Wednesday, December 23, 2009

Conch Shell

I grew up visiting Cape Cod in Massachusetts, wandering the beaches with my back tanned dark from all my hours hunting seashells. So I was delighted when I saw this familiar shape sitting on the windowsill at the home of my friend Lisa. She told me a friend of hers found it intact on a Cape Cod beach, which I happen to know is a real find because they are usually broken. Lisa agreed to let me borrow it, and now that the new studio is set up I am finally able to begin studying the shell.

Drawing a seashell is like solving a puzzle - every piece fits logically with every other piece, there can be only one way it all fits together, and it is completely wrong until it is completely right. The same way some people enjoy doing crossword puzzles, I'm going to enjoy my next few hours at the easel finding how all those pieces fit together.

Tuesday, December 22, 2009

Studio Photos


The new studio is finally all set up! Thanks to everyone who made it to my studio warming party, if you missed it and you'd like a tour, just email me to arrange a visit.

I have been designing this studio in my mind for years, it's wonderful to get the chance to create the ideal environment for my work and for teaching students.

If you are interested in studying painting or drawing with me, please visit my Teaching Page to see the schedule for classes beginning in January. Also, sign up for my mailing list to be notified when new classes are posted.

Wednesday, December 09, 2009

Sterling Boat: FINAL

Sterling Boat
oil on panel, 9 x 12 inches

Finally finished! It ended up taking about 16 sessions over the course of a month, for a total of 68 hours, including the initial contour drawing. Thanks to everyone who has followed along the last few weeks as I posted all the stages of this painting, it been an interesting experiment to document the process so closely.

Here's a slideshow of all the stages of this painting:


Click slideshow to see it larger in Picasa

This painting will be in my March show at M Gallery in Sarasota, Florida. The show will coincide with my painting workshop, March 22-26, also hosted by M Gallery.

I've just added Still Life Painting classes to my San Francisco teaching schedule. I'm thinking about offering a drawing course for absolute beginners later in 2010, if this is something you'd be interested in please email me.

Finally, my new studio is coming together and I'm looking forward to posting photos soon, stay tuned!

Sign up for my mailing list to be notified when I post photos of the new studio, new artwork, and upcoming art classes.

Thursday, December 03, 2009

Perez Fine Art Gallery Online Exhibition

My painting Wrapped Silver Goblet is now showing in an online exhibit at Perez Gallery for the month of December. It's beautuful collection of work and I'm proud to be shown in this group!

Click here to see the Perez Gallery Winter Exhibit

You can even vote for your favorite painting ;)

Wednesday, December 02, 2009

Sterling Boat: Session 12

Sterling Boat - DETAIL - work in progress
oil on panel

Sterling Boat - PREVIOUS DETAIL

Tiny, tiny differences between the two, I just made this section more crisp, maybe you can tell if you compare the two shots closely. I won't even say how many hours I spent today on this one segment of wax paper, except to say it was my longest single session on this painting so far.

Wax paper in the light - the whitest, brightest parts, is always the hardest this for me to paint. I think it's because white oil paint has a different texture than the transparent paints in the shadows. White pigment is thicker and more grainy, so it looks like crusty paint even when other parts melt into a convincing illusion. And I'm always wishing it could be brighter to match the dazzling highlights I see. I always despair over these bright white sections in all my wax paper paintings.

In contrast, the strip of painted wood shelf is super easy, it flows out in a flash - I can spend hours to create the illusion of a square inch of wax paper, and only minutes for a square inch of painted wood.

What I like best about this section is the filtered cool light that shines through the paper and onto the edge of the shelf, illuminating it with a little pale glow within the cast shadow.

I listened to an audio book while I worked today, I usually listen to NPR podcasts - Fresh Air etc. But something about listening to one long narrative all day really enhanced my focus and I barely stopped painting for even a minute all day. It was great! I think I'll keep doing that. Maybe the podcasts changing subject so often is messing with my concentration.

Sometimes I listen to music while I paint, but usually the verbal narrative in my own head starts to get distracting. I have a bad habit of ruminating on unpleasant thoughts while I paint, so I need something innocuous to occupy my verbal brain while I work.

Are all artists like this? Can you work with focus for hours in silence, or with music? Can the music have lyrics or do you need it to be instrumental?

Making art while surrounded by chatter reminds me of art class as a young kid. Art class in elementary school was the one class where the teachers usually let kids talk while working, and I would always work silently but enjoy the chatter of schoolkid gossip all around me.

Tuesday, December 01, 2009

New Studio Preview

My husband Nowell took this photo of me in front of my new studio building this evening. And here's a sneak preview of the inside by day...

It's pretty bare now but at least you can see the cool double doors and beautiful north light! I'm dying to show you more but I'm going to wait till it's all set up.

Sterling Boat: Session 11

Sterling Boat - DETAIL - work in progress
oil on panel


Sterling Boat - PREVIOUS DETAIL

I spent most the 4-hour session today on the seashell, but I think you can see the most difference in the before/after shots if you look at the edge of the painted wooden shelf.

The seashell is challenging because it is reflective, translucent, AND colorful. I'm trying to show a shiny surface that also has depth, because the light both bounces off and penetrates the surface. So there's a lot of fiddling, pushing the values and hues around bit by bit. Slow, slow painting.

This is where glazing makes a big difference because I can layer transparent films of color into a couch of slow-drying oil medium, and make tiny adjustments.

Also, thinning the paint with oil makes a cleaner edge, because the texture and goopiness of the paint is reduced. Just like how melted butter can spread in a thinner layer than cold butter simply spread thin.


------UPCOMING CLASSES AND WORKSHOPS-----------
I teach Classical Realism drawing and painting classes and workshops in my north light San Francisco studio. I also offer workshops at other locations in the US. Please visit my Teaching page for more information and to register!