Saturday, October 27, 2007
My easel (present this year) stands on the west side of the room. You can see my still life table with its faux marble top and painting storage racks below. Jack built this, too. I set up still life here, as well as on the dresser to the right of this. So, my light usually come from the above right, unless I get to set up on the other side of the room. Jack also built the painting storage racks to the left of the still life table. Storage is a problem if you are a prolific painter.
On the east side of the room is Jack's easel with a landscape that he is working up from one of his plein air studies. The study is on my old easel which is to the right of this. You can see our skeleton, some pigments, a model stand which is covered with boxes of mat board at the moment, and another storage thing with props in front of a door to the outside.
On the south side, there is a shelf that runs across the room with more stored paintings, and yes, you guessed it....Jack built this, too. You can also see our water heater, the huge frame that was on one of Jack's large paintings that hung in the store, some mahl sticks and a dart board (go figure). The quote that runs along the bottom of the shelf is by J. M. Whistler and reads:
As music is the poetry of sound, so is painting the poetry of sight.
Since I consider myself a poetic realist, this quote says it all. I love quotes and have them around the studio for inspiration and help.
So, that's my studio...somewhat messy, somewhat disorganized, somewhat corny, but with dramatic light that lends mystery and importance to somewhat ordinary objects.
Saturday, September 15, 2007
Thursday, August 02, 2007
Thursday, June 21, 2007
Wednesday, June 20, 2007
Tuesday, June 19, 2007
Monday, June 18, 2007
Helpful hints? You bet! When I teach, I try to get students to simplify what they are looking at into masses, or shapes of values. The easiest way to do this is to squint. Squinting is great, and it is the cheapest aid to learning to mass. Next to squinting, though, a reducing glass is wonderful! Thanks to another nice picture from Jim Comly (taken May 27, 2007 at the Southern Vermont Art Center demo), you can see that a reducing glass....well....reduces. It is just the opposite of a magnifying glass. By making things smaller, you do not see too many details, and seeing too many details, before seeing the general masses and underlying structure, is what holds beginners back. So, a reducing glass helps to simplify...very important! In addition to this, I use a reducing glass to view my painting, if I can't actually step back from my work. It gives the illusion of standing really far away.
Sunday, June 17, 2007
Saturday, June 16, 2007
Thursday, June 14, 2007
Wednesday, June 13, 2007
Priscilla is posing by a north facing window in the storefront that I rented and used as my Studio/ Gallery. People could come in and watch as I painted. I always had several set-ups (mostly still life) at different stations throughout the storefront. More details and specific colors and features were added as the painting developed. The finished painting, Stylin' , sold at Sylvan Gallery, where I am also represented.
I always paint directly from life, and I always paint from the general shapes, or masses, to the specific details. This is how I was trained, so that I am drawing and painting at the same time. It forces me to draw with the brush, which in turn, keeps the painting fresh and exciting, and it gives me ultimate freedom. This is the "start" of the portrait. I used large brushes and broad, general shapes to indicate form and light.