Heading to my studio

 

This is a quick sketch om my grandson Daniel.  If I were to do a portrait in oils my first job is to draw the reference photo a few times to get a better feel for features and shapes.  You get to know your subject much better and find little things that make him who he is and after all that is what you need capture, a personality as well as a likeness.

The studio is getting full of paintings in every state of finish, my new thing is trying to paint portraits.  Now this is a challenging thing for me as I'm a rather rough painter full of texture most of my work. When it comes to smooth surfaces I do have a bit of a problem. I need to practice more and do some work with smoothing the mix and probably using more sable brushes. There are techniques for the under painting like not so much paint and more thinners; I generally do paint what they call... what's the word ala prima?  finish the work as you go....Hmmmm

I generally paint to get it down on the canvas then fix it should it need fixing. The interesting thing is with my eye sight problems and the glasses I do get in trouble should I not "step back" and view my work from a distance, The glasses with try focal lenses do distort things a bit and the fact that my left eye is not a player. I have that lazy eye birth defect so I'm a one eyed Jack of a painter.

The funny thing is prospective with only one eye doing all the work. And for a painter some strokes from pallet to the canvas is guesswork. You have a nice full brush of paint on a stick and try to target that spot so carefully and you just don't hit the canvas right sometimes with  your first try.... your brush point just gets closer and closer and you finally land somewhere near where you intended... a bit discouraging but you can do this thing, I'd call trial and error...Me thinks more errors but then it's oil paint and you can recover rather well...if you step back and look that is.

When painting you get so involved in the work concentrating on whatever spots you are working you get lost in the work. I did one painting of a clam shack and worked the door to this thing so intently and then stepped back. Well I was surprised to see I left out a corner of the building...Not a big thing and easy to fix but I was fascinated that I did such a thing without realizing what was going on, That doorway problem like the shadows inside the building from the open doorway had my full attention and nothing else existed. Hmmm I should really step back more than I do.

Now this portrait thing is a different story all together. And yes I am reading and doing the work of studying features. I've painted the eye and nose the mouth on practice sheets to get the forms and muscles; all the how to things you should get down before you do a portrait. There is so much to it, the measuring can drive you nuts and that one I'm not very good at. Don't get me wrong I can measure with the best of them, and know that a scale not a ruler is what you measure with. I'd done the drafting bit quite a lot over the years so it's not that type of problem. What is the issue is my style of going for finish rather than plotting and planning to a result. I seem to paint rather directly and get caught up in the details way too quickly in a painting.

I suppose I should develop a technique rather than go along with my "style" of painting. I hate that term and they"the other artist" say I have a distinctive 'style". It means to me that you're not quite up to a level others might be... hmmm. Style is what you want to achieve but it's all about the work and how good it is rather than how stylish it is. I'd rather not have a style per SE but have my work recognized by it's quality. But then I'm learning how to paint and some day might be halfway decent, but in my mind I have along way to go.... so now I head out to the studio....That's not too far....not such a long way that is...

The blank Canvas

The blank canvas, it's kind of like this page and the inevitable question where do I begin. Hmmm good question. So you are there in front of this white rectangle, most of them are rectangles that is. You have thought about this, it's been rattling around in your head like a marble rolling around kind of aimlessly. You need to put paint on there so how do I begin....

OK most artiest I know use a reference some two like adding a boat to a lake scene from one picture but anyway a reference of what you want to paint. My own references are generally my own photos. You know the type, you shoot a hundred pictures and find one that stands out an kind of says "hey paint me" Well that's all good but how do you start.

To begin I tone the canvas, this means to put a color all over it for the most part to get rid of all that white with nothing on it. You start your painting that way, now I've used many colors and it doesn't matter much to me which I chose. I've used black on some of them which is interesting to paint on, but usually in a landscape I'll use a blue or green mixed with a thinner like Gansoil or Liquin. What you are doing is a thin coating of paint on the entire canvas.

I've read that this step in a painting does have consequences. The base color is a reflective layer some of the thinner paints will kind of bounce off. The light passes through then to the bottom layer and a little is reflected back. Not so much in the case of the blank toned canvas but you do get even that feel to the painting so chose a color that will add or help the overall mood of the picture. The Masters doing a portrait might use green undertones that will give a sort of radiating base color. It's a matter of experience what works better for you and again it tones the canvas so it's no longer white and of course it does give you a better surface to paint on. It fills in the pores of the canvas and is a good starting place.

Many artist will tone their canvas before they begin painting. Now it's nice if this undertone is dry as painting over a wet mix gets a bit tricky; it mixes with the color you are applying which can be a pain. There are wet on wet techniques but that's another topic, so let the toned canvas dry for a few days at least. Now if your smart you'll do a few canvases this way in different undertones then choose later which you'll use for a specific theme. I always intend to do just that but never much accomplish this task. I will tone them but usually just start painting right away, it's one of those personal choices you get to make.

So again you still have a basically blank canvas and a reference photo to paint. This is the point to make a few decisions and the first thing I do is make a sketch of the painting. That means finding a table some place and sitting down with a pencil and an eraser and make a quick sketch of the photo. Here is the beginning of understanding your painting and getting acquainted with what you'll have to do. This planning phase... well is where you can make changes too. It's a design thing, maybe a tree would look better just a little to the left or not even in the painting. You look as you draw this thumbnail sketch for ways to improve the work. After all you are the artist, get to know your subject a little, and as you draw see what you feel about the work also.

A good painting will hit you, it will grab your attention and pull you into the painting by things like a bright color for instance or a pathway bringing you into the painting. something about the work attracted you in the first place to try this particular painting so at this point get this in your sketch. You need to find out the why of this particular painting, why paint it in the first place. Make a statement and wright it on the sketch, you might title the piece to kind of guide you as you paint, a theme that will motivate you. For example I did a fog painting, an early morning scene, like before the sunrise. The landscape full of distant fog and trees a slowett the mood quiet and silent, the grass wet and cold as I ran around taking photos that morning. I had the mood of the piece by personal experience of the painting so I knew where I was going before the brush hit the canvas.

Now you might not have an on the spot experience of your reference but you can look into the photo and find what you want to say. In my case this fog bit was my motivator and yours could be a bright sunshine or moonscape but get a feel for the subject and the why you think it would work. It's kind of important to try and get this inspiration down and keep reminding yourself as you paint what you are trying to do, I know when your are into a painting you can get sort of lost and forget where your are going with this mess of paint your trying to pull together into something worthwhile. So the sketch and thinking process will work out for you rather well. Getting some finer points also helps you understand and see things better too.

Doing a drawing you'll find out how to draw whatever you going to paint. It helps me lots finding out the little things in a lighthouse for instance. You can do silly things like counting how many railing post there are, it brings it to your attention before you start painting them; once you start painting that is. The other and most important reason for a drawing is light and dark areas, their shapes and the value study. Where is the light coming from, a big thing to know, the direction of shadows is another thing to study before you get going. the sketch answers many questions and gives you answers or at least gives you a place to start.

Once you are happy with what to do and the ever important why paint it, the canvas toned you start with some shapes. The darks first, nothing fancy just areas in the drawing you can build upon later with colors. Like a tree for example you will layer in starting with dark greens for the under or inside of the tree and midtone and lights over that darkness. Start there, get the darks in and I'd go home and let it dry a bit. Hell if nothing else you got rid of that white canvis and now know what you are going to do with it and why. Now the fun begins, and a fresh start another day will help and one thing; put the thumbnail on the easel. Glance at it once in a while, you'll probably change things a bit but then that's the fun of it.

see ya
Dave

Art in oils; getting started when you retire

OK so you are on the street, you've got nothing to do. You try that gym you promised yourself for years to go to and it gets old real fast. The young kids mostly women getting out of the house and not many people your age but there is an old timers group and you're not interested at all so that one falls by the way side real soon. So what's next all those little projects that have crept into the household? You do one or two and there are so many more to do and always changes you want to make but the hell with that after a while. You need something to do that has some challenge.

Yep been there and when they had enough of me they put together a package and out the door I went without not so much as a thank you for all those years. So what? Happens all the time and you've seen it many times but to the other guys not you. You're too important to the company, well it happens you're not that important anymore. It's an interesting feeling like the tube just turned off and nothing you can do but walk away with your little box of junk.

Now what? Well for me I found something that has worked out rather well. It's a place to go everyday and there are nice people there; the art studio. This new thing is challenging even if you're good at drawing a straight line there is so much to know. You have to study this stuff and learn new things but best of all you have to produce something while you're at it.

Painting in oils is hard to do, sounds like a sixties song doesn't it. but man is is hard for me but that's the beauty of it, if it were easy then why bother. So I took a class in the local art studio, it's a little town bunch run by a great lady who works hard keeping the ball rolling. There are classes of a dozen or so people painting and learning how to paint, some good some real beginners like me who never held a paint brush before.

So you walk in the door just inquiring and finding out if there is an opening and there is. Tuesdays from 12:30 to 3:00...sure I can do that, why not give it a try. I had to buy charcoal sticks and a drawing board some erasers and some this or that. I hit the art store, spent a few bucks and got good stuff, yep Blick art supplies is the joint to go to. Been there many times since and even got one of those little key chain things too like for Dominic's or Jewel's.

Thus I began my study of art the next Tuesday, my pencil box full of charcoal sticks that snap like a pretzel should you bear down too hard. They put me on a little stool that held my drawing board showed me how to tone the paper and set up a model a statue of a naked lady no less. Hmmmm me thinks this might be embarrassing drawing boobs with a room full of ladies and oh yes there was one other guy painting and kind of smiling. I think he's been here drawing these same curves and shapes and thinking did I draw these things too big? Hmmm what did I get myself into.

OK I'm here, so draw the damn thing. I grabbed a piece of charcoal and hit the paper with it, Just a body no head no arms just a form but its at an odd angle. Ok so get the angle right measure it, transfer it to paper just a line. Then another angle, Hmm she showed me how to measure the figure... what did she say? Ok keep going. proportions, fit the paper just right and draw what you see. Well I did that one in two sessions and it came out kind of good, at least the instructor didn't make too many corrections. It actually did come out not too bad and they all kind of looked at me as the drawing had a little something. Hmm I guess I can do this and they seem to like the result.

That's how it started out for me, nervous as hell and embarrassed as hell too at the same time. Interesting, should I continue? and I did with a face this time another charcoal sketch some Greek God with lots of curly hair and blank eyes kind of spooky. This time less embarrassed I smudged the charcoal with little points of rolled paper a smudge stick I think they call it. I found the eraser worked well too and I found I drew with that as much as with the charcoal stick. Tools I love tools to play with, used to be a carpenter and the job I'd build machines so tools are no problem, the hands were always my best asset.

Toward the end of my first eight week class I got to paint at the easel like the big kids. A color chart was first, I had to mix the primary colors the red blue and yellow to make the secondary colors and that was cool. Little circles of paint, now the secondaries like half way between the primaries and two more dots half again the color, that was interesting. When I finished I just had to put in two eyes and a smiley face on the yellow dot... it just needed that little touch. I'm not so sure the instructor had a sense of humor... but then I did and I really didn't care much what the instructor thought, I had fun with it.

Next came a blank canvas my first, I had a reference photo from the Internet a bunch of floats hanging on a wall. These floats of many shapes and sizes were on a net and the wall shingled adding texture to the painting. Man I could have found something easier to do but then it's the difficulty that your are challenged with; it's how you learn. The best part is when you screw up you just paint over it and try again, now this I can get into. Right up my ally painting, man this stuff is hard to do. But giving it a try, working out the problems the drawing only this time with a brush...

That was the first class and I've had a few others, finally choosing the director as my instructor of choice. Today I rent a studio spot and paint mostly every day. I don't take classes anymore but do go to demonstrations and attend workshops put on by the studio. I find that my style is that I learn on my own and just try things that interest me. I read and buy the books on Amazon sometimes new but used if too expensive. It's been almost two years learning how to paint and I think I'm getting the hang of it but still a long way to go.

You can see my stuff on the following web site: www.yessy.com/twohaleys

I'll be back soon with other stories on Art and painting I'd like to share soon. I'll try one a week just to keep my hand in and try to give you a feel for the art world that I know. I've sold four paintings so far one in a show we had with the Barring Cultural Art Center. the others more word of mouth than anything but two through the web site. I think I've found my new venture a rewarding one and something I can do that interest me a lot. I'd highly recommend this one although rather difficult to do it's a thing you develop over time. You learn quite a lot and the history bit is fascinating should you study the masters. I have studied just one so far; Monet his story is cool his struggle quite interesting. I painted an impression of his "in the garden" for my wife's mother and she loves it. So there are many avenues and paths to follow with painting be it oils or water color and or pastels either discipline will challenge you and drive you a bit nuts too. But then aren't the Artist there already?

See Ya
Dave

birthday boy

So tell me how did I get to be 64, like the Beetles "when I get older loosing my hair" been there done that, now I'm growing it long to fit the artist "Look" with the funny hat. Seems this new thing is growing, taking seminars and outings like this weekend a 4 day Plein Air. I'm looking forward to this one if for nothing else than to get outside and paint.

I've done two out there so far and not too successful but I'm learning and this weekend should be rather instructive should I adopt some of the methods the instructor suggests. New tricks old dog comes to mind....

I should probably put some of my paintings up on this thing but you can see it on www.Yessy.com/twohaleys just as easy. I'm not up on how to on this site in any case. I'm sure it's not too difficult to do so maybe next time

painting at Mainstreet Art Center

Well it's been quite a while writing in this blog of mine. Almost a year since the last, I wonder what it says. In any case, since last blog I've turned myself into a painter. I've been learning oils for a year and have them on a web service called yessy so if you want to take a peek go to www.yessy.com/twohaleys and see some of my stuff.
As of three months ago I've rented a space in the Main street Art Center and have set up easel and all the junk that goes with it like paint and canvasses, brushes galore and many chemicals to do everything from thinning the paint to getting paint out of my clothing. That's WD40 by the way, it works rather well, and I had to use some just today. I have a tendency to really get paint every where, especially on me.
It's a nice little room that I share with another artist but she generally stays with the girls in the main studio. Me I stick in my space and zone with the head set and my little Itune Ipod with something quiet if for nothing else than to block all that gabbing the ladies have a tendency to do. I'd love to invest in a Bowe's noise reduction headset one day, I wonder how much they are, I'll have to look them up on Amazon JFL.
I'll have to drop back here now that I found it again and keep a journal going of paintings as they come off the easel. I suppose this would be a good venue for that sort of thing. I'll have to stick the site in my favorites and come on board more often. Hmmm, me thinks that will do just fine.
The painting currently on the boards is a Monet thing my mother in law wanted me to do. It's a rendition of the "Pathway in the Garden" he painted I'm not sure when. Another look up. the painting is a path (no less) to his home and he painted as he was known to do many renditions of the same subject. Monet studied light and the inspiration to capture the subject with his impression of the time of day. In doing this painting I read up on his work, got a library book and found out that this guy had quite a hard time of it being an artist. He was a little out of sink with the rest of the art world at the time and his work quite controversial.
As it is today being an artist isn't the best of choices for making money. And unless your quite good and have a business bent; that is, know how to sell then you have a problem. Monet lived that life fighting hard to stay afloat painting and trying to sell his work to make a living. It's an interesting read. I'll have to do another one of the masters studies and learn a bit more of the history of art.
Well I'll have to spell check this blog then go make supper, the Mrs. is home from another hard day and me I just painted all day and didn't make a nickle. see Ya

Hi, I just finished doing the rug in the loft with the Bessel... I have my exercise equipment up there on the second floor, a tread mill, a sit on your butt bike thing, a twister chair that's interesting and a bench with free weights and oh yes a thing that tries to bend you in half you lay on; it’s a good place to take a snooze. Well it's up and running so to speak and I haven't hung any cloths on it yet but I did dust them all off…Now my only excuse is the rug is drying so I came down and sat at the computer and then started a fight with my Internet provider. I had to get the damn thing back on line and with the phone and TV and ISP well they have to reset the damn thing. What a pain in the "butt" that is. It’s an exercise in itself answering the twenty questions twenty times before you actually get a human voice to ask them again. I didn't mind though the girl sounded kind of nice and was fun to talk to. How is the art coming along? I’m doing fairly well considering oil paint that is (talk about another pain in the ass) I did make a find the other day getting some real Lenin canvas to stretch. I blew up a painting... well scrapped it as a lost cause and tried to salvage the cotton canvas by stripping off the paint. Well you can't get it all off and I primed the canvas again with some titanium white and linseed oil and the old stuff burned back through ghosting an image so I decided to scrap the canvas. Now the stretch frame is still OK so I went to our local paint store; a real down home joint struggeling to stay alive. Well this old guy and me, we rummaged around in the back room till we came up with the only roll of Lining he had. Evidently Lining never rots like the cotton canvas you get today (it only last 100 years) So I figured I'd do something that will last as long as Michael Angelo's stuff just for kicks. Now to find some subject worthy of that canvas.... this stuff was $28 bucks a yard somewhat heavy there but I'm saving the old frame and will have enough to do another with what's left over. While we were rummaging around in the back room I spotted two pieces of barn board in real rough shape.... perfect for a frame on one of my pieces. It's gray and full on character and nail holes and splits from 60 years ago or better. Now to figure out how to use the stuff and keep the look clean not showing any raw edges. this stuff is a little thin also only about 3/8 to a 1/2 inch thick and the canvas is 3/4's so I have to back it up with probably a 1 X 3 or 4 to thicken up the frame to take the canvas. Interesting problem... I might just look around for some more "old wood" rather than new stock to keep the thing cool looking. Well getting time for Deb to start on her way home so I have to get dinner ready.... I made a real nice meatloaf last night and tonight I'll add onion gravy and do some rice and green beans.... What a life... QQps the cat wants to be fed... she is clawing my leg as I type.... persistent little…. HY

Retired update

I've had an interesting time of it being retired and finding things to do. It's been a while since I've done a Blog so a lot has happened like getting into shape with a trainer and doing some art classes.

You seem to find yourself sitting and coming up with things to do to fill your days with something other than Oprah and Soaps. Not gonna happen I do hate waisting time and loosing sight of actually doing something interesting at least.

Joining the YMCA was the first thing that hit the top 10. and paying the $450 for a trainer for a twelve week stint has been a life saver. There seems to be quite a lot of things to know about training and the machines at this Y that Lindy has taught me. I now know what to work on and how to set up the machines and actually work out with the 3 sets of routines 12 to 15 reps each set. She keeps upping the weights and at first man talk about muscles you never know you had OOph. But the last training session Lindy said the improvement in strength has her impressed. My arms are hard again and not a muscle group in my body has been missed thanks to her expertise. My last session will be next Tuesday but I think I have all I need from a trainer and the money is a bit much at this time so I'm go it on my own with a little self discipline thrown in to get there and just do it...

The Art class thing is doing well and I have five canvases 3 of which are on the wall in front of me as I write. The other two works in progress on easels in the garage. I set up a work area with a heater and all so there is no excuses. I have a drawing table for any work on that level and have set up a ladder to hold large works. I had to be a bit inventive for holding the canvas making the bottom plate with wood and attaching it with a strap bolted to the up writes. the top is a piece of aluminum I had and I put two screws to tighten the canvas in place so it's secure. I was kind of making something out of nothing looking around the garage for something to use. A little trial and error and the easel works just fine and is adjustable which is a good thing.

I've just changed instructors too gong from Monday classes to Tuesdays. the new lady is the director of the studio and quite accomplished. Frankie is her name and she is little and blond and a real teacher in that she gives you goals and they're is no BS about her. I worked with her on a piece that my brother Ted sent me. He is a semi Pro Photog and this prise winning shot of what they call Motif #1 from Rock Port MA, it's quite a shot and I only hope I can do it justice.
Well Tuesday Frankie had me block it in and " get some paint on that canvas" to use her words. She also said use a big brush and just block in the diffident tones and lay the foundation for the next phase of the painting the detail work.

Well that is on the second easel which is a small metal thing I got at ta yard sale a few years back. It now sit atop of the drawing board and when I go out there to work it's a thing of which to choose. The big canvas is a light house that I'm working on my own. I having trouble getting what I want on the thing as far as mood and trying to develop my techniques. This light house has a history of one of the Keepers wives dieing there at her own hand back in the 40's. So I'm trying to go dark and a bit spooky in an attempt to display some of the turmoil of a hard environment and a lonely life and ultimately death.

I'm playing with the idea of painting a woman standing on one of the three platforms with the winds portrayed blowing her robes. A solitary moment looking out into the darkness her hair streaming in the wind. She will be a solitary figure just there as part of the painting of the lighthouse as the most imposing object in the work. I think I'll just put her as a figure in darkness and not call attention to her she'll just be there alone in the darkness looking into the sea. Now I've done quite a lot of work on this one particular subject researching and I actually took photos of the house back in Rhode Island a few weeks ago. I went out on the sand bar with my digital and shot the sean with close ups to get the technical data.

I did a pen and ink of the house drafting it in a layout of squares to get the proportions and to study it's structure. This drawing came out not too bad and my wife wants it framed which I'll do one day after the painting is finished. I may get Frankie involved but I hesitate to mess with my moods and feel that this one piece will be totally my work. When other opinions mess with your imagination it kind of becomes contaminated and not yours. I do want to avoid mixing the work I do as a student and that of the artist that lives in my head and heart alone.

The problem with art is the how to do what you feel you want to do. The techniques are difficult at best and working with oil painting blending colors and getting what is in your mind onto the canvas. I find the work rather difficult and I'm trying to learn all I can about getting paint on the canvas. It's not something I come naturally by, I am a natural and somewhat gifted sketch artiest and know how to draw with the old No 2 yellow pencil but color and drawing with a brush is one SOB. Getting paint on the brush and mixing just the right shades and textures well it's an interesting challenge to say the least.

anyway I think I'll spell check this thing before I post it.... it's another challenge of mine. I can't spell for beans

haley