Painting on Dark Days...

Today was a typical cold, dark January day in Illinois. Sounds like a great day for being inside, painting, but at this stage a brighter day is preferable. My lighting is designed for artists and mimics daylight, but when working with blues and blue greens it gets tricky because even though I have made myself a color coded chart and endeavor to compensate, contrast and intensity will always be a bit off. After today's work, the foliage may be too saturated and busy. I'm unhappy with the paper as it continues to shed filaments in abundance. The photos here were taken early afternoon, by sliding glass doors.

While waiting for one section to dry I was experimenting with a discarded version and happened upon an idea for the book, which Ill work on tonight ( a pencil drawing, not painting). Meanwhile I took photos of the Beatrice painting as she is now, and the first version. The top image is what Ive been working on, with abundant foliage and wing details being filled in.

In the nest blog entry Ill compare her with the discarded painting and discuss why it has revived my interest~

Painting Beatrice

In the last blog I wrote about looking for a new space and since then have found one. We'll save the details of locating an affordable work space for a different entry because today was a painting day without interruption and I'd like to share what was happening with the art . People sometimes ask whether I use a frisket or mask to keep paint from covering areas where it dosnt belong. The answer is no, never. My work is detailed and to use frisket would take too long, its far easier and much quicker to just paint around the white areas. After regular practice your hand/eye coordination will adapt. A hot press surface is best when leaving minute white areas, the water and pigment glide off the brush and there are no textures to inhibit the flow. At right you see a close up of what is being worked on, at the tip of my brush. In some paintings I draw the negative space in before beginning, other times I just move along leaving the white spaces while painting, wherever they feel right. They can always be washed over later.

Here's a closeup of the above section, partially filled in. I painted the stems first, then came back later when they were dry and applied the browns.

Notice the segments in the leaf and how they are rendered. Compare the penciled lines in the leaf in photo 1, above, with the same leaf, at right. Eventually Ill be coming in with even darker browns and purples, adding some depth to those shaded areas. Doing so will cause the foliage to 'pop' and create the impression Beatrice is sitting above and upon the foliage. This is a timely process, hurrying will result in sloppy brushwork and blurred lines.

I have a difficult time aligning all my photos in one entry. Ive a photo of the entire painting as it looked when finished, but can't seem to get them loaded correctly. On tomorrow's blog Ill include a photo of where I left off today. Sorry!

Finding My Three Little "P"s

So I have been focusing on this next year and moving forward, and read in Oprah that we all need to work on finding Joy. I thought, "How true is that? Amen, sister." When I sit back and observe how people treat each other publicly, and see how self absorbed everyone is, yet - oh - so in touch with someone on the other end of the cell phone, yet so disconnected to the here and now of what they are actually doing and people with whom they are physically interacting, it deeply sickens me. It sickens me what we are not teaching our children and what we are not personally experiencing. I hope through my stories and my writing to bring the here and now and joy back into our lives and our children's lives as well. After all we are the examples of what they become. If we cannot find JOY, how will they ever have a chance of finding it?

So as I focus on 2011 I came up with three words to focus upon for myself, and really for everyone as sort of mantras to remind ourselves in 2011 what is important and by focusing on these words and practicing them,  may we all find JOY and be good teachers to our future generations on how to find JOY.

PURPOSE – To have purpose behind everything that is done. Not to pursue anything without a purpose, in essence not to waste time on meaningless things.

PRESENCE – To be present at all times, taking in the present experience and not worrying about the past or the future, but just being in the present.

PATIENCE – Exhibiting patience as much as possible, relaxing and taking in the moment, not worrying about being late or getting uptight that things are not happening on my timeline the way I envisioned them or wanted them. To be comfortable that the universe may have a different clock than I do.

So as we all move into 2011, let us focus on purpose, presence, and patience and hopefully find a very JOYOUS year ahead!

ARTIST & WRITER WORK SPACE FOR RENT OPPS

CLICK THE HEADING, ABOVE, and link to a typical artists space and residence page. Cities often have several arts organizations offering similar services. In the suburbs, good luck finding anything as space is at a premium, and loft or old apartment buildings are priced to the max. Similar ads appear in Craig's List. Search terms: Art space, artist's space Chicago area, artists studio space. And heres an example of same, but for writers needing a quiet place to work: http://www.chicagoartistsresource.org/literary/node/30465

If you are creating at home, and sharing that home with partners running their own businesses, children and often, aged parents, consider an outside space. It might enhance creative flow and quality of work. My creativity and production have slowed to a crawl after my partner set up his home office and an adult child moved home. I swear, its like running the front desk in a busy airline terminal and trying to paint in between customers, announcements, interruptions and non - stop cacophony from various media sources, meetings, friends and the dog's frantic, angry yapping. Also, for most of us economics and distance are determining factors when finding a space. Id love a romantic gazebo studio or artsy urban garret but in my area even a shabby, downsized version starts at $1500.00 per month not counting utilities and licensing. For now, a quiet place where nobody can find and pester me is the target.

First, investigate what’s out there. Artist spaces are listed on artist guild billboards, publications, online art communities and Craig's List. Be flexible. Example : a small room in a a law firm or real estate office might serve your purpose – many are renting their empty rooms to generate extra cash. Next blog entry will focus on pros and cons. An other option is households with a large spare bedroom, walk in attic, or other spaces. Many empty nesters and singles or working couples are happy to renting out unused space for daytime use. I'd steer clear of any residence with children for obvious reasons.

Factors to consider when sourcing out locations for your space, aside from monthly cost and rental details are below. Italics are responses particular to my own requirements.

1. Estimated travel time to and from, and traffic patterns. I loath driving in heavy Chicago toll - way and north side city traffic even with great music or an audio book. Drive time, one way after the rush hour requires 1 hour 45 minutes, usually 2 full hours. (2:00 a.m. it's 60 minutes)

2. Fuel or transportation costs. Fuel costs are estimated to double by the end of 2011- am I prepared to move out of the studio and find a closer space if this occurs, within a year?

3. Do you want to work around other artists or prefer a quiet place? If another artist in the shared space is overly talkative, plays her music loud or has many loud visitors will this be a problem? For me, solitude is preferable.

4. How much space does your medium require? 250+ square feet is fine.

5. Do you require natural daylight, ventilation? I prefer indirect natural daylight.

6. Days and hours – when will you be using the space? Sometimes you can split the rent with another artist. I’m planning on 3 full 8 hour days in studio per week. Other days will be used for my jewelry business and art related business like web maintenance, invoicing, preparing and shipping orders, phone calls etc.

7. Do you need somebody available to sign for and receive shipments when you are out? No

8. Heat and air conditioning. Heat is a must; a fan might be fine in the summer. In the Midwest temps range from frigid to sweltering.

9. Do you need a location near galleries? Often, nearby artist buildings are included in gallery walks and tours. Nice perk but not essential; I need work space. Socializing with artists or gallery owners and clients, marketing, and community are not on my radar. In 2 years this may change as Ill have built up a new body of work and seeking exhibition spaces.

10. Stairs, elevator, a loading dock, and locks on the doors or a cubical in a large shared loft space – these are some of the details to bear in mind. I may be loading and unloading my studio furniture by myself. This include drawing table, a collapsible work table, chair, lighting, some shelves, possibly the large easel. So I prefer walk in, a lift, or elevator access.

WORK SPACE

Owls are wonderful parents and talented hunters, navigating the woods in the night, spending their days in the treetops alone, avoiding the crows and pestering starlings. Some creative individuals are this way - we like others of our species just fine but need our space and time away from the flock. This week I'm addressing the need for a space of one's own, and sharing the experience start to finish.

Some creative individuals prefer working in a group, especially those in the hobby and weekend workshop categories. These group sessions are about social and communal needs as well as creating. What about those of us who aren't 'joiners', always flying off on their own and lacking the 'flocking' instinct? Like owls, we prefer flying alone, and associate with a limited circle of like minded creatures. I require space and no interruptions or conversation when painting because all my focus is directed toward the work at hand. Socializing when creating jewelry or beading is great, but painting and drawing access my deeper processes and require focus and dedication of a different sort.

With family returned home and a husband who works from a home office this place can get busy, its like an airport terminal or busy storefront around here. Creative and work time has decreased significantly since my menfolk have returned to the nest, while domestic responsibilities have increased. Its getting out of hand lately and like many working at home women I'm feeling pressed into a choice. Either become a full time domestic goddess, or get a separate space where I can create and run my business.

After trying all the obvious solutions it may become apparent that you, too, will seek a place in which to create without the frequent interruptions that result when adults share a small living space 24/7. This is a common and understandable situation today, when parents who've downsized suddenly find themselves with adult children and often, older parents, moving in. We love our families , value their company, and like communal living...but we need our space too!

In the next entry Ill begin the process of deciding what is required and the adventure of hunting for and finding that space.

The owl in the photo was rescued after being wounded when somebody shot at her. She lives at one of our wonderful Illinois wildlife refuges and is well cared for. This photo was taken when the local preserve staged a community awareness day at the local strip mall. Her protective handlers demonstrated knowledge, gentleness and understanding. The owls and hawks were kept safe and out of children's reach.

YEARS END

Its December 30, 2010. Kimberlee and I are both caught up with the usual year's end and holiday season distractions. Family, children home all day on midwinter vacation, Christmas aftermath, work related year's end projects. Working from home when family is also home all day is daunting. One may close the door to one's studio but everyone knows the artist /writer is in residence. Doorbells, telephones, the pressing concerns of family members, such as:

1. When are we eating?

2.What are we having?

3. Can't we have something else?

4. Where are my jeans (shirt, flashlight -you name it) We are supposed to know by some sort of feminine telepathy where everything is at any given moment...and to then go get it for them because, of course, the questioner has 'already looked there.'

5. 2 many treats = heavy duty pastry+ cookie binging = serious sugar/carb overload.

6. Loving family members and visiting friends want us to 'take a break' and join the fun.

7. Cooking cooking cooking

8. Shopping for groceries

9. Cooking cooking cooking

10. Laundry and more laundry. Time spent outdoors in melting snow and rain means muddy wet clothes.

11. Finally, Kimberlee and I love creating but we need a break too, and this is a good time of year to take it!

Beatrice Gets Her Wings Day 3

At right you see the art as it looks right now, at the end of the day. A layer of pigment has been applied to each wing segment. Im using the following pigments:

1. Sennelier's Aquarelle Extra Fine

2. Winsor & Newton

3. Dr. Ph. Martin's Hydrus Fine Art Liquid Watercolor

4. Danial Smith Extra Fine Watercolors

And these brushes:

Blick Master Natural Pure Squirrel Round #8

Winsor & Newtons Artist's Kolinsky Sable Round #5

First fill in the small area with water, then flood in a drop of dense pigment at one end. This color flows the puddle and depending on the pigment, may or may not plume. While its still wet float in a different color at the opposite end, and allow them to flow together. If a stain is forming around the shape but isn't desired, gently apply a small, dry natural hair brush in order to wick excess liquid and color right out. In this instance the stains are desirable and I'm deliberately creating them as a way of delineating the veins outlining each segment. Areas that should stay white are simply painted around. After the entire wing area dried I used a wet brush to float in a pale wash of cerulean, applying lightly and avoiding contact with the paper surface - this way the first layer of color is not disturbed. Note that in the larger wings, this wash has been brought right over some of the areas that were initially left white.

Colors used in the wings include: burnt umber, burnt sienna, alizarin, French ultramarine deep, Winsor & Newton's neutral tint gray, and yellow ochre and thalo green and blue.

Just for fun I began painting in a few of the violet and pink wild flowers that will eventually cover part of the background.