Suddenly we’ve travelled directly from Thanksgiving to nearly February! My how the time does fly.
I certainly hope you’ve all recovered from a series of wonderful holiday festivities.
January has brought me more painting energy and I’m expanding into a new direction, too. I’ve begun to take classes with 3 wonderful teachers: Daniel Edmondson, Dennis Perrin and Bryan Mark Taylor.
Landscapes are very different from Still Life and Florals. I am hopeful that some concentrated practice will help me to improve. I’m liking that I’m able to be freer with my brushstrokes and color choices.
Here’s just one example. You can see more in the Paintings Gallery: https://artbykarlene.org/paintings-gallery/
Dennis Perrin encourages us to meditate prior to each session at the easel. As part of his classes he includes a special Artist Meditation to be done. I’m very quickly seeing why. Yesterday’s painting is making me a real believer!
Meditation on Oranges II
TM (Transcendental Meditation) has been my way
John and I began doing TM about 15 years ago. That is a special form. Basically it’s 20 minutes of silence done twice a day, morning and evening. I use special Mantra to settle my mind and follow the breathe. Dennis’ is a guided combined with special music. It’s different but just as effective.
Know where you’re going at the beginning of the painting
My favorite artist, David A. Leffel expressed this as the idea of “Concept”.
Is your painting about Light, chiaroscuro. Understand the interplay of dark/light.
Is your painting about Movement. Understand placement of the still life objects in your setup. Understand how light moves through the setup.
Will your painting have “drama”? How will you create this drama?
That all sounds good, but how do we get there at all?
Kelli Folsom has been helping me to learn to be able to answer some of these questions.Last year I spent several months as a subscriber to monthly Vital Art Sessions. She is a very dedicated and inspiring teacher.
Even after I was no longer able to participate in that program, I periodically receive an email from her. Today I learned that she was sharing her new video. Today’s was exploring ways to setup/layout your paintings. .
She is glad for me to share it on this site.
I hope you get a lot of new information for it, too.
Please go here for more information on Kelli’s VAS subscription program: https://kellifolsom.com/page/13774/vital–art– sessions-monthly-video-subscription
Today was mostly spent visiting my rehab specialist to check out my knee which has begun to give me bits of non-cooperation. He suggested that I would likely be a candidate for knee replacement. Oh, no! He also indicated that taking care of it sooner rather than later is likely a really good idea. Since I expected that would be the advice, I had already made an appointment with the orthopedic surgeon for tomorrow afternoon. Ugh!
So I spent the afternoon painting another Munsell chart. This time I worked on the 5G chart.
It’s basically done with Phthalo Green moderated with Cadmium Yellow deep and the neutrals to modulate chroma. It surprised me that the Phthalo seems to have worked best of all my tube colors. I thought it would only be good for the 5GB chart. I’ll learn more when I work on that chart in the morning.
As you can see these greens are very muted and already feel more real. I picked a few leaves from a rhododendron. The lowest value/chroma greens match very nicely. I suspect I’ll use greens from this chart routinely on floral and landscape paintings.
Last year I did some charts of green from my new WSO oils. This gave me a decent starting point. But like all those beginners, the chroma is uniformly too high. So I’m now turning to Munsell to see if I can mix some more realistic greens. That is, greens that actually appear in nature!
I feel like I’m making some progress with these charts. This 5Y chart seems to have caused me quite a bit less grief. I began today with making quantities of the Munsell neutral grays. I had gotten six containers to keep the paint piles in once they were mixed. I’ll see over the next week if the paint actually remains workable in these screw top bottles. If it does the paint mixing job may go most smoothly. Later today I’ll be in the Art Room with a number of us Foulkeways artists. We’re trying to get a monthly meeting where we can learn from each other and do some art together. Today we plan to discuss ‘Art Today: How does today’s art reflect the times we are living in?’
This one went more smoothly. I tried to get close to the highest chroma for each value. Then I reduced the chroma by using Munsell neutrals. When that didn’t appear to work well for the lowest values, I added a bit of burnt sienna or burnt umber.
It’s not perfect, but I’ll keep going. Color mixing is still not easy but I think I’m getting better at bracketing this time.
My second try at the 5R chart is somewhat better than yesterday’s. The higher values are quite a bit closer to the Munsell chips from the Student Book and I haven’t gone so over-board with the highest chroma.
At least I feel better about moving forward tomorrow.
Although I’m feeling quite insecure, I am willing to try doing this myself. Without picking up my own paints, mixing them, and learning how to make mixtures, I won’t really know anything about how to use Munsell.
I decided to start with the 5R chart.
The mixes here are as close to the chips as I am able to do at this point. Some look OK, many are too high chroma. I’m going to need to do a lot more mixing. Bracketing may help. I’ll try again tomorrow.
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