and they wanted a 36"x36" instead. Also, they wanted some green, just not certain greens or too much green. A color change is not difficult of course but this was going to call for a different composition. I have done a fair number of landscapes in a square format so that really wasn't a problem for me. Here is my second small study, a 12"x12". <br />
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Same sky and reflections, more green in the foreground and middle ground but I kept the distant gold. This image was approved so now I could get to work on the big canvas.<br />
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I never looked at the reference photos again while painting from the two studies. I kept them on my painting stand by the big canvas while working. I kept the 11'x14" close by because I liked some of the colors and brushwork in that one.<br />
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As I painted I sent the clients progress shots in case they wanted to give feedback. Here is the finished painting-<br />
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In summary, this is what I have learned over time regarding large commissions-<br />
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1. If the clients aren't sure of what they want, ask for examples of paintings they love and try to determine why they love them. <br />
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2. Paint a small study for approval before you start. If it isn't what the clients want, keep working small until everyone is happy. It isn't a waste of time- familiarizing yourself with the subject saves time when you go large, and the small studies sell too.<br />
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3. Keep in touch while you are working on the piece. Clients love progress reports. That way they know you haven't forgotten about them. Even if the deadline is far in the future I like to keep in contact. I have heard a lot of stories about artists who "go dark" after agreeing to do a commission. Clients may lose interest or decide to buy from someone else. <br />
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Though challenging, I like the fact that commissions already have a home to go to rather than adding to my storage issues. <br />
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Thanks for reading!Colleen Parkerhttp://www.blogger.com/profile/13997882611075774837noreply@blogger.com1tag:blogger.com,1999:blog-6916685558020686319.post-51409692687452334222019-06-01T06:55:00.001-07:002019-06-01T06:55:48.566-07:00Painting a SeriesYears ago one of my workshop instructors recommended painting a series to the group. He often started a new painting every day, each with similar subject matter and worked on all of them together until they were finished, as many as 20 paintings. Everything he learned from one could be applied to the next. For him the obvious utility was to produce a group of related paintings for a gallery show, but he also said that doing this would make us better painters. All these years later I have yet to do this in the methodical way he described. However I have revisited many themes, sometimes 2 or 3 at a time, and I have learned a lot about specific subjects.<br />
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I love bicycles. They are interesting and not easy to draw. I live near Charleston, SC. The College of Charleston is downtown near the historic district. Bikes are everywhere. I love to go to town to take photos, particularly on days with good light. Below is a series I have painted over about 4 years. <br />
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I started with single bikes, trying to figure out how to draw them.<br />
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Then I tackled some groups- the first is a small study, the second a 16"x20" version of the same scene.<br />
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I have played around with details of the city.<br />
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I have revisited the same locations for different arrangements.<br />
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I started taking similar reference photos when I traveled. This one is near SCAD in Savannah.<br />
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Recently I tried a scene in which the bikes were not the main event. This is a well known landmark in Charleston, also an attempt at a nocturne.<br />
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What I have learned from this-<br />
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1. When drawing bikes, get the wheels right first, making sure they are the right distance apart and the right shape (they are often ellipses rather than circles). Then add the frame.<br />
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2. Groupings are more interesting when there are splashes of color. I am partial to turquoise and red, but they can't all be colorful. Push the color on just a few, the stars of the show.<br />
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3. Don't worry about all the details when painting a group. Even if all the handle bars don't match up with a specific bike it doesn't matter- the more chaotic the better. <br />
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4. Suggest a few of the wheel spokes with a fine round brush, don't try to paint all of them.<br />
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5. Play up metallic highlights, especially on baskets and handlebars. <br />
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6. Bike shadows are great- include them when you can. I have seen wonderful paintings of bike shadows without the bike itself. I will try this sometime.<br />
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Thanks for reading! Have a great summer- this is my last post until fall.<br />
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<br />Colleen Parkerhttp://www.blogger.com/profile/13997882611075774837noreply@blogger.com0tag:blogger.com,1999:blog-6916685558020686319.post-29943249548094412322019-04-22T14:14:00.000-07:002019-04-22T14:14:13.043-07:00What's on the Back of the PaintingAn artist's primary goal is to produce a successful painting. That is and will always be front and center. But the devil is in the details and making a professional package is a significant part of the impression you make with your art. <br />
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I was slow to come to the table about how my paintings looked on the backside. My hanging hardware wasn't always the best. I often forgot to label the back of the painting appropriately. These things are important too, especially if you are putting your work out there for sale. It is also important for posterity if you give your work to family or friends.<br />
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I am a member of an art guild. We hang regularly in a very nice public place and I am one of those responsible for the hanging. I have been very surprised at how many experienced painters neglect the back side. Not only does this detract, it makes a world of headaches for those who hang the art. Galleries and juried shows have very strict rules about this so it is good to learn them early on.<br />
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Here is what I now do and recommend-<br />
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Hardware-<br />
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<a href="http://4.bp.blogspot.com/-KUjYagSjBdc/XJLhExYUchI/AAAAAAAABFI/K3AKvoTmkQE4z3FQj6mlTHhnDsVSoTrEgCK4BGAYYCw/s1600/D%2Bring%2Bpicture%2Bhanger.png" imageanchor="1" style="clear: left; float: left; margin-bottom: 1em; margin-right: 1em;"><img border="0" height="200" src="https://4.bp.blogspot.com/-KUjYagSjBdc/XJLhExYUchI/AAAAAAAABFI/K3AKvoTmkQE4z3FQj6mlTHhnDsVSoTrEgCK4BGAYYCw/s200/D%2Bring%2Bpicture%2Bhanger.png" width="178" /></a><br />
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This is called D ring picture hanger. It is also sometimes called a mirror hanger. These can be bought for a very small amount on many websites. <br />
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This is how it looks installed. All you need is a small hand-held electric drill or a screwdriver.<br />
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They should be the same distance below the top of the frame. Like this- about a third of the way down is recommended. I prefer the wire to be slightly loose but not too loose. If very tight it can be difficult to get on the hook.<br />
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<span style="font-size: large;"><b>Whatever you do, do not use the following hardware pieces</b>-</span><br />
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Sawtooth hanger- no gallery or juried event allows this and it is not a good option.<br />
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Screw eye- not very stable, too easy to twist and turn, looks bad.<br />
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Don't even think about it- the very worst option. Yes you can wire around it but it is un-hangable on many hanging systems and looks very unprofessional.<br />
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Last, make a label for the back with the following information. <br />
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Title of Painting<br />
Your Name<br />
The year it was painted<br />
The medium<br />
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If your painting is a gift or commission for a special occasion you might consider making a personal note as well. Or suggest that the gift givers do this if applicable.<br />
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Attach your business card on the back in case the buyers want to follow your work or reach you in the future.<br />
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Happy Painting, and don't forget to make your work look great on both sides!<br />
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<br />Colleen Parkerhttp://www.blogger.com/profile/13997882611075774837noreply@blogger.com1tag:blogger.com,1999:blog-6916685558020686319.post-40574532637501459472019-03-30T05:57:00.001-07:002021-07-11T09:37:58.671-07:00Traveling With GouacheI am not a water medium artist. I am pitiful at watercolors and I truly admire those who do it well. <br />
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I love to paint when I travel but do not do it nearly as much as I'd like. Taking my oils is a fair amount of trouble, though I have fine tuned the packing process as best I can. Here is how I do it- <a href="https://colleenparkerart.blogspot.com/2017/09/packing-for-painting-trip.html">Packing for a Painting Trip</a> My gear requires the use of a larger suitcase that is fairly heavy and must be checked.<br />
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I just traveled with a gouache set up for the first time. Here I will share my experience.<br />
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Before the trip I took a 2 day class (through Horton Hayes Gallery in Charleston, SC). This was extremely helpful to me. I already had the paints but had only used them once due to my frustration with the medium. After the class I felt much more comfortable. Gouache is an opaque water color and it is easier than watercolors for oil painters because one can still paint dark to light and paint over mistakes. Thinning with more water makes it transparent which allows more flexibility. The colors come in 15ml tubes (white is available in 30ml). A reasonable number of tubes will easily fit in the quart ziplock bag required by TSA leaving a little room for something else. I was a bit put off by the price, but when gouache dries it can be reactivated with water, thus there is little waste.<br />
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To prepare for the trip I cut pieces of watercolor paper and taped them according to the desired sizes- 6"x6" and 6"x8". I used the back of a used up sketchbook for my support and clips to hold the paper in place. The cardboard, clips and a small stack of papers easily fit into a manilla folder for packing.<br />
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I packed a small watercolor palette that securely snaps shut, a variety of brushes in a rolled carrier, a collapsable cup for water, a rag (to dispose of at the end of the trip) and a small spray bottle for water to reactivate paint as it dried. So this is the rest of what I packed, minus the rag-<br />
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No heavy easel or tripod. No panels, just one piece of cardboard. Oil paint is heavier than gouache and the tubes are larger. I brought a carry on roller bag and a "personal item" per airline regulations and had no problem fitting this in.<br />
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Once there it was easy to get comfortable to paint. My set up fit on a beach chair. I, of course, fit on a lounge.<br />
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Here are two of my studies. I plan to do larger oils using these and my photos. <br />
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I have a long way to go but learning will be fun. Another advantage for me was that doing these quick small studies while traveling with non-painters made me more likely to paint. If you haven't tried this, go ahead!<br />
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<b>My supplies-</b><br />
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Winsor and Newton designer gouache, set of 10 (plus I added a couple of colors I like to use and left the gaudy green at home) This is good quality paint. <a href="https://www.dickblick.com/products/winsor-and-newton-designers-gouache/">Gouache set</a><br />
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Collapsible cups with lids (set of 4 so you can share) <a href="https://www.amazon.com/ME-FAN-Silicone-Collapsible-Travel-Cup/dp/B07C8FFQY5/ref=pd_sbs_468_2/131-5998151-8718213?_encoding=UTF8&pd_rd_i=B07C8FFQY5&pd_rd_r=f6cec0f8-3937-11e9-adab-476bc8823d07&pd_rd_w=6Y0Po&pd_rd_wg=c4Rzn&pf_rd_p=588939de-d3f8-42f1-a3d8-d556eae5797d&pf_rd_r=Z3H8VDCC4EYA3GGYXSG1&refRID=Z3H8VDCC4EYA3GGYXSG1">Collapsible cup</a><br />
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Small spray bottle- any drug store.<br />
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Watercolor palette (airtight) <a href="https://www.jerrysartarama.com/mijello-fusion-air-tight-watercolor-palettes">Palette</a><br />
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Brush set (mine came with carrier, don't know if they still do) <a href="http://www.royalbrushstore.com/products/productdetail/SG401+-+SOFT+GRIP+GT+VARIETY+SET+W/+FO/part_number=SG401/201.0.1.1.0.0.0.0.0?">Brush set</a><br />
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I found this while researching products, haven't bought one but think I might. Take a look-<br />
<a href="https://www.jerrysartarama.com/aqua-tote-travel-water-bags">Travel tote</a><br />
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<b>Best gouache class ever</b>- scroll down on this link for info- <a href="http://www.hortonhayes.com/Resources.cfm">Gouache class- Charleston</a><br />
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PS- I subsequently bought the Travel Tote and I like it a lot more than the collapsable cup which is too easy to spill.<br />
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<br />Colleen Parkerhttp://www.blogger.com/profile/13997882611075774837noreply@blogger.com0tag:blogger.com,1999:blog-6916685558020686319.post-72905033430815939782019-02-24T17:50:00.000-08:002019-03-07T18:50:11.600-08:00Some Things Regarding SolventsA number of oil painters have switched to water mixable oils in order to avoid the use of solvents. Several of my friends who have done this say they are dealing with it but prefer the consistency of traditional oils.* However, traditional oils can be used with natural oils instead of solvent, so I remain unconvinced that switching over is necessary. <br />
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I do use solvent while painting, both to clean my brushes and to slightly thin the paint for my underpainting. At first I used turpentine but within a short period of time switched to Gamsol, Gamblin's odorless mineral spirits. Gamsol has two safety features- a high flash point (reducing the risk of fire) and a slow evaporation rate (health safety). A slow evaporation rate is of some economic value as well. There are other odorless spirits on the market but I am not familiar with them. For a detailed discussion of safety issues related to solvents I recommend this article- <a href="https://professionalartistmag.com/using-solvents/">https://professionalartistmag.com/using-solvents/</a><br />
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From time to time I am asked what I do with the gunk that forms on the bottom of my mineral spirits container/brush washer (I call it a turp can). Also, what do I do with used solvent. I use a medium size Holbein metal brush washer in the studio and a small one for my plein air backpack. Some of my friends prefer the extra large for studio work. At the time of this writing it appears that these containers are in short supply, but the company still posts all sizes so I assume they will continue to make them. These are pricey but worth it. The first can I purchased was inexpensive and one of the latches broke off almost immediately. The Holbein are reliably air tight as long as you keep the rubber seal out of the sun when you paint outside (i.e. put the lid in the shade or under something while the can is open). <br />
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<a href="https://4.bp.blogspot.com/-kVFNdH1eNts/XECXFJiuD2I/AAAAAAAABBI/X1HGPhbX9QsGnFQd4VWvnjSy5uj4pkoOwCLcBGAs/s1600/IMG_0449.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1600" height="240" src="https://4.bp.blogspot.com/-kVFNdH1eNts/XECXFJiuD2I/AAAAAAAABBI/X1HGPhbX9QsGnFQd4VWvnjSy5uj4pkoOwCLcBGAs/s320/IMG_0449.jpeg" width="320" /></a></div>
Holbein metal brush washers, sizes small and medium<br />
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Here is my procedure for reusing solvent. <b>Skip this paragraph if you have the situation under control</b>. After 2-3 sessions I pour the used solvent from my turp can into a glass jar with a tight fitting lid. Wearing gloves, I clean the thick paint residue on the bottom with paper towels, wiping until fairly dry. I put the paper towels in the trash to dry before discarding. I keep about 6 jars of settling solvent going in my storage cabinet. After cleaning the turp can I refill it with used spirits decanted from another jar that has completely settled. Because there is gradual evaporation with use, I have to add new mineral spirits to the can periodically, but I reuse the spirits indefinitely. I never dispose of solvent and I maximize its use. In 10 years I have yet to completely fill a jar with the solid residue, but once I do I will take it to a hazardous waste disposal station. <br />
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Below, I am decanting the spirits in a jar that has settled. The next image shows the gunk that has settled and become a solid.<br />
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<span style="text-align: start;">And below are the newly decanted spirits. Very clear and ready for use. The level is low so I will add some new spirits. </span></div>
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<a href="https://4.bp.blogspot.com/-mz0YNshSotA/XHMdAPRhWeI/AAAAAAAABDI/nYIjoax4lHcfF2I7_-BeHzxRbh-L6nKuACLcBGAs/s1600/fullsizeoutput_1cb7.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1476" data-original-width="1600" height="295" src="https://4.bp.blogspot.com/-mz0YNshSotA/XHMdAPRhWeI/AAAAAAAABDI/nYIjoax4lHcfF2I7_-BeHzxRbh-L6nKuACLcBGAs/s320/fullsizeoutput_1cb7.jpeg" width="320" /></a> </div>
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Now for a housekeeping issue. With time solid material will build up in the can and more importantly on the piece inside used to wash the brushes. After long neglect mine recently looked like this:<br />
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I know, don't say it... the holes are almost plugged and the piece only fits into the can with difficulty. I soaked it overnight in Murphy Oil Soap with some added water. This was a tougher case than usual, but here is what it looks like now-<br />
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So I am back in business with a resolve to do this more often. It works very well, but if you wait as long as I did some elbow grease will be required. You can do this to keep the can nice and shiny, but I don't care about that. <br />
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Murphy soap is also great for soaking brushes with dried paint, and of course to clean hardwood floors. Unlike many products, I like the way it smells. It is carried in groceries and hardware stores.<br />
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I hope this was understandable and helpful. Thanks for reading!<br />
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*If this is the situation you are in with water mixable oils, check out this OPA blog post about water mixable oils by Christine Lashley<br />
<a href="https://blog.oilpaintersofamerica.com/2016/01/working-kinks-water-mixable-oils/">Working Out the Kinks</a><br />
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<br />Colleen Parkerhttp://www.blogger.com/profile/13997882611075774837noreply@blogger.com0tag:blogger.com,1999:blog-6916685558020686319.post-38585587419864995872019-01-26T08:18:00.000-08:002019-01-26T08:32:38.582-08:00Editing What You SeeEditing and simplifying the subject matter is an important part of painting . Moving trees or other objects in a landscape can make a better composition. Black shadows in photos must be changed with half tones and temperature variations. The planning process may involve mental notes alone, sketches, or the use of apps. (See my post on the latter- June 2, 2017)<br />
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Here are two examples. In both cases I made changes before and as I painted. I did not make sketches or use my iPad to edit.<br />
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The first is a painting from this reference photo of a sunset in the Bahamas.<br />
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Because of the low light is there isn't a lot of color in the scene. The dock, palms, and distant foliage are essentially black, though there is some light on the boat/structures on the far side of the water. I can't tell what some of the structures are, though the mast to the right indicates some kind of sail boat. I loved the sky and wanted to paint it pretty much as is.<br />
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<a href="https://3.bp.blogspot.com/-x0GK-hvX8Yg/XDD14twASdI/AAAAAAAABAM/ccDEdmZRyYw89AJrWXasRjy6ztKjaf9bACLcBGAs/s1600/IMG_0896.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1186" data-original-width="1600" height="296" src="https://3.bp.blogspot.com/-x0GK-hvX8Yg/XDD14twASdI/AAAAAAAABAM/ccDEdmZRyYw89AJrWXasRjy6ztKjaf9bACLcBGAs/s400/IMG_0896.jpeg" width="400" /></a></div>
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To change the composition a bit I cropped the sky and made more dock visible. This still avoided a horizon in dead center. I added some color, both warm and cool, to the black shadows and lightened some of the values while still keeping them in the shadow family. (Remember that the lightest shadow value should always be darker than the darkest value in the light.) I played up the light on the boats, improvised the sailboat that was not really discernible, and took the liberty of highlighting parts of the dock. A little bit of rim lighting there is believable and keeps the posts from disappearing into the darks behind them. Last I put sun reflections on the water which should have been there but in reality were very subtle and diffuse. This painting was also an experiment with chromatic black* in order to justify a recent purchase.😆 The greens were made with black and a bit of yellow. The other darks were mixtures of black with other colors, such as burnt sienna.<br />
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The second example is a plein air piece from a nearby golf course. I took a photo before painting which I always do, unless I forget.<br />
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<a href="https://4.bp.blogspot.com/-lyspGTCZTkA/XDD4UG06zhI/AAAAAAAABAo/cwNuWZpskSks7MzIOewGz3vQrxju2ZPCQCLcBGAs/s1600/IMG_0586.jpeg" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1200" data-original-width="1600" height="240" src="https://4.bp.blogspot.com/-lyspGTCZTkA/XDD4UG06zhI/AAAAAAAABAo/cwNuWZpskSks7MzIOewGz3vQrxju2ZPCQCLcBGAs/s320/IMG_0586.jpeg" width="320" /></a></div>
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I do not like painting golf courses. They are artificial and too manicured for my tastes though that is purely personal. But this course is close to home and when closed, painters are allowed to wander freely. It was a good cloud day. <br />
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I chose a square format, for no other reason than I love doing them. A landscape format would have been perfectly fine. This was 8"x8" and the session lasted about an hour and a half. My canvas was toned with burnt sienna and I used this for the underpainting also. The darks were ultramarine blue mixed with burnt sienna. To avoid the look of the golf course I made the terrain flat, which is how the natural landscapes are in my area. I eliminated all man-made structures. I kept the horizon low because I wanted the sky to be the real star of the show. I made sure that the grasses did not look mowed or uniformly green. I didn't move the trees because I liked the way they led me through to the ground beyond (fairway!) and the sky. I exaggerated the warm blue in the sky close to the horizon because I love the way this looks on a partly cloudy day. I <i>think</i> I succeeded in making this look more like a field than a golf course.<br />
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I hope these examples were helpful. Thanks for looking!<br />
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*chromatic black is factory made using 2 complements- quinacridone red and phthalo emerald. This makes a vibrant transparent black that doesn't deaden other colors when mixed (like ivory black tends to do.)<br />
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<br />Colleen Parkerhttp://www.blogger.com/profile/13997882611075774837noreply@blogger.com0tag:blogger.com,1999:blog-6916685558020686319.post-16355876728786225632018-12-30T12:49:00.000-08:002018-12-30T12:49:49.786-08:00Painting from MemoryA few years ago I took a plein air workshop taught by Kelly Medford. On the second day she made us do the following exercise on location. First we painted a scene of our choice with a strict time limit. As I recall we had an hour. Then she asked us to study the scene for 5 minutes without painting and to make as many mental notes as we could. We put our first paintings away and moved our easels to a spot where we could no longer see the scene. We were given the same amount of time to paint the second one from memory. After we finished, we lined up our paintings and the group had to guess which was the one painted from memory. The results were interesting. Everyone was able to get a decent memory painting and the correct guesses were about 50/50. As much as I enjoyed the exercise, I never did it again on my own. I have seen beautiful paintings done from memory and I envy artists who can do it well. Practicing this makes one a better observer and thus a better painter, because learning how to see is a big part of becoming a good artist. <br />
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Recently I saw a beautiful scene from an airplane. The sun was setting just as the moon was rising. The moon was full and the sun's reflections threw amazing color on the opposite horizon. It was truly surreal. I did not have a camera, but it was at such a sharp angle through the window that I doubt I could have taken a good shot. I watched it as long as it lasted and made mental notes, something like this: from bottom to top there was a cool deep blue followed by a warmer violet blue. Then lighter saturated pink with a small transition zone of some warm unsaturated yellows. A warm lighter blue was at the top. The moon was yellow orange and occupied the blue-violet region. <br />
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I wish I had made written notes because it was a week before I had an opportunity to paint this, but it was still reasonably fresh in my mind. I already had a 14"x14" stretched canvas that was primed with orange. I had used oil paint mixed with cold wax so I decided to stick with that and paint with a palette knife, another thing I rarely do. I did it in one session. I have to be loose with a palette knife because I don't have much experience and I can't control it very well. (Sort of like painting with my non-dominant hand.)<br />
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Here is what I got- nothing like I usually paint but it looks a lot like the actual scene.<br />
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I usually tone my canvases with burnt sienna thinned with mineral spirits and wiped down, but when I paint with cold wax I like to start with a thicker layer of vibrant color. I can let some show through (easy to do with a knife) or even carve out areas to reveal the base color as I go along. Cold wax creates a lot of texture and I do not add additional medium when I use it. I use about a 50/50 ratio of wax to paint, sometimes a little less wax for the first couple of layers.<br />
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From a compositional standpoint this is a very simple painting which helped with the memory piece. I'm not ready to attempt a complicated landscape. Baby steps... but memorizing a complex scene makes simplification a necessity. <br />
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Another thing to try, and I have done this to avoid direct sun on my panel, is to paint with your back to the scene. This keeps the sun off if that is an issue and requires you to study the subject, then paint a bit before looking back. Though not as challenging as painting the entire painting from memory, it forces you to really look and make mental notes before turning back to the canvas. <br />
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I'll write more about cold wax later. Meanwhile, Happy New Year and thanks for reading!<br />
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Colleen Parkerhttp://www.blogger.com/profile/13997882611075774837noreply@blogger.com0tag:blogger.com,1999:blog-6916685558020686319.post-52826667976593983362018-10-28T11:16:00.000-07:002018-10-28T11:17:56.942-07:00Commissions- A Double Edged SwordI never intended to do commissions and rarely accepted them until about 3 years ago. Before that it was an occasional piece for a friend or family member and usually a gift. I never promoted myself but eventually it grew by word of mouth. Commissions often come through galleries and I am not in one, so I never expected much in the way of volume. This past summer I had eight commissions and have 3 to complete this fall. That is more than the total number for the previous 3 years. So, I have been busy.<br />
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There are a number of reasons to do commission work. First of all, the painting is almost a guaranteed sale. I always give the client the option of not buying the piece if they are not happy. That has yet to happen though I'm sure it will sometime. More on this later. Secondly, commissions are often very specific requests that would not be subject of the artist's choosing. I do not do portraits because I lack the training, but I have accepted pet and house portraits as well as figures that represent specific people but are not exact likenesses. My favorite type of commission is a more open ended request for something similar to a painting I have done in the past, but when I have to paint out of my comfort zone I always learn something. For example, after taking on some house portraits I improved my perspective skills and ability to simplify architecture. I like to paint cityscapes so the experience was helpful. Accepting commissions has grown my client base. Many of my requests come from friends or family members of previous commission customers. Subsequently some have purchased non commissioned work as well.<br />
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There are some downsides. I was so busy this summer I did not have time to paint subjects that I was passionate about. I went on two brief painting trips for plein air studies but otherwise mostly worked on commissions in the studio. Most of what I did involved specific deadlines which made things more stressful. My general inventory is lower than I like for it to be because I was not able to replace pieces that sold online or in shows. These are good problems to have, though I have not had as much pleasure from a creativity standpoint.<br />
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As for the risk of unhappy customers, I have a couple of suggestions. If I have access to the scene I take my own photos, but often this is not possible. I will not accept a commission if a bad reference photo is my only option. I take progress photos while I work on the paintings and give the clients the opportunity to give feedback. I had one large piece this summer (36"x36") and I first painted a small study for them to approve (12"x12"). That saved a lot of effort on the back end. Galleries typically ask for a 50% deposit for commissions which is only refunded if the gallery is able to sell it to someone else should the client be unhappy. Some artists charge more for commissions because they are more trouble. I don't do either of these things but it is something to consider. <br />
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Below are a few examples of this year's commission work-<br />
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I would not have chosen this house to paint but it was a good lesson in simplification as this house had a lot going on. I was able to get creative with the sky and the foliage which made it feel more like painting a landscape (my comfort zone). 14"x18"<br />
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I actually had to paint this twice, each with a different golfer. I was lucky because the light was very good in the reference photos. (Unfortunately I wasn't given access to Augusta National for photos...) The shot was taken in the fall but I was asked to paint the azaleas in bloom. It is easy to find photos of this hole online so that was easy. I do not want to be known as a golf course painter, but if I had to do it this was an exceptionally good subject with a lot of natural landscape. 16"x20"<br />
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Now for my favorite, a request to paint a subject I have painted in the past. I love bicycles and hadn't painted any in a while. Right up my alley and I was told I could use any reference I liked. Hard decision because I have a large file! The only specific was the size of the painting, 12"x12".<br />
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If you sell your work and have not done commissions I recommend giving it a try. Starting with friends and family is a good way to get your brushes wet.<br />
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Thanks for reading!<br />
<br />Colleen Parkerhttp://www.blogger.com/profile/13997882611075774837noreply@blogger.com0tag:blogger.com,1999:blog-6916685558020686319.post-22667197739768717292018-09-24T13:49:00.000-07:002018-09-24T13:49:13.432-07:00Donating your artwork- pros and consIn recent years I have been approached more frequently about donating paintings for silent auctions in charity events. This now happens 3-5 times a year. The venues have varied from outdoor festivals to large seated dinners. I have mixed feelings about my experiences and have postponed writing about it because I wasn't sure what I wanted to say.<br />
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There is one very solid pro for donating your work to a charity you believe in, which the sheer joy of knowing that you have supported a good cause. I feel particularly good when it is a local charity and I either know the people involved in the fundraising or the actual charity recipients.<br />
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There is a <i>potential</i> pro (and fundraisers usually bring this up when asking for donations) which is exposure for the artist. In theory, many people at the event will view the artwork, remember the artist, and possibly buy their work in the future. Maybe a bidding war will break out! Gallery representatives might be in attendance! Word of mouth can be a powerful thing. I'll get back to this.<br />
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Now for the cons. The subject of tax write-offs usually comes up. Fundraisers and the artists themselves often do not understand the existing federal tax laws. Even with a signed form that includes the value of the donated artwork, the artist can only deduct the cost of the art supplies and framing expenses or any other service the artist pays someone else to complete the piece. But consider this- if you are running your art as a business you have already deducted those expenses. You can't deduct them twice. So you are virtually giving your art away without any tax benefit. If your art is a hobby and you do not deduct your expenses you can of course deduct them as a charity donation, but this will likely be much less than the value of the work.<br />
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Another con is the possibility of devaluing your art. If the donated work sells at a price that is below its value, which is a common occurrence, the exposure can be a negative thing. Or let's say it doesn't sell at all- even worse! All of those people saw that no one wanted your work. Unless I attend the event myself I rarely get feedback about the winning bid, so I am in the dark regarding the nature of the exposure. Consider also that if the work doesn't sell, the charity gets nothing.<br />
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Saying no is not easy either, especially if you are saying no to a friend or to someone who works hard to support the community. Being told no is tough for fundraisers. They need to have thick skin and often work hard for little recognition. <br />
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So what to do?<br />
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I wish I had all the answers, but I have made some decisions for myself. I want to support charities, but I cannot support them all. I have decided to forgo outdoor festivals and similar venues, knowing that they are not good exposure for my work. When approached in the future I will offer to write a check. That will benefit the charity and I can deduct 100%. I will continue to participate in a few events that are indoors in nice facilities with a large attendance. Historically this is where I have raised the most money. In one instance there was a bidding war for my painting which wound up selling for 4 times its actual worth. (Alcohol was undoubtedly involved.) I felt very good about that donation and it was a charity that is near and dear to me.<br />
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I had the opportunity last year to do a one artist show in a local business. The venue was very nice and there was a well attended opening reception. I was asked by the business owners to donate 25% of my sales to a local hospital. This was a win-win. I sold well, got great exposure and wrote a nice check to the hospital. It also led to three commissions. I have never had a subsequent sale, or even an inquiry that resulted from a charity auction.<br />
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An artist's decision regarding donations is a personal one. My intention here was to create awareness of tax laws which are often misunderstood and to propose a thought process to help determine which venues work for the artist and charities.<br />
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Thanks for reading! <br />
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Marsh sunset, Kiawah Island, SC<br />
my photo- no painting yet!<br />
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Colleen Parkerhttp://www.blogger.com/profile/13997882611075774837noreply@blogger.com0