Perception Shift

 

This painting is a failure. 

Yes, you read that right, I painted this sunrise in 2009, it was the view from our house in Taos Canyon looking towards the east, I used to love to watch the sunrise colors shine through the branches of a group of juniper trees and one young ponderosa pine. 

I remember struggling with this painting for a long, long time. My sunset colors were too bright at first, I toned them down, but I couldn't get them to blend how I wanted, purple and yellow made an awful muddy color where they met in the sky, I couldn't get the dark color for the trees to be less transparent, plus the clouds looked just awful to me. I finally reached a point where I declared it “finished enough," put it away and decided painting sunrise/sunset landscapes was just not for me.

15 years later...

Imagine my surprise when I pulled it out of the cardboard box it was stored in last week and realized, it’s not as bad as I remembered, I had actually captured the look of those sunrises from that particular place and time!

What in the world was wrong with my perception that I thought this painting was such a failure?

If I remember correctly, I think I was too invested in making it look exactly like the photo. I had the idea that if I followed the colors in a photo precisely, my painting would be successful, I couldn't fail, and I was truly disappointed that I couldn't get the clouds or the colors to express the joy I felt on those mornings.

The irony is that this spring I finally made a little sunset painting that I absolutely love. I was taking a class on painting light taught by Jed Dorsey, and instead of following the reference photo for the class assignment exactly, I combined his color strategy and my own memories of Greece.

 

The sunset colors are kind of over-the-top bright, but I love them, as well as the whole glowing rocky shoreline moodiness of the painting. I didn't think I had sunset painting capability in me, but there it is!

This was truly a lesson learned, I think being so obsessed with perfection clouded my judgement, I couldn't see clearly what I had done right! I also never imagined that letting go of the strategy to copy colors exactly would give me more of what I was looking for.

Let go of the fear of doing it wrong, and trust more -

Happy Creating!

>^-^<

Tina

Seeing the World in Black and White.

 

In the 36 years that I have been making paintings, mixing color to exactly match the subject has been a big priority for me and over the years, I have become fairly confident at it. 

With that in mind, I was very intrigued when I saw a free YouTube class taught by artist Dianna Shyne called "Freedom with Color" where she was offering another way to paint besides just matching the colors of the subject, so of course I signed up!

In the class, Dianna gave a great condensed explanation about the qualities of color, encompassing Hue, Value, Color temperature and Intensity which was a great refresher for me and very helpful for people who are new to making art.

What I absolutely loved was watching her painting demonstration where she took those qualities of color and made three completely different paintings using only her black and white photo, posted above, for reference.

Honestly, I had thought of trying this myself before this class, but was feeling like a bit of a 'fraidy cat, not knowing exactly how to start. It was freeing to watch her do it, it seemed completely do-able, especially if you only chose one color family to practice.

Next Dianna gave us the assignment to:

1. Choose a black and white photo, either hers or our own.

2. Paint a study in one color, matching the values in the photo.

3. Paint another study and play with color. 

All my values in place.

I started with a value sketch based on Dianne's reference photo. This always helps me to simplify shapes and decide where to place the darkest dark and lightest lights.

I was excited to try this for myself, but I admit, it was such a different way for me to think about choosing colors and the options were so wide open, it was a little overwhelming!
 

Sunrise

Thankfully, all that work I did playing with complimentary colors in my sketchbook came to the rescue, I had some experience on how they could work together, so I chose purple and yellow to start, with a little orange to warm things up. I began with imagining an early morning sunrise.

Winter stillness

For my second practice attempt, I chose blue and orange which is another complimentary pairing that I've had success with, all I needed to do was add was a bit of white. I had more of a wintry vibe in mind and I ended up really liking this one a lot.

Summer Evening

 Last, I decided to try adding some green to what I had learned from the other two paintings, secretly hoping I might come close to the original color photo, I couldn't give up all my color matching habits that quickly. :D

Eventually Dianna did allow us to see her original color photo, the sky has more purple and the water reflections are more pink, but overall I think I did surprisingly well!  

 I found this exercise so incredibly fascinating and helpful, it really made it clear to me that getting the values correct, the dark, light and middle tones in the right places, is truly more important than matching the colors of the subject exactly!

Ever since this class, I've been inspired to drop all the color out of my reference photos and practice painting how light or dark the subject is, not the exact color.

Here's an example from one of my sketchbook pages, with all four studies painted from the same black and white photo of one red pear. 

 

One pear, so many colors!

If you are wanting to experiment with the way you use color, I can definitely recommend trying this strategy.

Happy creating!

>^-^<

Tina

Stuck? Think small

 

Some of my favorites.

I have a confession to make, it used to take me several years to fill up a sketchbook because frankly, I didn’t use it that often.  

Having a sketchbook was a requirement back in my art school-college days, so of course I had one, but after college, I might sketch out a few ideas, but I was more likely to draw something directly on the canvas or paper and get straight to painting.

 

Early in 2019, I bought my first Canson Mix Media sketchbook and that little change helped shift my whole approach. The paper is sturdy enough to handle wet media like acrylic paint and sketch-wash pencils, so figuring out a value drawing felt more like painting than using regular pencils and I liked that, a lot.

I didn't realize the type of sketchbook I had was part of what was holding me back from the valuable skill of practicing!
 

Learning that I can make several small paintings in the same time it would take me to do one large painting, with very little risk, means less stress and more practice, and more practice is the best way to ease anxiety and gain confidence in making art. Plus, I can see which of my painting ideas are successful before attempting to paint them larger.

"Indian Paintbrush" - for Fred

I have wanted to do a series of paintings based around the flowers that are blooming in my garden, but it always took too long to do a full size painting, keep up with the season and everything else in my life that I need to do too.   

My solution this year, think small and practice in my sketchbook and don’t worry about larger paintings right now.

The crocus and miniature yellow daffodils are always the first to arrive in my little garden and so far I am pleased with these little 2.50 x 3.50 inch paintings that I can get done in around an hour and a half total time each. I often sketch out the design one day and paint the next. Hopefully, this time I will be able to keep up with the blooms this year.

If you find yourself stuck on a creative project that isn’t moving forward, perhaps try changing one small part of your usual way of doing things and get those wheels rolling again.

Happy creating!

>^-^<

Tina

p.s. No, I'm not getting any perks or money for mentioning Canson brand, it's just the type of sketchbook that suits me best right now. I was genuinely surprised how that one small change made such a difference for me.

January Blooms

 

The creative process rarely goes in a direct line...

In the spring of 2023, I started 3 mini-geraniums from seed. They bloomed so well all summer that I didn't have the heart to let them die in the fall, so I brought them inside to my studio.

 I was amply rewarded because when the snow was at it's deepest in January, they were blooming with all their hearts. 

The low winter sun shining through their petals was such a boost to my winter time blues, I wanted to make at least one painting of them, to try a capture some of that summertime beauty. This winter I was determined to make that wish happen.

 

I set one of the potted geraniums down onto my office chair and was able to take this wonderful photograph. The way the sunlight made the petals and leaves glow was very inspiring to me.

Several small practice attempts in my sketchbook this year led to the 6x8 inch painting on the right, but unfortunately, I didn't feel like I came close to expressing what I was after, I know I've missed something when the photograph is better than the painting!

 

 I went back and studied more of my original photos from 2023 of the flowers against the snow and tried again.

 This painting is much, much closer to the feeling I was hoping to express, so it was definitely worth trying again. I think there may be an even better painting waiting to come into existence, but I won't know until I give it another try. It's a zig-zag journey from one painting experiment to another.

Happy creating!

>^-^< Tina

Oh, Christmas Tree! Revisted

 

Which one do you resonate with? Honestly, I like them both, but it was an unsolved puzzle that made me want to revisit this painting.

The key to solving that puzzle was found in that black and white drawing on the upper right hand side of my sketch book, plus going back to the original source material.

 

 

This was the original inspiration, and even though my painting from 2020 is nice, it has bothered me since then that I didn't capture that same sense of winter magic, I wanted my lighted tree to glow at night too, dang it! 

(Note, I would give credit to the artist if I could find them, if you know, please tell me.)

 What helped me see the solution was dropping all the color out of the original so I could get my brain to register how truly dark that background sky and foreground snow really is. 

 

The irony is, this is my first sketch in 2020 and I had the right idea. It's a mystery to me that I ended up with such a different final painting. 

 

I do know that even as a beginning artist, I always struggled to get the dark values truly dark. My brain seems to default to seeing a lighter value unless I consciously remind myself to triple check.

 

 

Even with this year's painting, I wish I had taken a photo of how light in value that first sky background was at the start. It took at least four more layers of ultramarine blue and purple to get that value dark enough!

 I'm pleased to say that now I feel that wonderful sense of completion from finally solving a puzzle. After the success of this experiment, I'm always going to make a value sketch of every subject before I start painting!

 For example, here's an interesting exercise I created for myself. I made the value sketch first from an idea in my mind, no reference photos, gasp! Next I did my best to match those values in color, it's not an amazing painting but I think I matched the values well. I'm determined to train that brain of mine!

Happy Creating!

>^-^<

Tina

P.S. One of my favorite things for making those value sketches, besides plain black acrylic paint and water, is a water soluble graphite pencil. The brand is "The General's Sketch and Wash" No links to sponsors or anything, I just wanted to share.

A Tale of Two Kayaks

 It's November and another free class taught by artist Chris Fornataro becomes available. I almost didn't sign up again because there is so much to get done in putting the garden to sleep for the winter and Thanksgiving just around the corner, but at the last minute I decided I really need the practice with landscapes.

Again, I wasn't exactly thrilled with the reference photo, but I knew from the last class in March that it is still possible to end up with a decent painting even with a less than inspirational photo.

The first lesson was breaking the landscape into large value shapes and not getting stuck in the details which is great practice for me. I already like where this painting is going better than the photo.

Here it is with all the steps completed, but the water reflections and getting that illusion of sand underwater in the foreground didn't look right to me.

I decided to forget the sand under the water and make the side canal more still and reflective, but I'm still not certain this choice was an improvement. ??? 

One of Chris's tips was to remove detail and add more blue grey color to the background trees to get a deeper sense of depth on the painting. You can see the difference between the two paintings above, I found that suggestion was very helpful and I loved how that little change made such a difference. 

                                              *****************

Next I decided to challenge myself to see if I had really learned the skills from class by painting from a photo I took of Jeff kayaking Sept of 2019,

First step, start with a value sketch. Second, adjust the design to feature your main focus. I wanted to showcase the sunlight through the trees and also extend the land more than the photo so that I could practice adding visual depth.

Blocking in the shapes, I added an extra step by adding an under-painting of yellow and orange just because I wanted to try it out.

Adding the darker colors of the water and trees went well, I wasn't too keen on the sky and had to go back and fix that!

The sky is much improved, but the water reflections don't look correct to me yet, too bright, the lake water isn't that choppy, also not enough shadow on the vest or kayak.

Greying down the water reflections and adding shadows to the  vest and kayak helped a lot, but I still don't think the water looks right. Obviously I need more practice understanding how to paint light on water.

Overall, I'm thrilled with most of it, I improved on the photo, I got the depth and "atmospheric perspective" looking pretty good and I resisted the urge to do anymore detail on the trees which is a big win for me, "Miss Fiddle-brush."

I'm glad I did the class, even though it was very similar to what we did in March, I know the repetition really helped some concepts sink in for me! Practice makes progress...

Happy Creating!

>^-^<

Tina

Here's a sample of Chris's teaching style on YouTube: Click to watch 10 Tips to Improve Your Landscape Paintings

A Royal Visitor

 

Top "A Mid-Morning Snack" Bottom "A Royal Treat"

I have been waiting for five years to see a Monarch butterfly in my garden. They were always a favorite, and I especially learned to love them in grade school. In third grade we spent a lot of time learning their life cycle and were encouraged to bring the boldly striped caterpillars in with plenty of milkweed leaves to feed them. 

There was an excited pause in the regular school day when one of them would emerge out of their chrysalis. We waited impatiently for them to pump up those collapsed wings and for our teacher to say it was safe to escort this wonderful new creature outside. If concentrated kid love and energy could protect anything, our class butterflies were triple wrapped for a safe, long journey!

Photo ©2023 Joanna Katzen

Earlier this year I read a long news article about how there are less oyamel fir forests in Mexico and less Monterey pines and cypresses in California for the Monarchs to hibernate in, and less milkweeds for the hungry caterpillars to eat so there are less Monarch butterflies, around 80-90 percent less since the 1990's! Honestly, I was so surprised and saddened that the numbers have dropped so much in my lifetime, no wonder I haven't been seeing them in my garden.

She seemed to like the plain yellow ones best!

 

The morning of August 18th this year, I was looking out the dining room window and happened to catch a flash of orange out in my sunflowers, could it be?!? Grabbing my iPhone I carefully and quietly walked out into the yard, hoping I wouldn't scare this visitor but definitely wanting some photos before they might flit away. 

This monarch was ignoring the zinnias, cosmos and blanket flowers but seemed to be enjoying the sunflowers. I held still as I could while snapping photos as she floated round and round, tasting and sipping her favorites for a magical 15 minutes and then she was gone. 

"A Mid-Morning Snack"

Even though I want to, it's probably not sensible to try and grow milkweed in my tiny garden, but I also learned that sunflowers and asters are a good nectar source for adult Monarchs, so at least I got that part right in providing a mid-morning snack for one!

What beautiful thing do you wait to see every year?

 Happy creating!

>^-^<

Tina 

This isn't the exact article I read, but it is still very helpful.More information about the Monarch Butterfly. 

The stunning photo of the Monarchs sipping from New England asters was taken by a friend on Facebook, Joanna Katzen, she kindly agreed to let me use her photo for reference, thanks so much Joanna!