JAPAN - There IS something we can do.

I am a member of Artistes de Studio, an online gathering for artists doing Studio work. Jennifer Evenhus, creator of Artistes de Studio recently sent out this call- to give us a small way to help the people of Japan.
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Greetings Artistes de Studio,
The Daily PaintWorks website has offered The Help Japan Painting Challenge.
The premise is simple: create a painting, post it for auction.
When it sells, donate the full amount of the sale (minus the shipping/tax) to an agency that is helping the people of Japan.
There is a list on that site. To learn more click here: Help Japan Painting Challenge
See other's paintings and click on any to see more information.
Be sure to read carefully how it works........... it's up to the artist to donate the proceeds.
Over 5,000.00 has already been donated via sales!
So pour your heart out . . . help Japan.
Thank You! Jennifer Evenhus, Artistes de Studio creator
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Can YOU help?
Click here to get all the info: Help Japan Painting Challenge, donate a piece, or buy a piece. There are some real gems and the prices are right.
At the top is my donated painting "The Plug", and you can see it on the Challenge site.
Thanks so much - Coni

Shipping that REALLY Big Piece

At some time or another, most artists will face the shipping dillema.
I ship plein air paintings to galleries and shows during the year but a large painting is a whole different animal.
I am currently preparing to ship the painting above "Whispers In the Wood" off to a buyer in Texas and thought it would be a good chance to talk about how I prepare a painting to travel the distance.
In the past, most of my large work sold out of a galleries to buyers responsible to take it away themselves.
Then ONCE, I learned a very hard lesson about trusting a gallery to prepare and ship a big painting sold to an out of state buyer.
This is not a rag on galleries but I realized then, that everyone has a different standard about what is "good enough".
Said painting arrived at the home of the excited buyer with 2 corners destroyed 6 inches into the painting. When I saw the damage, I felt literally sick, not to mention sick at heart. Damage like that could only happen if a box was THROWN off the truck.

Rule #1 - never use Fed Ex. They may be great for some things but not for my art. And by the way, that piece was insured BUT, I could only make the claim if I was willing to forgo getting back my art.
I passed on the insurance money, took back my painting and restored it;
no easy task.
Rule #2 - work over 30"gets crated in wood, no exceptions - and only ship UPS. I think at first this whole idea was so daunting I didn't even want to look at it but when I saw my hard work destroyed, I wised up quick. It was empowering.

The painting at the top of this post is 48" high by 36" wide.
I try to find, or buy a box that is at least 4 to 6 inches bigger all around. We have a U-Haul place in town and I like to buy, what they call a Mirror-Boxes designed for moving art. Two boxes can be cut at the ends and extended for longer work. The painting itself gets wrapped in several layers of bubble wrap (big bubbles not small bubbles) until it fits snuggly in the extended box. Every corner should have at least 2 inches of bubble between the painting and the box.
I then build a frame of one bys around the box so all corners are covered. It is all held together by wood screws. The drill bit shown below will be sent, via regular mail to the buyer separately, so they can use a drill to open the crate.And if you are wondering about the cost: 2 Mirror boxes were $12.50. Lumber, 1 x 4" and 1 x 6" was about $35.00 and misc wood screws and the bit brought the total to $51.57.
Once the piece is crated, I take it to UPS with the address; they weigh, measure and give a price that includes insurance that covers the price of the art. I won't ship yet though.
The UPS price together with my crating materials is then communicated to the buy who will add it to total price of the piece and hopefully, send me a check. Then I ship.
So my shipping costs for this painting were $185.00. YIKES!!
And I admit sometimes that is my response.
When I communicated the price to the buyer however, their response was both gracious and grateful, for caring enough to make sure the art got to them in good fashion.

To my mind, delivering and, personally installing a painting is the first and best option - but not always possible.

Here's a final tip straight from a UPS guy: drivers know what packages are worth the most by how much insurance has been paid. These get handled the most carefully.
Sigh. . . . . . in the end you get what you pay for.

Class Notes on the SQUARE Show

Last weekend the San Luis Valley Painters got together to celebrate the SQUARE SHOW, currently hanging in the Milagros "gallery", in Alamosa. All paintings done on the square format: landscape, abstract, portrait, and still life - in all mediums.
This started in painting class about a year ago when we spent over 3 months working compositions on the square. At first the paintings were all small, about 6"x 6" but over time painters took the square composition and really ran with it. The idea of a show highlighting some of our best work was the natural outcome.

We hung over 90 paintings (a record for the space) and last Sunday when painters, family, and art lovers got together, Gina Quintana's "Rooster" was voted Best In Show.


Milagros is a community sponsored coffee house that supports the arts, and a crossroads for almost everyone who lives in Alamosa, or passes through. I want to THANK the community for supporting us and also to tourists who have stopped in and decided to take a painting home with them. Five pieces have already SOLD. This show will hang until the end of April.
The San Luis Valley Painters group is a loose association of artists who are, or have, at some point in time painted with Coni's Adult Painting Class in Alamosa.
Congratulations to all of the San Luis Valley Painters who participated.

Spring Paint Outs

Spring is coming on very fast - the 2 pairs of Canadian geese have come back to the pond behind my house, - migration has started. Usually the geese will spend a week or two on solid ice, but not this year.
In Southern Colorado, we are in a window of calm somewhere between freezing temps and the onset of Spring. When the real warming starts - wind will tear through the valley like a roaring beast. It's something we dread. Painting out as temps rise is nice, but days with little, or NO wind, are something to really relish.
Last week Sue, Dave and myself went up to Creede to do some business and paint (see post below-Visit With Stephen Quiller). After coffee with Steve and Marta we headed up the canyon to what was the original Creede settlement and found a lot of snow and running water. My 16"x 12" piece is here to the right.

This Wednesday, Sue, Dave and I were joined by Peg Immel, fellow PAAC painter from Taos, and we met in Fort Garland to paint in the eastern end of the San Luis Valley.

Less snow in this area than we had seen in Creede but it was harder to find open water.
We each separated to areas that attracted us. Sue went after the red rocks, Dave ventured down by the river; I have no idea HOW he got there but it looked like a sweet spot.
Peg and I painted a stand of cottonwoods with a pinion - my 16"x 12" is posted below.

A Visit With Stephen Quiller

Where do I begin to talk about a great day?
Good weather, good friends, serendipitous meetings - it's all that.
Last week, Dave Montgomery, Susan McCullough and I went up to Creede to mix some business with, well business. In May, the 3 of us will hang a show at the Creede Repertory Theatre Gallery and looking it over seemed like a good idea; of course, finding a place to paint along the way was also a priority. So once our business at the Theatre was finished we looked for some caffeinated fortification before heading up the canyon to paint.
On the way we decided to try to catch Stephen's Quiller in his studio (Quiller Gallery is down the street from the Theatre).











We were rewarded by finding Steve at work on a 360 degree mural for the new Creede Repertory Theatre Building. WOW!
Steve, talked about the piece in process- generous to let us look at eveything - like our busting in on him was the highlight of the day.

I can't say enough about how much I admire Quiller, as an artist, designer and all'round good guy but I felt so fortunate to get a glimpse behind the painting at the easel, to the artist's mind during work in progress. Be still my heart!
The mural is not yet ready for public viewing, and being kept somewhat under wraps - if I show you too much - I'd have to kill you all. . .

We saw some pretty big sections of the final piece, but also his layouts and small mock-ups; the charcoal sketches, alone 'bout made me faint with creative desire and passion. Nothing fires my jets like seeing, in a tangible way, the artistic process. WOW!
And if our chance meeting could not get better,
he and Marta joined us for coffee - and picked up the tab.
Thanks Steve!

Class Notes: INTO the Mystery - Process Painting

I think our creative selves are like floating icebergs; only a small part breaks the surface of the water. The larger part is alive with color and movement but a mystery, even to ourselves. Some of us have reconciled to the admission of being "creative" but can't begin to know where it comes from (or sometimes where it goes). I believe we are all imbued with the same force that created the cosmos; it is part of God's very nature, thus part of ours. But that's part of another discussion.
We live, for the most part, strangers to our intuitive selves and barely touch the surface of the iceberg, allowing the 90% below the surface to remain a mystery. What's down there?
Good question.
Last week in my painting class, guest artist Vivia Lawson helped us begin to address it with an exercise in something called "Process Painting".
"When we are completely free from preconception or judgment, what will we paint? When we give ourselves permission to follow our own energy, we discover hidden reservoirs of talent, capacity, and visual power. This is process painting, a mighty tool to work through creative blocks, and stir up juices for your artistic passion and for your life".

That quote is right off Vivia's website, and
I could not have said it better.
So, you ask - What did you DO?
Ah. . . we plumbed the great mystery.
Vivia set out about 20 pots of lovely rich, goey tempera paint and big brushes; we each got a very big sheet of paper and JUMPED in with abandon - or tried. Looking inward is much harder than looking outward.
I see it almost as visual journalizing, trying to capture visual impulses without judgment or any art direction beyond what brings me joy and satisfaction.
And that's saying a mouthful. I don't have to plumb the depths of "Process Painting" to immediately get in touch with my critical self that judges every brushstroke and lightly disses the work as trivial or without real worth; "Will it sell?" - and if not - "What's the point?".
Ah - another good question. What IS the point?

We all long to touch on the passion and beauty that is part of our creative selves but have forgotten how to go to the magic wood.
It is where children seem to go before self awareness, judgment and fear block the joy of just creating. They embrace every mark made and do not second guess themselves.
For adults "Process Painting" is permission to make the investigative journey into the mystery of creation without self-critique.

For me, it is freeing, fun, and dare I say it, therapeutic. I recommend it highly but know not everyone will see the value. If you are interested in reading more about "Process Painting" just Google it and lots of info will come up.

ps. Vivia and I were studio-mates at Adams State, both doing graduate work. We have painted together in the landscape and I am happy to say, I own some of her work.
These are my pieces in this post.
Thanks for a great day Vivia!

Delivery Day in Denver

This last weekend I delivered a commissioned painting to Denver; something that was supposed to be done by Halloween. Ha! The broken foot put a crimp in that schedule but I finally got it started at the beginning of December and wrapped up (at least I thought so) 2 weeks later.
This piece is 24"x 36"; the photos posted here show the progression from start to final.
I like to have a week for the under painting and a week for the oil painting stage.
When I sent photos to the client, I felt that I was finished - that would be photo 11.
Hmmmmmmmm - she wanted a more Spring feeling.
By this time the painting was dry but I "glazed" in cooler, more opaque greens - in all the trees and generally cooled everything down a bit.
Check out the 3rd to the last photo compared to the last 2. The client was right and the painting really benefited.

As to commissions in general, most artists have a love/hate thing with them, and no matter how hard you try to stay out of it - sometimes you end up in do do, do you know what I mean?
I have a couple of guidelines that can help to keep a commission for getting derailed:
1. The FEE: How much will you charge and how will you get paid.
I have never had a client balk about money if I have been clear UP FRONT.
My policy is strict: what ever the total fee is to be - I will not start the job until the check for 50%, up front, clears the bank - no exceptions - and that is NON-refundable. The money thing- it makes artists nervous, but my Dr. and certainly, my son's orthodontist never bat an eye when waiting for me to write a check, - for the TOTAL amount.
The final payment is made at the time of delivery, or in the case of shipping - before I ship.
2. The TIME FRAME: Be honest with yourself about your time frame; then be honest with the client. This will help keep you on track. If the client wants the job in half the time - Again, be honest with yourself, or - you may hate life later.
If you can do it, and are willing to do a job more quickly, you have good reason to charge more. As an aside, I am always a little wary of a client that needs it in a rush.

This particular commission went very smoothly, except that I had to put off the delivery for 3 months due to the broken foot. Fortunately, the client was very patient and in the end very happy.
Which makes me very happy.

For more info about working on commission - scroll down on the right column. I have written about it before and also posted other artist's comments on the subject.

Artists For PIJOAN Benefit

Saturday night's benefit to help out our friend and fellow artist, Randy Pijoan was a huge success, raising over $12,000. for the cause dear to our hearts. Over 60 pieces of art were donated by locale artists and the community came out in a big way. Almost everyone went home with something and some folks with several things. It is a tribute to Randy, but also to our Valley- one of the lowest income areas of our state but rich in the things that matter.
My piece "Follow the Star" was purchased by our Colorado State Senator, Gail Schwartz, who now owns 2 of my paintings.
I will be bumping her name from 'buyer' to 'collector' category on my mailing list.

To recap Randy's story: Before the holidays, San Luis Valley artist, Randy Pijoan took a Flight-for-Life to Denver for emergency medical needs. He is on the road to recover, but like most artists, Randy does not have health insurance.
He is a treasure in our community, encouraging to students and generous to everyone. This fund raising effort began with student artists at Adams State College who connected with Adams State College Community Partnerships' and the ASC Art Department to coordinate a local benefit. Thanks to all who participated.
If you are not familiar with the work of Randy Pijoan, click here on his name to connect to his website. Read about his life, his work, his desire to "give back", and his passion for the Ventero Open Press.

Class Notes: Seeing the Shapes of Things

Snow has finally come to Southern Colorado - see last week's post. We got plenty of cold as well - our temps last week went down to 30 below ZERO - which kept my husband from riding his bike to work (zero is his cut off temperature), and definitely kept me out of the landscape. Though the San Luis Valley is at high altitude the surrounding mountain ranges have, so far, kept most of the snow from getting in; but not today. We have been hit with a storm that closed roads into the valley and closed businesses. It is hard to imagine an early Spring in our neck of the woods, no matter what they say in Punxsutauwney.
So last week, the very night our temps hit the basement, I ventured out in the blistering wind and cold to teach an evening class that my husband predicted would be all no shows. He had just ridden in from the afternoon commute.
Thankfully, non of my students ride a bike to class.

So what will induce people to leave a warm hearth and go out when the bottom of the thermometer has dropped out?
I don't know. I do know how much better I feel afterwards.

These four photos follow our class exercise that served 2 good purposes - I like that.
First, seeing SHAPE, and second using MORE paint.
The first sketch shows our little set up of pears and oranges broken down into the SHAPES of form shadows and cast shadows and I encouraged students to squint in order to see only the big shapes, not every nuance of reflected light and shadow. Click on the photos to see them larger.
In the second sketch I have numbered all the shapes. There are 13 in all and after outlining and counting them we mixed paint: one light pile and one dark pile for each color - or in this case, a light and dark for the pears and the same for the oranges - BIG piles. If you are doing this - don't be stingy with the paint.
Photo 3 shows how we used the paint to fill in each of the numbered shapes- in ONE stroke. Yes, you will have to tweedle the brush abit, but it''s fun; thirteen shapes, thirteen strokes.
This encourages discipline in the brushwork and keeps us from making RANDOM strokes; you know, the ones that scream "I'm lost".
In the final photo I have taken the liberty of softening the edges, adding some reflected light and highlights - hopefully, all with the same sense of restraint.

This is a fun exercise. Set up something simple, put a lamp on it and try it for yourself.

And finally- a great quote: "When you go out to paint try to forget what object you have before you - a tree, a house, a field or whatever. Merely think, here is a little square of blue, here an oblong of pink, here a streak of yellow, and paint it just as it looks to you, the exact colour and shape, until it emerges as your own naive impression of the scene before you." Claude Monet.

Looking for Winter

We have had an unseasonable shortage of snow here in Southern Colorado; chalk it up to LaNina or whatever,
but on Friday
Sue McCullough,
Dave Montgomery and myself went looking for some winter. We found snow and sunshine, the perfect combination,
up at Rock Creek
not and hour from the house. With temps at 31 degrees and NO wind, it was like a day in the park. This photo of Sue expresses out feelings, exactly.

Sue, Dave and myself paint out together often and amid other things, are working toward a show that will include work from all three of us done on trips together. That show will open with a party on Friday, June 3rd in the Upstairs Gallery at the Creede Repertory Theatre, in Creede.

June is aways off though, in the meantime, we will enjoy a little bit of snow. This was my piece from our beautiful morning in the mountains. I have been experimenting with a more extreme format of 1 by 2. This painting is 20"x 10".