Run, Painter Run

I got home from Art for the Sangres in Westcliffe and hit the ground running. There hasn't been a time to catch my breath since July and this weekend I head down to Ghost Ranch for a week of painting with Ann Templeton and the High Desert Painters. Well, sometime at the beginning of the week a birthday snuck in - Hey, I think it was mine; there was something about cupcakes and red wine.
Let's see, I am all out of painting panels and looking at my gallery wall to see which pieces can be pulled out of frames and painted over.
Wednesday some of the SLV Painters group went to LaVeta to paint; charming as ever but as it is the end of the season, not much is going on there. I was miffed because our favorite little bakery is only open when the wind blows a certain way, or almost never - and it wasn't on Wednesday either. Boo! Who cares about painting locations when there is no place to get an espresso. LaVeta pass was beautiful tho'- peaking, as they say and gold everywhere. Of course, we weren't painting on the pass.
Rescue for my panel dilemma came today in the form of a delivery guy from Colorado Moulding (where I buy the gatorboard for my panels). He shows up at my studio 3 hours early and I am busy teaching class. Recess. . .
But, now I may have something to paint on, and one more thing to do before heading to Ghost Ranch; I may not go with any clean laundry but I will have panels.
Fall marks the end of the season and I am feeling more of the blues than the golds. Autumn is so magical but soon turns maniacal because there is SO much to do, to paint, and SO little time. We are literally chasing the color. And I am tired.
Just add "whining" to the label on this post - Oops - No time for that I only have tomorrow to get it all together and hang my one man show at the San Luis Valley Medical Center. Check it out (after Saturday) SoulView, Impressions and Expressions of the Valley. Good thing I didn't paint over anything, I may need it for the show.

Class Notes, - Colored Glass- What?

Two takes on colored glass. Key in both is the clear factor. Unless the glass is opaque you still have to be able to see through it. What stumps the beginner is how to make the glass look clear and still show the color. The painting on the top is probably closer to reality but the lower one also "communicates" colored glass with out the color inside.
Personally, I believe that communication is one of the primary, if not THE primary function of the painter, right up there with expression, so I am willing to go with simply communicating the subject. Any more explanation can be beautiful - or just redundant. They both work because they are both clear, shiney and show some color in the glass.
Stay tuned for cut glass.