"Soraya" : accepted into "Women Painting Women (R)evolution 2013 Juried Exhibition" .

 
It's really an honor to be included in this show - there were over 520 submissions representing 26 states across the US, Canada, Spain, Germany, the Netherlands and the Philippines.

From Townsend Atlelier, Chatanooga, TN:

"Juror Ellen Simak conducted a blind jury (i.e. all artists/images were presented to her numerically without artist names) and she selected a show of 36 incredibly strong works from all over the world."

The opening reception is September 7, 2013, from 2:00-8:00 p.m. with a live painting demonstration "Art Throw Down" between artists Cindy Procious and Mia Bergeron. The show runs through September 28.

Artists' Magazine Article, "On the Threshold"

I've had some request to share this article on understanding and painting the subtle differences as subjects move from childhood through adolescence, into young adulthood. Originally printed July 2010, Artists' Magazine. If you have difficulty reading it, let me know and I'll be happy to email it to you:)

The Making of Judge Linda Ann Wells's Portrait

On July 11, 2013, I attending the unveiling of my portrait of Chief Judge Wells, Third District Court of Appeal, in Miami. Over the course of this commission, I came to know Judge Wells and her husband on not just a 'business-as-usual' basis, but as the gracious and generous couple they are.

Here are some photos of the process:

Above, oil sketch on stretched oil-primed linen. I spend a LOT of time working out the figure placement and composition before ever picking up a brush.

Above, the first thing I do in preparing to paint any part of my subject is to commit to a color and value for the background -it's nearly impossible for me to make any remotely accurate judgement about skin tones without adjacent color and value context. In this case, at the photo sitting,I had made the decision to light Judge Wells with a cool artificial light (6500 * K), to bring out the silvery tones in her hair and clothing.

 Above,  I've worked the skin tones and likeness far enough to begin working on the rest of the canvas, and left most of the hair still unpainted, so that I could go back in wet-in-wet to control the edges of the hair against skin and against background..

Above, I've painted the robe, so as to set up the edges that will be integrated with the hands and blouse.
Below, detail of Judge Wells's hands. She is wearing her West Point ring, and an antique bracelet.

The finished portrait below. From the early planning stages, I used areas of  both soft and crisp lights to move the eye around the canvas, all in support of my focal point. The orchids were in Judge Wells's office and I just managed their value, exact placement and edges to establish a rhythm to the surface.

Judge Wells is the first female Chief Judge in the District's history. I thought that the orchids brought a bit of femininity to the concept, atop some of her legal books.

Montgomery Frames in Tempe, AZ did a fantastic job making the frame - I couldn't have been more thrilled! I stretched the linen on to heavy duty stretcher bars, so Dave at Montgomery added sufficient extra depth to the frame so that it would hang flush on the wall, instead of canting forward.

...and here she is on the courtroom wall:

...and of course a very short video of the unveiling:

Morikami Museum & Japanese Gardens, Southern Florida July 10, 2013

My Aunt Mai and I had planned to see the Boca Art Center's Florida Juried Art show, but when we got to the museum it was closed for repair - instead she took me to the Morikami Garden in nearby Delray Beach - what serendipity!

"Wood Be: Kindred Spirits" was on exhibit, as were the ongoing Tanabata events, neither of which had I ever heard.  The Robert J Brokup Kokeshi doll collection was beautiful, with a variety of very simple wood-turned forms, some of which were long and sylph like, some Botero- like. Many had a wind-swept sense of  movement.

Here are some of my favorites:

The garden walk takes about an hour, everything just exactly perfect. It would be a perfect place for lazy  pleine-aire painters since so much of the composition is already done and edited:)

I don't know what it is with me and heart-shaped trees lately, but they seem to be everywhere.

Here's an open heart:

... a full heart:

and for the oblivious-at-heart, a literal heart:

which, incidentally, was next to a sign that said, "Thank you for not carving on the bamboo trees."  Sigh.

Here you can listen to the sounds of the bamboo stalks moving against each other in the wind - some sounds are creaky, some are squeaky. 

The Kokeshi exhibit runs through September 15, 2013.

Still life update

Off the easel, "Blue Plate Special". oil 12" x 16"

It's fun to play with (painting) knives and safer than running with scissors:)

...and two other paintings have gone to collectors this past month - one in Northern California, and one in Arizona. "Peachy", oil 18" x 14" and "Sylvia's Cup", oil, 20" x 16"

OPA Fredericksburg, TX

It's not really possible to describe the impact of the experience at the Oil Painters of America exhibition...what a sea change.

It all started with breakfast at the first plein-aire painting site, at the Lady Bird Johnson state park. Of course first thing was a little equipment glitch which was remedied with Gorilla tape...not much to report on that day except that I met some really excellent plein-aire painters and took a wonderful hike along a riverbed. And it all got better from there.

The exhibit was FABULOUS and so many of my favorite painters were there to meet, and whose work I was able to see in person for the first time. Insight Gallery, Whistle Pik, and RSHanna galleries are in Fredericksburg,; honestly there is more fine art ( that means really "fine") in this little community than is imaginable. Bill Whitaker's (some of you may know that he is my mentor and hero) paintings were a Whistle Pik - all were Wows.

I got the chance to watch (OK, make that inveigled) teaching demos from artists Marc Hanson  and Kirk Larsen. Thanks so much to both of you:)

Demos by Kenn Backhaus, John Cosby, John Michael Carter, Scott Burdick, Sherrie McGraw Elizabeth Robbins peppered the weekend with inspiration. After the award ceremony, I was fortunate (er make that bold) enough to crash a post -event creekside gathering. CW Mundy on the banjo, the Mayor of Franklin TX on guitar, Kirk Larsen on blues harp...with Kenn Backhaus, Scott Burdick, Sherrie McGraw, Ken Cadwaller, Bryce Cameron Liston, John Michael Carter, Jacqueline Kamin, Marian Howard...I'll tell you, it just doesn't get any better than this.

This was my first venture outside the portrait artist world, and the artists here were every bit as kind, generous, and friendly as in the portrait sphere.

Above, with artist Steven Daluz,(whom I'd only known on Facebook before) in front of my still life, Golden Ribbon . Below with artist Marc Hanson.

Above, Sherrie's gorgeous demo of OPA President Neil Patterson.Below, Kenn Backhaus's demo

Above, Mike Carter's killer demo.

"Golden Ribbon" to be shown at the Oil Painters of America's National Juried Competition

The Oil Painters of America (OPA)'s 22nd Annual Juried National Competition will open at the Insight Gallery in Fredericksburg, TX this week. You can see the entire show at the previous link -  I can't wait! There are some really amazing artists exhibition  and I hope to meet so many that I've only admired from afar. It's also a chance to venture outside the portrait world, and to actually do some plein-aire painting alongside some of my landscape heroes.

Here's "Golden Ribbon" - hope to post pics from the upcoming events soon:)

Workshops - August and September 2013

I'll be teaching the "For Love or Money: Portraiture & the Pursuit of Excellence" portrait painting workshops twice this year:

Mountain Artists' Guild
Prescott, AZ
August 5-8, 2013

and

Corse Gallery & Atelier
Jacksonville, FL
September 27-30, 2013

Hope to see you in class!

Copper Bowl, oil 6 x 12

This little study was challenging in that I had to try to figure out how to deal with the strong cool reds of the cloth, and yet have them integrated properly with the orange reds in the bowl.

Portrait of Jaime & David - process

It's always fun (at least for me) to be able to see some of the steps involved in an artist making a painting.

I usually begin with a toned canvas, and measure and place the figures with marks made with a small brush and thinned raw umber or terra verte. Next, spots of color indicating dark/light bookends.

It's a good idea to commit to the background right away, and to start bringing up the skin tones.

The time between images three and four take the longest - lots of fussing with the likeness, edges, and color and value transitions. All fun:)

Will Powers Photography

I added a new link to welcome Will Powers Photography to my blog - Will did a wonderful job helping me put together some PR photos a number of years ago - Here's one of them:)

This is just a test slide show from fineartamerica.com

Pleine-aire Painting with John Budicin

Last month I was able to take a landscape painting workshop with John Budicin (fabulous painter) through the Scottsdale Artists' School program, held in San Diego. What a "WOW" experience, one that I've been really intimidated to attempt in years prior. I learned a tremendous amount from John and met some wonderful artists in the class.

In four days I painted 7 little studies, none of which were very good, but that's not the point. The point is simply to pay attention and paint. As fast as you can:) To say my equipment setup was heavy, awkward and archaic is an understatement, and coming back to Phoenix I got completely excited about the Art of The Cigar Box Pochade, and decided to build myself a little painting box.

The only thing I probably do worse than singing is sewing, and even worse is carpentry. Things never quite line up after I'm done with them. But it was really fun, and even if it's not a thing of grace and beauty it works just fine and I think it's cute. Here are the pics of my box - there's a ton of DYI info on line, and I think that you just have to improvise based upon the particular box you have.

Here's my little Asylum box (well named, no doubt), with a handle and clasp from Home Depot.

I added some sturdy hinges, and glued a cedar block (from Bed Bath & Beyond) on the back to act as a stop so that the lid won't open too far.

Four small cedar cubes, glued about 1" below the opening, support the little mixing palette, and and provide room underneath for about 8 tubes of paint and a small bottle for turps.

Positioning the cubes on the left added a little support for the screws that secure the handle to the left side. There is a tee-nut in the center of the bottom towards the back, which is where I estimated the balance point to be with the lid open - it screws onto the tripod or quick release head. You can also see that I've used some pieces of wood to add strength on the inside where the hinges are placed. The piece of wood inside the lid has 2 little l-shaped brackets attached which function to hold the panel flush against the front of the upper lid, and are placed so that they rest against the mixing palette ( held in place by the rubber band) and prevent it from falling against the lie. There's enough space inside the lid behind the brackets to secure short brushes with Velcro .

The mixing palette is just a thin piece of craft wood from Michael's and the screw eye makes it easier to lift out.

Here it is in action! I took it for a test drive on the canal near my house, and it worked just fine. I only have 91 paintings to go and then I figure I should know what I'm doing.

Article, Artists & Illustrators Magazine

The July 2012 issue of the UK publication, Artists & Illustrators features my new article on painting skin tones...it should be available now in US locations. I worked with editor Steve Pills, who was a pleasure:)

Artists' Magazine Finalist, Still Life Category

I just received work that my still life, "Crisp & Fresh" was named a finalist in this years' Annual Competition. This  is the first still life competition I've entered so it was happy news:)

Just out: Artists' Magazine article, June 2012 ...an excerpt from my new book:)

Joan, in Torrit Grey

Last week, the Portrait Artists of Arizona visited me for a studio tour. Since my studio is just one room, the tour itself took about 7 minutes, LOL. So we 'volunteered' Joan to sit for a while so I could try out the new Torrit Grey color for 2012. For those of you unfamiliar with Torrit Grey, here are the details -  it's a fun annual competition by the Gamblin folks. (That's Gamblin, not gamblin')