Sometimes painting is more about looking and enjoying.  I love to visit art museums, galleries and sights that inspire me.  Our busy schedules hinder rather than foster creativity. I remind myself that life is not a race. I want to slow down, enjoy and take time to be grateful.

​A happily unexpected situation is sending me to France.  Yes, an artist’s dream.  After a great deal of time research and study, I wish to dive into my holiday, like diving into a cool French blue swimming pool. To be delighted by beauty, refreshed by color – and even cooled off by a more reserved nature. 

With an old fashioned Roget’s Thesaurus in hand, I note words and ideas about leisure time and vacation.  Ralph Waldo Emerson, who lived in a different world, instructs,
                            “Never lose your present mind and never get hurried.”

With this in mind, I wish to respect people, culture, language, quieter speaking voices, a slower pace.  I want to wander, absorb, listen, sketch, write….

Lovely, peaceful French blue comes to mind.  The French Riviera is known as the Côte d'Azur, the Azure Coast. Since the 12th century, Bleu de France has been used in the heraldry of the French monarchy. Blue is France's national racing color.
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I imagine the blue of Matisse’s cutouts and the stained glass windows he designed for the Chappelle du Rosaire.  Many of Monet’s waterlilies reflect blue.  Degas’ dancers…Cezanne's Sainte-Victoire....

Looking through blue colored glasses, I see the Paris skyline. Blue has been my favorite color for as long as I can remember. (Photo credit below: Brooke Commentz)

You may not be traveling to Paris, but I encourage you to take some spare time for an “artist’s date” to visit places that inspire your art. Visit a gallery, museum or even local library.  Sometimes a walk around the block helps.

You, most likely, have a color that speaks to you as blue does to me. A quick random look at my paintings  (see image below - from Google Images) reveals that blue predominates.  In fact, a great exercise for me is to paint without blue. 

​As I blogged about green, I promise to discuss blue in the future.
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In my present mood, I encourage you to simplify your travel or carry in the car art supplies. I will travel light—carry on only.
So, what’s in my bag? All dry supplies – to meet TSA requirements

A small set of Winsor Newton Watercolors about 6” x  3”
Derwent Inktense watercolor pencils – 6 in primary and secondary colors
2 small paintbrushes
2 fine point sharpies
A small watercolor paper tablet – 7” x 10” 140 lb. weight
And my new iPod. I’ve been practicing with Procreate….

 This summer, enjoy the coolness of blue!
         Explore your favorite color! 
​                  Simplify your painting routine! 
                            Bonne peinture!  Happy painting!

The digital age has certainly changed the way we do almost everything.  In the 90’s, I was a bit saddened to learn that a designer friend rarely used her real paintbrush, revealing my old fashioned preferences.

Typewriters and carbon paper reigned when I was in college, and I spent a good deal of my teaching career transitioning to the digital world.

Recently, a friend planned a travel workshop to include architectural drawing using an iPad. I saw the advantages of a small tablet but was skeptical. However, a recent Apple store class, my eyes were opened!

Yes, I jumped in with the purchase of an iPad and stylus.  I have wanted one for a long time, and a travel opportunity, where I will retrace my friend’s itinerary, is providing motivation.  I dutifully down loaded a program called Procreate, (a bargain at $9.99 after purchasing the iPad!). I am somewhat familiar with Paint Shop Pro, but this is adding an entirely new drawing dimension.

The young Apple class instructor reminded me of my innovative and enthusiastic high school students.  She knows her material, and by luck, the free class had only two participants, both retired teachers.  We walked to a nearby quiet outdoor garden area, where she explained as much as she could about the basics of the program in 90 minutes.  She also shared some of the mistakes she has made during the past year using Procreate-and how to solve them!  I spent the rest of my errand-filled day sketching with the iPad—at the car dealership as I waited for service and at a restaurant.  I knew I had to practice individually or I would forget my new lessons. I will return for more classes - a 45 mile trip for me.

​So – my initial opinions.  I still think drawing, not tracing, is important.  I have a hard time calling a photograph which has been digitally manipulated to appear liked a brush-stroked work a painting. The Procreate program (and many others) gives you a variety of “sketching/painting“ tools in a variety of sizes.  I found it was easy to download a photo of one of my own paintings and create a color palette from it-voila!  My own palette.

My iPad is small.  It will never be the same as drawing on large paper or canvas- the flow is not the same.  However, for catching color, light, what you see…it’s great and my short experience is only a beginning.  For travel, it should prove useful.  I will still pack some pencils, a sketch pad, and watercolors.

I first entered the digital art world last year experimenting with photographs of my own paintings. These have proven popular. Color schemes, values, and backgrounds  can be modified with almost a click! 
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For centuries, artists have used innovative tools, and this is another. Drawing and painting are unique experiences to be savored. However, painting digitally certainly gives one’s brain a workout, and the results are impressive.  Have fun – and don’t worry about having to wash out those brushes!

Many aspiring artists ask how to learn to paint. I have always recommended a trip to the library for some good books on painting. Today, the Internet (you are already here!) offers wonderful resources as well although it is often difficult to know where to begin.

Best of all is watching a live artist demonstrate. The camaraderie and energy from a group that is passionate about a process cannot be reproduced in a book or online.

Although my mother was an accomplished artist, she knew the importance of experiencing workshops.  When I was 9, she enrolled me in the local art association’s watercolor class; I vividly remember learning the process of taping the paper to a board, wetting the paper, painting “wet into wet” and painting from the still life – bright watermelon!

​As a child we often take our parents for granted or reject their advice in the quest to learn about the outside world. I continued to draw, paint and even listen to my mom!
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After 35 years as a teacher, my retirement has given me an opportunity to explore and begin to nourish my own style.

Each year, I have been very fortunate to enroll in a multi-day workshop.  I find workshops offer a jumpstart to technique. You lay aside several days to devote to making art.  You remove distractions of household chores, family and other obligations. Generally, you assemble and buy new materials. You have paid tuition and want to get your money’s worth.

​On a more creative note, you select a teacher because you are attracted to their style, and you will be surrounded by other aspiring painters who admire this teacher.  I find there is an energy among these individuals pursuing a similar goal which will carry you for many months. A good teacher will show you techniques and materials you have not seen before, even if you are an experienced creative.
Learning to see something in a new way is a wonderful lesson. Recently, workshop instructor, Pauline Agnew, from Ireland, was enchanted by the vivid colors of the ice plant –a non-indigenous plant considered invasive today. Ice plant (Carpobrotus edulis -shown below) was brought from South Africa in the early 1900’s to stabilize land.  However, learning to see beauty in common objects is invaluable to an artist.

Below are two of my new works including the red ice plant encountered at Ponto Beach, Carlsbad, CA painting during the workshop with Pauline Agnew. (acrylic on watercolor paper)

​​Some of Monet’s glorious impressionist works depict the billowing, polluting smoke from the railways, such as The Gare Saint-Lazare: Arrival of a Train  (shown below) painted in 1877. But what color!

​I encourage you to look for painters with whom you would like to study, either by word-of-mouth, social media, galleries, online and in magazine listings…but really ask people who have studied with the individual for their reactions. Research artists your favorite artist follows on Instagram.

Artist I have studied with and recommend include the ever-effervescent Robert Burridge, Ray Roberts, Peggi Kroll Roberts, Melinda Cootsona and a Pauline Agnew. (My photos of the instructors during the workshops I attended below) Last photo: Yours Truly at Pauline's workshop.

Another opportunity is community college. I have great respect for community colleges. During high school, I took classes at Los Angeles Harbor College. Instructor, John Cassone was incredible, as good or better than my university professors. I used many of his design exercises as a high school art teacher, and early lessons in life drawing were priceless. 30 years later, when I sought to revive my art experience, I enrolled in a life drawing class with Cathy Allen at Copper Mountain College.  Inspired, I founded and facilitated a local life drawing group which met for over eight years. 

I would encourage you to look through local community class catalogs, community college schedules and other art associations for teachers near you. If this is out of reach for you at this time, take yourself on an “artist date.” Brilliant author and teacher Julia Cameron encourages assigned play. She describes it as:

​“The Artist Date is a once-weekly, festive, solo expedition to explore something that interests you. The Artist Date need not be overtly “artistic” — think mischief more than mastery. Artist Dates fire up the
imagination. They spark whimsy. They encourage play. Since art is about the play of ideas, they feed our creative work by replenishing our inner well of images and inspiration. When choosing an Artist Date, it is good to ask yourself, “what sounds fun?” — and then allow yourself to try it.”
 
Develop your practice, yet remain free to play!

Ah, today we are having gusty winds up to 34 mph – rather common for the Hi Desert near Joshua Tree. However, I never enjoy them and wish for the quiet stillness.

Too windy to enjoy the outdoors, I see everything in motion through the windows as I write this.  Each bit of vegetation is waving in sunlit motion, the patio tablecloth flaps (we long ago devised a clamp system to keep it in place) and the loveseat swings (the frame attached permanently to the patio pillar after many topples). 
The wind’s ever-present whooshing surrounds the house.

In motion....

Although we often resist change, our lives and paths are ever in motion.  To be alive means to change, hopefully in a positive direction. The winds howl, blow up a little dust, and we see things in a new perspective.

How do we clear the object strewn path to creativity? 

Goal 1- Carefully choose activities in line with our mission in life (prioritize and eliminate!)

I am striving to set priorities and really examine what I like to do.  I enjoy painting and writing, but recently I have allowed many forces to distract me and take me on detours.  I am narrowing my goals and reviewing my personal mission. Ironically, the burgeoning “artists haven” in which I live has lost much of its privacy in a competition to distill and showcase the local vibe. You may be experiencing your own version of life and community clutter or the rich adventure of family and responsibilities.

I encourage you, at least for a part of your day (week, weekend, month) to dream of and focus on what you really love. It’s not that we do not wish to encourage other artists around us, and I personally see encouragement as a part of my mission.

However, seek a time and place to develop the interests, skills, fields of knowledge that are unique to you.  These interests began to grow like tiny new leaves when you were a child and perhaps have been smoldering under a dampened fire for years.

Fill in your blank: I wish to _______________________________________ (paint, sketch, sculpt, sing) every (day, week, month season…)

Study, develop your God given talent, paint what you want to paint, not what has been suggested, deemed sellable, required by an exhibit or other outside factor.  A mini-vacation of creating.

Goal 2 - Multi-task less. Attempt to do 1 or 2 things at once (not 14!). Focus. Meditate. Be present in the activity and purpose.

I have become a master at multitasking, but in my hurry to accomplish much, my own experience of enjoying what I am observing, sensing, painting, and appreciating is diminished. 

Life is a huge smorgasbord offering delicious ideas and treats along the way, and I want to partake and participate, often at the same time!   I want to be creative, care for my family, give time to important causes community and stay sane.

Yet, taking on too much dries up my creative juices.  If you are doing activities simply because you started, someone else thought I should do it or it was just the next step, STOP.

What do you want to do? Is there a time and place of your own (even the car on the way home or to work), a stop at a garden, café, library or and many young parents know—the (yes) bathroom.

• Turn off the computer and read.  Light a candle or incense
• Place a bowl of fruit on the table and sketch.
• Pack a basket of drawing materials (charcoal, pastel pencils and a tablet) in your car and stop when you see a beautiful sunset, shadowed landscape and sketch-record.
• Find a documentary on an artist, country or other passion and watch (without texting or, computer surfing). Doodle if you must!
• Place the ingredients for your next meal preparation on your counter (multitasking by listing to music is ok!) Focus on their color, texture and your end creation.  Sample along the way. Think of painting each ingredient.
• Attending a yoga class takes me out of my busy world and forces me to quiet my brain and senses and feel the movement. I create my best paintings and projects (in my mind) during these sessions.

 
If you feel a need to set goals and enjoy the process more, join me, on this journey to burst out-and clear a path to a meaningful and creative process. Stress, dust, fatigue, over stimulation can deprive us of our own ambitions. Take time to remember your sacred flame, your inner spark - that seed within you that yearns for direction and nurturing.   Look for future blogpost describing simple colorful ways to explore creatively – in a short amount of time and with limited fuss and preparation.
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Happy creating!

I began this blog in January to provide concrete painting tips, inspire beginning painters, and to post information to class members.

Today, we have quite a bit of rain in the Mojave Desert! However, last Saturday, St. Patrick's Day, was beautiful. I taught a painting class in gorgeous Joshua Tree National Park, and although it was a bit windy and chilly, we had a good turnout and day. So today is a great day to share some new thoughts on old ideas!
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COMPOSITION

Besides selecting materials and mixing colors, a painter must plan composition. It is your foundation! I believe considering composition becomes an intuitive habit the longer you look at paintings and create your own.  Whether you are drawn to objective or abstract painting, talking lessons from the old masters and known composition elements is always a good idea.
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My most recent class was plein air (fancy name for outdoors) landscape painting.    I urge my students to make a series of quick “thumbnail” (small-yes larger than a thumbnail, but typically no larger than 3” x 4”) sketches which catch the essence of the subject and lay out composition, planning darks and lights.  Each drawing should take no longer than 5 minutes, and it’s important to do 3 to 5 sketches. You redefine your view, your subject and create a better plan.

Above: August Agave, acrylic on canvas, 12" x 12"

Tools
I often use inexpensive mechanical pencils (no need to find your sharpener) or lovely soft art pencils.
Use the eraser as a reverse tool; shade an area and “draw” into it with your eraser.
Begin to see your scene as a pattern of darks and lights, shadow and drama.

A great tool is a piece of red plexiglass. When you look through, you see only the values, the lights and darks. An inexpensive version can be found at Cheap Joes. A more durable version with a grid and mirror can be purchased from Peggi Kroll, Instructor

Avove: Peggi Kroll's Red Plexi
Take a photo with your camera and turn it to mono or black and white.  But do not spend too much time with this-  look for the general pattern of lights and darks. 

Horizon Line
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A first concern for painting a to landscape or any painting, is where will your horizon line fall?  Even abstract paintings often have a definite horizontal line. Throughout history, certain measurements have been considered pleasing to the eye. The ratio of 1 : 1.618—not quite 2/3 (extremely rounded off) was named the golden ratio by the Greeks. The ratio proves pleasing both vertically and horizontally.

​Simply put, you do not want your horizon line in the middle.  It will be more pleasing a little less than 2/3 up the page or 2/3s down from the top.

​Composition Examples
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Several basic composition templates prove helpful. Note most place the horizon line off center – about a 1/3, 2/3 or with the 1: 1.62 ratio.

Another helpful hint, as in Japanese flower arranging, Ikebana, an uneven number of objects is more pleasing than an even number.  This avoids symmetry and equal balance, which are actually seldom found in nature.
 
I find a good technique to improve composition skills is to look at works by old masters or painters whom you admire and create a quick thumbnail sketch.
Here some samples of my very quick sketches; you will find they often follow basic composition models above.

Van Ruisdael

WM Turner

Paul Cezanne

David Hockney

Grant Wood

Julian Onderdonk

​Each of the Design Elements (color, line, shape, texture, space, form, harmony/unity, and balance) will be considered in time. For early planning purposes, we consider line, shape, space, balance and placement of darks and light.
 
Once you have created a thumbnail sketch that you wish to use, transfer you sketch to your canvas, gessoed watercolor or other surface. I like to use pastel pencils, sometimes in various colors as scene here.  I then cover the sketchmarks with acrylic medium. See photos below.
 
You are  ready to begin painting!  Watch for a future blogpost. 

You have a sketch, a photo or a subject in front of you and you want to paint! Today's post will not tell you how to paint-but what you will need to get started.

A writer may grab a pen and paper or her laptop.
A photographer his camera.
A musician may poise herself in front of her instrument. She may need to prepare the instrument; a clarinet player must dampen the reed. 
A ready desk area, work room, or shop encourages one to act upon inspiration. 

​Both plein air and studio painting require having one tools ready to go.
Here is my basic process for setting up to paint.
 
It can take a painter a bit of time to set up, and although I can get ready quickly---
some things cannot be left out. If I’m in the mood and I must move from room to room, gathering brushes, a carrier, water container—the mood may leave! Certainly inspiration will not flourish.
A  daily routine is ideal, but I often work in spurts—several days in a row and then rest.

I love both oil and acrylic paint, but have been painting with acrylics for the past several years.
 
Acrylic Paint Advantages:
Water based
Non-toxic
Cover many surfaces
Dries quickly -especially in a desert climate.
Disadvantages:
When on your clothes, it’s there for good.
Because it dries quickly, your brushes can dry full of paint and be ruined. (solution-even though you have been told not to leave brushes tip down in water- put them in water!!!) 
 One cannot just leave your paint to run an errand without taking precautions.
 
Palette:
One of my most habit-changing discoveries is the stay-wet palette, similar to a Tupperware box with a special sponge and “paper” palette.  The thin sponge keeps the palette wet and requires a 5 minute soak in cold water before using.  The polyacrylic paper must be soaked in hot water for 15  minutes.  Then, voila, you have a palette that will keep paint wet up to 2 weeks-in the tightly sealed box-even in dry climates! I didn’t believe it would work until I tried it. This beats a paper plate and wasted paint!

​Laying out paints:
I recommend you develop a pattern to use consistently. This will allow you to reach for your colors automatically.   Some painters limit colors.  Some place cool colors on one side, warm colors on the other.
I find it natural to arrange colors from yellow around the color wheel, and ending in browns, unbleached titanium and ochre.  I can introduce more colors within the change of hue.  Reds and even a violet end on the upper right.  Blues descend from a blue-violet to blue-green along the right. Green at the bottom and if I’m using black it would be in the lower left and traveling up the left are umbers, ochres and unbleached titanium.
Colors below are: Hansa yellow light, cadmium orange, cadmium red light, cadmium red medium, pyrrole red, magenta, deep violet,   violet,  cobalt blue, ultramarine blue (red shade),  ultramarine blue (green shade), Prussian blue, phthalo blue, cerulean blue, phthalo green, viridian, yellow ochre, unbleached titanium.

Medium:
Your paint will flow and cover the surface batter with the use of an acrylic medium. There are a variety available: mediums to aid drying, to keep your paint wet,  glossy, dull with a matte finish.  I most often use Golden Acrylic Matte Medium. 
Surface:
What you going to paint on? When acrylics first became popular in the 1960s, my mother, and avid oil painter and ceramicist, was delighted that acrylics would glide onto almost any surface: metal wood, old shoes, papier-mâché, craft dough (the old salt-flour-water variety) and so much more.  Of course she began to experiment with it as a painting medium as well.
As a young artist, I began painting on pieces of masonite which my father cut, and my mother taught me to cover with white paint.  Although we often used white latex paint, I have learned that gesso is preferable. Historically, gesso was made for oil painting and used to prepare or prime a surface so oil paint would adhere to it. It is made from a combination of paint pigment, chalk and binder. Traditional oil gesso contained an animal binder (usually rabbit skin glue), chalk and white pigment and was more of a glue gesso. Gesso creates an absorbent surface which and allows the paint to grab the canvas; it has a texture or tooth. Modern acrylic gesso does not contain glue and is a combination of acrylic polymer medium (binder), calcium carbonate (chalk), pigment often Titanium white, and chemicals for flexibility and long archival life.
Gessoed masonite, canvas and even watercolor paper all work well. Remember my mom attempted to paint almost everything!
 
Other supplies:
brushes-my preference is a shape called “flat” in sizes from 4-12.
paper towels
drop cloth
easel or table top 
perhaps a palette knife
large water container
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You are ready!

A few weeks ago, I was collecting quotes about yielding to changes in our lives – in a positive way. Presently, the whole world is pondering the increase in school shootings…and the pall is palpable.
Like the small wildflowers that erupt in tiny crevices between desolate, dry rocks, those who must create endure.

Although our art may not be political per se, we often feel a strong urge to create beauty to combat the ugliness of evil –or to reveal truth amidst evil. When I taught high school literature, students often asked why I included so much history.  I explained that literature (or any art is a reaction world events; it does not occur in a vacuum).

Many artists draw attention to a specific cause. Others gain a sense of comfort in the act of creating.
With that in mind, I urge you to follow your creative urges.

Many painters insist on warming up by painting each morning.  Action creates energy. I have been advised to choose a random word from a thesaurus as a daily motivation. Julia Cameron, author of the notable The Artist’s Way, instructs us to write three “morning” pages.  Gail McMeekin suggests taking 15 minutes a day – in solitude - to open to creative thoughts or practices.

According to one of my favorite authors,  Madeleine L’Engle (best known for A Wrinkle in Time), “All of life is story, story unraveling and revealing meaning. Despite our inability to control circumstances, we are given the gift of being free to respond to them in our own way, creatively or destructively.”
                                                           -from Walking on Water: Reflections on Faith and Art

“The creative process is a process of surrender, not control.” 
                                                           - Julia Cameron

“If a branch is too rigid, it will break. Resist, and you will perish. Know how to yield, and you will survive.” 
                                                            - Liezi, Lieh-tzu: A Taoist Guide to Practical Living
 
As creative beings—we continue painting, writing, designing, composing.  This habit will keep your mind at peace as you ponder beauty. 

It may give you purpose as you create art designed to persuade. History is replete with artists and writers whose purpose has been to persuade.

In The Third of May 1808 Francisco Goya sought to commemorate Spanish resistance to Napoleon's armies. (below left)

Jonathan Swift urged the aristocratic landlords to lower taxes of starving people in his satirical “A Modest Proposal.”
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In photographs such as her iconic “ Migrant Mother,” Dorothea Lange's photograph humanized the plight of those suffering during the Great Depression. (below right)

​I am delighted to announce that all three of my submissions to the 49th Multi Media Mini Show were juried in. Even more exciting, I won 2nd place!
The exhibit will continue through March 15th at the Redlands Art Association, 215 E. State St. in Redlands. Open Mon-Sat 11 - 4:30.The Opening Reception is 5-7 pm. Friday, Feb. 23, and an Award Reception is Sunday, February 25th at 1 pm

Below: Sunlit Mariana oil on wood panel, 10 x 10; Sun Alley, acrylic on canvas, 12 x 12; Hillside Oaks, acrylic on linen, 8 x 10.

 
https://www.redlandsdailyfacts.com/2018/02/21/want-to-see-mini-art-in-many-media-check-out-redlands-art-associations-multi-media-mini-show/
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I can't resist sharing nature's Valentine-which I only noticed in the photo later.  This is in Joshua Tree National Park where I will be teaching a class in March for the Desert Institute. I confess, I put on my rose colored glasses!

More views from Lost Horse Campground (available by permission only)

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