Class Notes: Explaining with Value?

We are talking about VALUE but what that really means is: Explaining the LIGHT!
These sketches of a simple set-up, all explain the light - in 4 different ways. We used only 2 values for each item: light & dark. In sketch #1, top left, the light parts of each object are under painted with acrylic orange and the dark values are under painted with acrylic black.
To the right in sketch #2, the entire space was under painted in acrylic black and the shapes are defined in only light and dark. This version has the most drama and a very graphic look.
Sketch #3 has a traditional, oil/thinner, wash under painting, warm under the light areas and cool in the darks areas. The Cerulean blue in the foreground is too intense but does communicate light on a dark background - which will almost always be darker than the dark areas of a white object, such as the cup.
Sketch #4 is painted in the "direct" method; no under painting. All 4 sketches break up the values in a way that clearly explains what the objects are and how they are effected by the light.

Class Notes: Stay Away From That White!

I tend to be somewhat tyrannical about using white paint in class so two weeks of set ups with white items- almost unheard of.
White paint cools all your colors, as well as lowers their intensity. Most beginners get very nervous about color that is too intense or values that are too strong. I think it is the "too, too" thing. Take away the white and one is forced to moderate values from the palette of colors. Which, by the way, encourages better color mixing.
The challenge in "tea set" above, was to make them look white while working on a violet, wash under painting. We started with a white canvas, which is my least favorite way to work. I much prefer a canvas with several old paintings underneath; that way I don't have to work as hard to get depth in my values.

Paint Out at Chimayo

Monday was a perfect Spring Day. Sue Mc and I joined the Plein Air Painters of New Mexico in Chimayo to paint the Sanctuario there. Crabapple trees were blooming and other trees were beginning to bud. It was such a pleasure to just stand out in the sun and do the thing you love to do.
Below, I am painting the back of one of the towers. After lunching on wonderful tamales, made on site, we painted the more typical view of the Sanctuario (above). At first, I resisted, but this view from the road is very compelling - that's why every one does it. To take a look at what Sue McCullough did with the same subject, go to www.susanmccullough.blogspot.com

Winner, "Best in Show" to Dave Roepke

Dave's winning painting, "Always a Bridesmaid, Never a bride", 16"x20" in oil, was voted Best at the Fruit Stand by both artists and friends. Congratulations Dave.

Dave Roepke (R) and Richard Luckermeier (L) share a winning moment.

Winner "Best Title" to Richard Luckermeier

Richard's watercolor,
"Bartlett discovers Brad & Doris have formed a'pear bond'"
was voted winner for Best Title. Congratulations Richard; and nice painting too.

Pears of Note

Judith Greenwood's "Luscious at Night" in acrylic, Denice Broyles' "Pure Life" in oil, and Jerri Everette's "A Pair and a Pear" also in oil, give an idea of the diversity of the show.

PEARS and FRIENDS Artists' Reception

Snaps from the artist's reception for 'Pears and Friends', presented by the San Luis Valley Painters, Saturday at Milagros.

Congratulations to Dave Roepke who won "Best in Show" and to Richard Luckermeier who won for the 'Best Title'. Big "thank you" to Heidi Algrim and Judith Greenwood for all of their work putting it together. Thank You to the Milagros Coffee House for hosting our little soiree.












Over 30 paintings were entered into the Show. Hopefully, the next post will have shots of those winning paintings.

It was a great Spring day but the painting didn't measure up

So here it is Patrick.
Ordinarily, I would never put a painting up against the documenting photography but it does help me see so much that I did not perceive when standing right there. Fortunately, the pull of the train yard is very strong and many failed paintings later, I still go back there.
Friday, Sue Mc and I painted in front of the Alamosa train station and as near to tracks as we dared. I would have been excited to paint the side of a barn - it was such a perfect day; sunshine, no wind and I painted without gloves. It was only 18 degrees this morning and tho' there was a wee bit of snow from last night, the day was beautiful.
We both took on the little locomotive parked south of the station, just west of State. It was a great subject but there are times when you jump in knowing full well, this painting will kick your butt. Yup!

Pinch Me!

I met with this fun surprise when I rolled into Cheyenne. It would be enough to see my name on the marquee but in the company of such heavy hitters like Don Weller, Dan D'Amico and Will Bullas
- that was a thrill.