And Now, a Thirty-Day Challenge

February 3, 2018 in Figurative, Landscape, Other Art, Plein Air, Still Life by joanvienot

Artist and art marketing guru Leslie Saeta periodically offers a 30-day challenge, to paint 30 paintings in 30 days. Since I managed to complete Mary Gilkerson’s Five-Day Challenge, I thought I’d give this one a whirl. Eventually, there should be 30 paintings on this blog post, and I will also post to Instagram at @JoanVienotArt and to Facebook at Joan Vienot Art. The 30-day challenge will start February 1, 2018 and will run through the first couple days in March.
Collage of the 30 Paintings in 30 Days artwork

The 30-Day Challenge is now complete, and I am happy to say that I managed to paint every day! It’s not so hard, if it is a priority. Granted, many of them are small, just 6×6, but I made each one of them count as a learning experience. At the same time, I had scheduled 5 workshops during this 30 days, so it indeed was a period of learning. Probably the most difficult part of it was posting to my blog and to social media — that took a minimum of 30 minutes each day, and if I wasn’t careful, I could find myself stuck on social media for another couple of hours, catching up on friends’ activities and generally being entertained by the mishmash of news and minutia one finds on Facebook. Below are my 30 paintings.

 

Oil painting of a stalk from a cotton plantOil painting of a stalk from a cotton plant

 

Day 30, 3/2/2018: Cotton Stalk, 12×6 oils on canvas panel, painted from still-life set up in studio. This was a fun to paint. I purposefully painted a light background, so that the cotton bolls would be harder to see, requiring the stalk in order to be identified. Somehow this seems to me to be a picture of my life, that the things I think are important, are nothing without the thread or the stalk that binds them together. 

Oil painting in progress, waves coming in from the Gulf of Mexico

Day 29, work in progress

Final version of oil painting completed in Dorothy Starbuck's workshop on breaking waves, previously posted in-progress

Finished version

 

Day 29, 3/1/18: Calming the Waters, 16×20 oils on linen panel, painting in progress in Dorothy Starbuck workshop at the Cultural Arts Alliance of Walton County. We are each using a different reference photo, to learn to paint a translucent breaking wave, and the lacy foam left on the surface after a wave has come in. Our paints are cadmium yellow light, alizarin crimson, burnt sienna, ultramarine blue, thalo blue, thalo green, viridian green, and titanium white. At right is the finished piece.

 

 

 

 

Incomplete oil painting, study of Tupelo Pavilion in Seaside, FL, en plein air

Day 28, 2/18/18: unfinished Tupelo Pavilion Study, 11×14, oils on linen panel, painted en plein air at Seaside, Florida. I am taking a workshop from my neighbor and friend Dorothy Starbuck which it started today, my local plein air group’s day to paint. So I went to our plein air location early, right after the sun came up, and got started, but 2 hours was not enough time for me because I struggled so much getting the architecture right before I started applying color. I still have the roofline wrong — the roof on the right side of the arch needs to be a foot taller at the eave.

Mixed media work depicting two shorebirds, stamped patterns of spirals and scrubbed out paint, and asemic writing

Day 27, 2/27/18: Recovery Notes, 9×12 mixed media on Yupo paper. I had a definite idea before I started, so this is not entirely experimental art, but enough so that I am calling it experimental. Most of that is because I am not very familiar with the media I was using — acrylic paint, alcohol inks and Yupo paper.  I live on a bayou, just a few miles from the coast of the Gulf of Mexico. I think that living near a large body of water accelerates interpersonal and spiritual growth. It’s like walking in a labyrinth with everyone else, and side-by-side, when all of a sudden you find yourself going in the opposite direction, or perhaps even in the same direction but several tracks away from the people you were walking with. Who moved – them or you? No doubt both, but either way, it takes some adjustment and some getting used to, hence my title for this piece, Recovery Notes, as I recover from a growth spurt.

Oil painting of the twilight, with light starting to touch the clouds before sunrise on Jekyll Island, GA

Day 26, 2/26/18: Jekyll Island Twilight, 6×6 oils on Gessobord. I’ve been taking a workshop from Jason Sacran through Anderson Fine Art Gallery, St. simons Island, GA. On my last day in the area, I drove back out to Jekyll Island to see “Driftwood Beach”, where many very old trees have been laid bare by the winds and water, the unbleached wood completely de-barked, and many of the trees tipped over but still anchored into the beach. (Driftwood is a misnomer.) As I was crossing the causeways and the bridges, the sky was brightening, and the sun was finally just peaking over the marshes as I was approaching Jekyll Island. This is my impression of the sun-kissed clouds, painted after I returned home.

Oil painting of an ancient live oak tree on Jekyll island, GA

Day 25, 2/25/18: Jekyll Island Crone 2, 16×20 oils on linen panel, painted en plein air. I am attending Jason Sacran’s plein air painting workshop sponsored by Anderson Fine Art Gallery on St. Simons Island, GA. We are painting on Jekyll Island. A crone is a woman in the latter third of her life, after childbearing is over. She is wise, nurturing, soulful, creative, weathered, a bit stooped and twisted, but hard as nails, a survivor. Birds nest in her hair, she holds the weight of the world on her broad shoulders, and animals shelter under her canopy. My dad is 98 and still going strong. If that is how long I will live, then I have just entered my crone years.

Oil painting of an ancient live oak tree on Jekyll Island, painted in Jason Sacran workshop

Watercolor study of a very old live oak tree on Jekyll Island in Georgia

Day 24, 2/24/18: Jekyll Island Crone 1, 16×20 oils on linen panel, and Study for Jekyll Island Crone, 8×6 watercolor on paper, painted en plein air. I am attending Jason Sacran’s plein air painting workshop sponsored by Anderson Fine Art Gallery on St. Simons Island, GA. We are painting on Jekyll Island, intending to work on the same painting for two days. There are a lot of ancient cedars and live oak trees on the west side of the island.

Study of the afternoon light on the marsh at the north end of Jekyll Island, GA

Day 23, 2/23/18: Jekyll Island Marsh, oils on canvas panel, a plein air study, painted in Jason Sacran workshop. Tomorrow we will be painting larger paintings of the same scene we studied today.

Graphite sketch of farmhouse sceneDay 22, 2/22/18: Morning Sketch, 8×6 graphite on cream paper. Today was the first day of a workshop with Jason Sacran, and I didn’t want to be worried about posting for my 30-day challenge, so I just posted my morning sketches.

 

Watercolor and ink sketch of Tucker Bayou, Point Washington, FL, at sunset

Day 21, 2/21/18: Good Night, Sleep Tight, 8×8 watercolor and ink on paper, a color sketch of Tucker Bayou, Point Washington, FL, at sunset. Today I don’t have a lot of time for the 30 Paintings in 30 Days challenge. I am embarking on another adventure, this time to study from Jason Sacran, who is teaching at the Mary Anderson Gallery on St. Simons Island, GA. That scenic area has a strong pull for me, and I am excited to be going there for this workshop. I hope my cats will forgive me these absences!  

Oil painting of abstracted design of pine roots exposed by erosion on the bay shoreline

Day 20, 2/20/18: Roots, 12×9 oils on aluminum panel, produced at the end of the Mary Garrish workshop at the Artist Cove Studio-Gallery in Panama City, FL. I was attempting to make this painting using the new materials we were introduced to, which were the Scott Christensen landscape oil colors by Vasari (Bluff, Ship Rock, Adobe, Shale, Jasper, Silver Point, Cedar, and Bice), painted on an aluminum panel. On the first day, I was a little early for the workshop, so I stopped and walked around at the Historic Marker just down the way from the gallery, on Beach Drive. Erosion had bared the roots of several pines there. This painting is an abstraction of the pattern of the exposed roots. I used my rubber tipped tool to make the weeds, revealing the shiny aluminum underneath.

Example from exercise in glazing and scumbling in Mary Garrish workshop

Day 19, 2/19/18: Florida Dawn, mixed media on paper, an exercise in glazing and scumbling in the Mary Garrish workshop at The Artist Cove Studio-Gallery in Panama City, FL.

Oil painting of Fog on the Point on Beach Ave. in Panama City, FL

Day 18, 2/18/18: Fog on the Point Again, 6×12 oils on canvas panel, painted in Mary Garrish workshop at The Artist Cove Studio-Gallery in Panama City, FL. Our task was to paint a scene in all values, but to vary the color within areas of one value, and to add light in the clouds.

Oil painting of the lifting fog, on Beach Drive in Panama City, FL

 

Day 17, 2/17/18: Fog on the Point, 6×8 oils on canvas panel, painted in Mary Garrish workshop at The Artist Cove Studio-Gallery in Panama City, FL. Our task was to paint a scene in only 3 values, in black, white, and gray, and then to paint it again in 5 values. After that, we could add color or colors, but the values had to remain the same.This was my 5-value color piece.Oil painting of lily pads and a single water lily blossom, up close

Day 16, 2/16/2018: Mid-September Lily, 6×6 oils on Gessobord, a bittersweet painting from a photo I took on my last paddle with three dear friends last summer.

Day 15, 2/15/2018: Onion 1, 6×6 oils on Gessobord, painted from life. This onion kicked my butt. Painting an onion is much harder than you might think! I will paint an onion whenever I start feeling accomplished. It will humble me.

Oil painting of the Phantom of the Aqua being dug out of Miramar Beach where it drifted ashore after it was damaged by Hurricane Nate and its captain, without options, was rescued from it, far offshore

Later that afternoon they had turned the boat. Click for larger image.

Day 14, 2/14/18: Freeing the Phantom of the Aqua, 8×10 oils on canvas panel, painted en plein air. Last fall this sailboat, the Phantom of the Aqua, was damaged during Hurricane Nate and its captain had to be rescued from it far offshore. He thought the boat would just sink in the stormy Gulf, but instead, it drifted up to the shore at Miramar Beach in Northwest Florida, just 15 miles from my house, and became firmly entrenched in the beach. I paint with the Emerald Coast Plein Air Painters every Wednesday, and we decided to paint the Phantom last week. Alas, the weather forecast was awful, so we postponed it to this week, only to read in the paper that the new owner would be towing it to his salvage yard to refurbish it, this very week. Nevertheless hopeful, we arrived today to find the roadside lined with onlookers, the crowd growing to hundreds as the day progressed, many going down to the beach with their beach chairs, to watch the proceedings from behind the yellow caution tape forming barriers from dunes to the sea, several hundred yards out from the boat in either direction. Distant fog was providing a wonderful atmosphere. A Caterpillar excavator was parked on the low side of the boat, near the water, and four Code Enforcement pick-up trucks were parked on the beach, and a few groups of workmen were standing around the boat and the pick-ups. The crowd lined the street-level sidewalk, the elevation affording everyone excellent vantage. Nothing much was happening yet, so we all found our various locations to paint, in and amongst the onlookers. After a while, the excavator started digging on the water side of the boat, and piling sand nearby, but it was slow going. We all were able to produce fair paintings without the boat moving, thankfully. Later, I came back by the scene after we had lunch down the road — at left is a photo showing the considerable progress they had made, and the excavator now up on the higher part of the beach..

Oil painting of two pears on a gray background

Day 13, 2/13/18: Pears 1, 6×6 oils on Gessobord. I named this painting Pears 1, because I am certain there are many more pears in my future. I love the colors and shapes of pears!

Oil painting of a group of people seated at a table under a cloth umbrella

Day 12, 2/12/18: Dinner After Plein Air, 6×6 oils on hardboard. In this painting I made an effort to create larger shapes, and not try so hard to model the interior of the shapes, but rather to leave them flatter, and to show receding space through temperature and overlapping. The idea for this painting came from a plein air workshop I took in Taos a couple of years ago. I think I’d like to refine the legs of the person with the yellow sweater — I want them to look like they are crossed above the knee, but I lost the lower knee.

Palette knife oil painting of the dunes and Gulf of Mexico on a stormy day

Day 11, 2/11/2018: Storm Warning, 6×6 oils on canvas panel. We’ve had incredible rains here in Northwest Florida yesterday and today, and seasonal affective disorder is setting in — everything is gray, and dark, my phone receiving continuous updates of FEMA warnings for the potential for flooding. This color scheme, and in fact this composition, is very very common in this area, and super easy to paint — I’m allowed an easy one now and then, right? I used a palette knife to challenge myself. I really should practice with a knife more often.

Acrylic/mixed media painting, highly textured, earth colors

Day 10, 2/10/2018: The Phoenix Will Rise, 20x16x1.5 acrylic/mixed media on stretched canvas, texture started in Jan Sitts workshop last week. I refined the texture today, and painted this expression of earth tones, and am pondering if it should go further. Non-objective work is outside of my comfort zone, but this experimental art workshop left me feeling charged up!

 

An oil painting of Norah in pearls and a big hat, painted from life

Day 9, 2/9/2018: Norah, 12×9 oils on canvas, painted from a live model at this week’s Figurative Artists Atelier, an uninstructed open studio with a live model. Typically we have 5 one-minute warm-up sketches, and 2 5-minute warm-up sketches, and then we launch into a single pose for the remainder of the 3-hour session, in 20-minute segments with 5-10 minute breaks between the segments, to allow the model to regain circulation and ease any tension from the pose. I will be tweaking this just a little, now that it is back at my studio, but not much. I really liked this model’s attitude and haughty expression.

Acrylic mixed media painting completed in Jan Sitts workshop, using textures, tissue and gold foil, and netting.

Day 8. 2/8/2018: Champagne on the Emerald Coast, 16 x 20 acrylic mixed media on gallery-wrapped canvas, painting Jan Sitts acrylic / mixed media workshop at the Cultural Arts Alliance in Santa Rosa Beach, FL.

Acrylic painting of patterned stripes resembling waves in the Gulf of Mexico on the Emerald Coast

Day 7, 2/7/18: Emerald Sounds, 6×6 acrylic on canvas panel,painted in Jan Sitts workshop. The stripes resembling the waves of the Gulf of Mexico on the Emerald Coast of Northwest Florida, were created using multiple layers of paint.

Acrylic painting using Saran wrap technique, resulting in nonrepresentational piece subtly resembling a rocky forest

Day 6, 2/6/18: The Faeries’ Forest, 6×6 acrylic on panel, painted in Jan Sitts‘ experimental workshop hosted by the Cultural Arts Alliance. The visual texture on this piece was created using Saran wrap.

Acrylic / mixed media painting, non-objective, diagonal bands of the colors of the Emerald Coast of florida

Day 5, 2/5/18: Rip Tide, 6×6 acrylic / mixed media on Gessobord, painted in Jan Sitts experimental workshop hosted by the Cultural Arts Alliance. I am totally outside of my comfort zone. Today we textured our supports with acrylic gel medium and various tools and supplies, but mine were not dry enough to paint on, so I created this small piece, texturing only with pinstriping tape. Our assignment was to not have a subject in mind while we worked, but rather to apply texture and color intuitively.

Oil painting of Lake Powell and the Gulf of Mexico, including the old Camp Helen pier, with the sun shining rays through the clouds

Day 4, 2/4/18: Angel Light Over Lake Powell, 6×6 oils on Gessobord. Today I was going to paint something easy. Then this view of Lake Powell, caught my eye, and having never painted “angel light” before, I thought, why not! I spent far too long on this exercise, thanks to being on the phone a good part of the time. Distracted, I found myself playing with the clouds, and then wishing I hadn’t and fixing them, and fixing them a little too much — play-fix-fix again, and repeat –while the phone call continued. It reminds me of the time I was having my hair cut, and the stylist had just returned from a trip to Russia. It was a long trip and a long story, and as she told it, my hair got shorter and shorter.  😯

Oil painting of Gulf Islands National Seashore on Okaloosa Island

Day 3, 2/3/18: Bay View from Okaloosa Island, 6×6 oils on Gessobord. I shoot a lot of photos to help me choose a location I want to paint with our local plein air painting group, and this is one of those locations. We paint here every 4 months or so. There are palms, pines, cedars, scrub oaks, mockingbirds, kite-sailors, a changing sky, tugboats and barges, winding paths through the grass, sand, water — did I mention it’s a National Seashore? Gulf Islands, on Okaloosa Island, to answer that.

Day 2, 2/2/18: Figure with Red Coat, 6×6 oils on Gessobord. On Fridays I attend the Figurative Artists Atelier, a live-model painting session at the Foster Gallery. Usually we have an extended pose, but today we had a different pose every 20 minutes.Oil painting of sweet cat looking up, upside-down

Day 1, 2/1/18: Coraline, 6×6 oils on Gessobord. This is one of my two cats, a rescue cat I adopted from Alaqua Animal Refuge.

Thank you for visiting. Many of my paintings are available for purchase. Click on the image to see pricing and to contact me to purchase or to commission a painting.

Keep Saying Yes! Keep Growing!

December 30, 2017 in Landscape, Plein Air by joanvienot

Opportunities materialize when you keep saying “Yes!” It’s easier to say “Well, maybe, maybe not…”, but if I do that, inertia keeps me rooted. Saying “Yes!” moves me forward and opens doors.

Recent “yes’s” include…

  • Painting a demo December 16 at the Open House for The Joe Center for the Arts in Port St. Joe, Florida, which in May will be the epicenter of The Forgotten Coast en Plein Air and Plein Air South this year;
  • Accepting an invitation to speak to the Emerald Coast Meditation Society about the Zen of plein air painting at their regular third Thursday session, 6:30 PM, January 18, 2018, Christ the King Episcopal Church, 480 N. County Hwy 393, Santa Rosa Beach, FL 32459.
  • Agreeing to give a presentation on plein air painting to the local Library in their winter programs series, 10:00 AM, January 31, 2018, at The Coastal Branch (South Walton) Library, 437 Greenway Trail, Santa Rosa Beach, FL 32459

I think that speaking about plein air painting to the meditation group will be the most challenging. It will require me to put some thoughts into words, about things I don’t share very much. This blog will help. The first time I went to a plein air event, I remember noticing that the painters seemed extraordinarily friendly and welcoming. Most people are cordial when you meet them, but the plein air painters as a group seemed more aware, more present, looking directly into my eyes, holding my gaze for longer. It may be that they were merely thinking about what colors they would use to create the exact shade of my blue eyes, but it felt like they were more tuned in, more mindful. With few exceptions, they emanated kindness. I now know these same characteristics describe many people who meditate regularly – most seem to have more present-moment awareness, are more engaged in the immediate, have good focus, more compassionate attitudes, and generally seem to be more self-accepting and thus more accepting of others. That is how I want to be described someday.

People we know intimately often project their own issues onto us and vice versa — it seems to be human nature to have an affinity for people with whom we can play out unhealed trauma or drama. If they don’t grow at the same rate as us, then these people pass out of our lives after the lessons are learned, because we no longer fit into the box that they have built for us, which at the time we willing went into but now have outgrown. Some people project onto everyone they meet, and those are the people who use generalities, like everyone is a certain way, and this always happens. But for everyone else we in our lives, they and we present in a way that demonstrates the stage of our spiritual and psychological development. That development, I believe, is the purpose of our life. We each develop spiritually and psychologically through the choices we make and the activities of our lives. There is no one right way or better way. Every way offers a necessity of sacrifice and eventually, a transcendence of suffering. And that is what I think those plein air painters were demonstrating.

As a representational outdoor landscape painter, I try to capture the beauty that I see, and paint it onto a small canvas in just two or three hours. The fact that time is a factor requires a lot of compromise, because the light/shadows change, the weather can worsen, I might discover that I am standing near an anthill, or someone can park a semi-truck in front of my scene. At some point along the way, a good painter must commit to one time, one arrangement of shadows and light, one impression, and try to represent that impression. Otherwise, they are constantly “chasing the light”. If a painter is terribly attached to the outcome of his effort, time alone will be a source of endless suffering. Likewise, so many other aspects of plein air painting can sorely test one’s spirit. For a long time after I started painting en plein air, every painting was an epic journey. About 20 minutes into it, I would find myself wondering whatever made me think that I could be a outdoor painter. I would descend into the chasm of despair as I soldiered on, frustrated by my incapability of rendering on the canvas anything even close to the beauty that I was seeing, perhaps questioning the value of my art degree, and maybe even my right to exist as a human on this planet. I would descend into the abyss, and somewhere near the bottom I would have to accept my effort for what it was, and thus forgive and accept myself. Eventually I would paint my way out again, working out my redemption as I went. I would stop painting only when my timer went off. As if that journey was not enough, I would willingly participate in what our painting group calls a “soft” critique, where we show our paintings to our fellow painters, another exercise in courage, humility, and non-attachment. We explain what our challenges were and then the braver artists will even ask if anyone has any suggestions, the ultimate act of vulnerability and trust. Some artists deprecate their own work first, before anyone else can, inviting consolation and reassurance. Others immediately defend their painting against the suggestions they just asked for. But most will listen, and perhaps receive a few good tips as a bonus for their labor. They get to be better painters. And along the way, they gain more ability to compromise, more commitment, self-forgiveness, self-acceptance, courage, humility, vulnerability, trust, compassion, and non-attachment.

These are the same benefits that we get from meditation. And that’s what I will talk about to the meditation group. A mindful approach to anything can yield these same results. It is by facing it head-on that we are able to transcend suffering.

And then we re-attach, putting our signature on our painting. Ha!

Below are some of my recent paintings. The first series is the preparation for my demo at The Joe Center for the Arts. I decided to use a painting I had painted en plein air shortly before. When I was doing the demo, I surrounded myself with my references: my value studies, my plein air painting, and my app’d photo and watercolor sketches where I had solved some temperature and contrast problems, so that I would remember everything that I had been thinking about. The demo was about 3/4 completed there at the Open House — with Christmas season upon us, I am forgiving myself for not finishing it yet.

Value sketches prior to painting en plein air

The plein air painting (click for larger version)

Photo of plein air painting, app’d to warm the palm near the focal area, and the scrub oak cooled and darkened behind the palm to give more contrast and set the oak behind the palm; trunks lightened.

Digital and watercolor sketch to bring out some of the lavender shadows and trunks, and enrichment of the warm ground colors and shapes to direct the eye to back the focal area

 

The following are three paintings I did on my regular weekly outings with the Emerald Coast Plein Air Painters, and the last image is the cover for our end-of-year album for that group, a collection of the paintings the regular painters feel are their best. Click on any image to see a larger version, and click on the album cover to go to the ECPAP “Best of 2017” album. We are still collecting photos for that album.

Oil painting of the trees growing out from the high bank over Chula Vista Bayou in Ft. Walton Beach, FL Oil painting of the Festival of Trees at Grand Boulevard in Miramar Beach, FL, at Christmastime, 2017
Oil pain ting of craggy old tree at Glen Argyle Park, Niceville, FL Emerald Coast Plein Air Painters Best of 2017

And lastly, a photo of me painting the Martin Theater in Panama City, FL, during the Fringe Gallery’s “Everything Under $100” Sale. Photo by Julie Roberts Logsdon.

Goals, Objectives, and Challenges for the Coming Year

November 25, 2017 in General, Landscape, Plein Air by joanvienot

It’s about time to start thinking about New Year’s resolutions again. I prefer to think of it as setting goals to pursue, or objectives I would like to attain, or even challenges I am setting up for myself. Somehow I feel less threatened by those words than by “resolutions”, which seem to me to be things that I resolve NOT to do, like eating a carton of ice cream in one day, versus goals, objectives, and challenges which are things I plan to work towards. Here are some of mine:

  1. Paint every day either plein air or in the studio, for 30 or 60 days, maybe longer. To do this, I plan to have a palette and brushes ready all the time, in my studio, as well as in my plein air backpack. I have ordered a whole bunch of 6×6 panels for this effort. I can use larger canvases, which I keep on hand all the time, but for this goal to be achievable, I want to be able to finish my daily painting in just 30 minutes, so it makes more sense to use small canvases.
  2. Learn to paint shapes common to our local landscape. Or to paint them better. Shapes such as, palmettos, palm trees, blue herons and other shorebirds, tugboats and fishing boats and pleasure boats, paddlers, waves and choppy water, clouds, live oaks and scrub oaks, sand dunes, twisted dune pines, etc. If I spend a week on each of those subjects, that covers at least 2 months, without even considering that nothing is carved in stone, fortunately for this easily distractible artist, where every shiny spot of light cries out to be captured, now!
  3. Learn to simplify, simplify, simplify!
  4. Figure out what appeals to me about paintings I admire, and then practice that — compositional design, color combinations, contrast, development of focal area, etc.
  5. Practice putting people in some of my paintings. Participate in the upcoming figure painting sessions to be held every Friday at the Cultural Arts Alliance’s Foster Gallery on Grand Boulevard in Miramar Beach, Florida. Learn how to use the “Zorn Palette” to create skin tones (cadmium red light, yellow ochre, titanium white, and ivory black).

Here’s my first one, painted today.

Oil painting study of a palmetto bush

Recent paintings and studies are below. The first two, which are (first image) a pencil and nupastel quick-sketch of artist friend David Boyd drawn from a live pose, and (second image) a small painting of a posing elderly woman in her Sunday dress, were completed last May at Plein Air South, a gathering of artists for lectures, demonstrations, panel discussions, and painting sessions. I gave both to the respective models.

Pencil and nupastel sketch of David Boyd at Plein Air South, Apalachicola, FL, 2017

Oil painting of older woman in sunday finery, painted en plein air at Plein Air South

These next two paintings were completed at recent weekly Wednesday morning plein air sessions with the Emerald Coast Plein Air Painters.

Oil painting of the horse pasture at Alaqua Animal Refuge, Freeport, FL, painted en plein air

Oil painting of Four O'Clocks at Oak Marina, Niceville, FL

This painting below was painted with the DeFuniak Springs group represented by artist Jackie Wagoner last weekend.

Oil painting of the flower garden outside the library in DeFuniak Springs, FL

The paintings below were painted some time ago. I retouched or completely reworked some, and others simply have been pulled up from my piles of studies. I will be taking these to Panama City next weekend for the Fringe Gallery’s “Under $100” sale.

Oil painting of ethereal scene of sunset and a bridge

Oil painting of the gall colors on Mack Bayou, Santa Rosa Beach, FL, touched up from original painted in 2013

Oil painting of the grassy bayou, Point Washington, FL, retouched from original painted in 2013

Oil painting of the marsh at Sea Island, completely reworked since originally painted in 2013

Oil painting of the Pompano on dry land at Nick's Restaurant, Basin Bayou, FL, touched up, originally painted in 2014

Oil painting of a hibiscus bloom at Clay Garden Shop, Seagrove Beach, FL

Contact me if you are interested in any of these paintings.

 

 

 

 

 

A Wedding, Three Workshops, and Two Paint-Outs

November 18, 2017 in Landscape, Other Art, Photography, Plein Air by joanvienot

The last 8 weeks have been amazingly busy.

Oil Painting of Brian and Megan Robertson's First Dance

Brian and Megan’s First Dance

In September in my capacity as the 30A Wedding Painter, I painted a commission en plein air

Plein air painting of first dance at wedding, unfinished

Unfinished, en plein air

at a wedding, oils on stretched canvas, 24×20, finishing the details in the studio. The plein air painting captured the basics, but I needed to tie the composition together better in the studio, which made it quite a bit more formal, and I corrected the proportions of the figures. I scumbled the chandelier, which I had greatly exaggerated on purpose because it set the tone for the scene, and I softened the white curtain behind the couple to create a glow around them, with the foliage creating a heart-shape over their heads.

I enjoy painting at weddings. It is a command performance, so I have butterflies when I first start, but they disappear soon after I start painting. Typically I have contact with the bride’s mother or the bride or couple as much as a year ahead of time, which gives me plenty of time to find out their relative heights, the location of the venue, their colors and styles of clothing, their flower colors, etc. I have a page on my website dedicated to event painting called Weddings, Etc.

Painting of the pelican statue at Ft. Walton Landing, used to demonstrate effective shape-making and atmospheric perspectiveI presented my one-day workshop, Effective Shape-Making and Atmospheric Perspective en Plein Air, in Ft. Walton Beach in October, and in Santa Rosa Beach in November the day before our first local plein air paint-out. The discussion and exercises centered around the use of recognizable silhouettes or external contours for effective shape-making, and exaggerating receding space by making distant shapes lighter and bluer and less detailed, perhaps even completely silhouetted, and with “soft” edges.

My goal in workshops is to give tools and techniques to the beginner, and to review and practicing those tools for the more advanced painter so that he or she may use them with more authority.

The third workshop is one I took, instead of taught, again from the instructor I consider my mentor, Morgan Samuel Price, at The Art Loft in Dahlonega, Georgia. Sometimes the learning is faster than I can absorb, and when that happens, it is difficult for me to paint. Oil painting of Deer Leap Falls near Dawsonville, GeorgiaThat seemed to have been the case in this three-day workshop – only one day resulted in an effective painting, and I struggled to reach a finishing point. Morgan gave me a number of suggestions, but in the end, I had to make my own decisions, and simplification, eliminating busy texture, is what ended up making it work.

I continue to paint weekly with the Emerald Coast Plein Air Painters when I am home. Below are a couple of little studies I enjoyed.

And there is the occasional photograph demanding to be shared…

And that brings me to the paint-outs. A paint-out is an invitation to paint any number of paintings over a period of several days, and often also includes a “Quickdraw” timed contest of usually 2- or 3-hours to paint within a particular area, the paintings to be framed and judged immediately afterwards. The first paint-out was in Gulf Shores, Alabama, produced by Craig Reynolds for the Alabama Plein Air Artists and guests. I am a member of the APAA. Living in the Florida Panhandle, APAA paint-outs are closer to me than most of the Florida paint-outs. Below are the paintings I produced there.

Billy’s Seafood, 11×14

 

Standing Vigil, 10×8

 

Boatyard Cat, 11×14

The Cultural Arts Alliance of Walton County is the arts association where I live, in Santa Rosa Beach, FL. For 25 years the CAA has produced the Flutterby Festival, an autumn event geared primarily toward children, celebrating the migration of the monarchs and other butterflies through our geographic area. This year, they added a plein air paint-out to the event, and 20 excited and enthusiastic painters participated on the beautiful grounds of Watersound Origins. I won some awards, taking second place in the Quickdraw, and honorable mention for a painting in the Wet Room. We were allowed to exhibit one piece we had painted prior to the paint-out, in the Wet Room, so that the Wet Room would have some paintings in it right away, and my piece that was honored, Pathways Pond, is the one that I had painted on a previous outing there with the Emerald Coast Plein Air Painters.

Pathways Pond, Honorable Mention, Wet Room, CAA Flutterby Festival & Paint-Out

 

Nature Trail, Quickdraw Second Place, CAA Flutterby Festival & Paint-Out

 

Dawn Glow at Watersound Origins, 11×14

 

A Little Bit of Soul, 10×8


And now I have some time to clean out my studio, and re-organize. I will be retrieving the paintings I have been exhibiting at the local library, and I need to make space for them. It’s surprising how quickly more paintings can fill up a space! Sometimes it fills with projects for upcoming exhibits. Our arts alliance is calling for art for the annual One Size Fits All, the requirement being that all art is produced on a 10′ x 10′ cradled wood panel. I like to use special exhibits like this as an opportunity to do something a little different. This year I painted a simple sandpiper on one of the panels and on the other one today I learned how to make an acrylic pour, marbled using silicone, and I put some coquina shells on it that look like butterflies, and I titled it Migration.

 Oil painting of a sandpiper at water's edge  Acrylic pour on cradled wood panel, with seashells embedded

 

Community Awareness and Art Marketing for Plein Air Painting

September 17, 2017 in General, Landscape, Marketing, Plein Air by joanvienot

This fall I am investing my time in cultivating my community’s appreciation for plein air painting, as well as promoting my own work. Many people in my community have never heard of plein air painting, so that is taking extra effort. My local arts association, the Cultural Arts Alliance of Walton County, is very supportive. The CAA will be adding a plein air paint-out to our existing Flutterby Festival at Watersound Origins here in Santa Rosa beach, FL, in November. I will be teaching a one-day workshop the day before the festival, the lesson being effective shape-making to start a plein air painting in a way that will offer a high likelihood of success.
Art marketers say that 20% of your time as an artist should be spent on marketing. I am spending more than 20% of my art energy right now, but I expect it to level off. I actually had intended for last year, my third year of plein air painting, to be my marketing year. The transition and adjustment after selling my pool service business took more time than I had anticipated.
As I see it, the main task is the creation of opportunities for press releases and posts on social media. To accomplish that, I have filled my calendar for the next 6 weeks.
The first event coming up is thanks to an avid supporter of the arts in my area. Cheryl Gray, herself an artist, lines up artists to show their work in the local library. I will be showing my work during the months of October and November. Cheryl sends out press releases to local media. I made my own postcard to give out printed announcements to a few people, and I posted it on Facebook and created a Facebook event. I will send a press release to several other media in my community. I regard the press releases to be of equal importance or even greater importance than the actual exhibit, because public awareness of plein air painting is my primary goal.
This-coming weekend I will paint at a wedding reception, and next week I will be framing paintings for the library exhibit. Somewhere during that time I would like to change out and replace the paintings hanging in the lobby of Northwest Florida State College’s South Walton Center. My local weekly painting group, the Emerald Coast Plein Air Painters, is showing plein air paintings there. My goal with that exhibit is to foster awareness and appreciation within the high school and college students attending there.
The first week of October I will be taking another painting workshop in Dahlonega, Georgia, with my mentor, Morgan Samuel Price. I want to continue to challenge myself to paint better.
The second weekend of October I will paint on-site at the library during the annual book sale, during my exhibit. The third weekend of October I will teach the same one-day workshop as I will be teaching in November, but for the arts association in the neighboring county, the Arts and Design Society of Ft. Walton Beach, FL.
The first weekend in November I will participate in a painting event in Gulf Shores, AL, and the second weekend of November will be the CAA’s Flutterby Festival and Paint-Out.
Hopefully I can breathe after that. It’s exciting, to have so many art events and activities lined up. This past year was the first year that I kept track of art expenses, after I sold my career pool service business, and as I was expecting, I spent more than I earned. It would be nice to break even this year. When I achieve that, I should be able to cut back on my promotional efforts, for the recommended 20% of my time.

Finding a Mentor: Morgan Samuel Price

September 1, 2017 in Landscape, Plein Air by joanvienot

I started plein air painting four years ago. I painted in the Quickdraw at the Forgotten Coast en Plein Air, my first such event. I knew none of the artists. Afterwards, I chanced to be lunching at the table next to the one where master painter Morgan Samuel Price was sitting. Morgan had just won an award in the Quickdraw. My friend and I introduced ourselves and began talking with her, the usual niceties. Afterwards, I looked up her website to see who she was, and I was appropriately amazed by her paintings, both the skill and the affect. I was thrilled when I found out that she was offering a plein air painting workshop in Apalachicola that next spring. Apalachicola is only 100 miles away from my home. It is a village with an interesting history, and great painting subjects ranging from the working shrimping trawlers and oystering boats to decrepit shotgun houses and restored mansions. What a great place to take my first workshop in plein air painting! I blogged about Morgan’s amazing patience – that was in March of 2014.

I took two more workshops from Morgan – one the next year, in Apalachicola, and one last year, in Taos. This year I signed up to take her workshop in Dahlonega, Georgia, in October. I like learning to paint in different locations – it forces me to learn to paint things that are new to me. I got a call from Morgan in late spring, saying that she had space in her Estes Park workshop. I decided to go. Having grown up in Colorado, I was familiar with Estes Park, but I had not looked at it with artist’s eyes in over 40 years, and certainly not with plein air painter’s eyes. I had gone to Estes Park for a family get-together for my Dad’s 90th birthday, but it was wintertime, and the landscape is completely different when covered with snow. So I was completely agog as we drove Hwy 36 through the foothills to Lyons and then up the North St. Vrain Canyon. My awe grew as we continued up the canyon to finally stop at a quaint cabin just north of Estes Park, which would be home base for the week.

Whether it was the demos, the instruction, my awe with the geography, or simply the good company, and no doubt a combination of all that, I enjoyed this workshop like no other, and feel that I learned volumes! And that brings me to the reason I am writing this blog, which is to attest to the value of finding a mentor and repeatedly studying with that person. Of course it certainly helps if the mentor is a master painter!

With a good mentor, you develop a trusting relationship, which makes you more receptive to their suggestions and criticism, and more self-confident in your painting. You become better at the language of painting, better at explaining your challenges, better at asking the right questions, and you learn to observe at the right times, and to pay attention to what has previously eluded you. You even learn better teaching progressions for your own workshops. You become more in tune with your own motivations and you paint with more personal authority, trusting your instinct more. And you develop a stronger eye for assessing your own work, as well as that of others. I’m not saying there isn’t value in taking workshops from different artists — I have learned from a number of instructors. But the value in a mentor is the trusting relationship that develops, which makes it possible to listen to their feedback without feeling as defensive. I confess I still have some resistance, still wanting to justify why I painted something less effectively than I could, but I am able to understand and agree much more than I used to. I also am acquiring attitudes and standards of excellence which will be helpful to me in my career.

I can’t wait to get into the studio now and start working on larger paintings! The grandeur of the glacier-carved Rockies, especially on Fall River Road and Trail Ridge Road, simply begs for large canvases. Below are the studies I did in this workshop.

Oil painting of the light on the tree behind Cynthia's cabin Montevideo  Oil painting of Book Cliffs before the storm

Oil painting of the falls cascading over the jumble of boulders in the Fall River Alluvial Fan in Rocky Mountain National Park  Oil painting of the Big Thompson River below the cliffs at Sleepy Hollow Park, below Estes Park

Oil painting of a grove of aspen trees near Estes Park, Colorado  Oil painting of the cliffs at Sleepy Hollow Park, with backlit trees and grasses  Oil painting of the late afternoon light on the meadow at Moraine Park, above Estes Park

As always, contact me if you are interested in purchasing my work.

I am starting to more and more realize the value of paint sketches. Even when they don’t seem to have any merit at all – I always have learned from them. Below are some of my paint sketches. In the first one, I was looking for the right colors for the mountain and the sky. In the second, I was studying the colors and shapes of some rocks, and in the third, I was looking at the difference between ponderosa pines and blue spruce.

    

 

Habits and Routines in the Artistic Process

August 18, 2017 in Figurative, Landscape, Plein Air by joanvienot

I am struggling with an absence of routine. Without it, certain basic maintenance tasks are neglected. I like to get up in the morning, have a cup of coffee, read something inspirational, and write my 5 gratitudes, and do a short meditation before I get my day underway. But lately I have been getting sidetracked into the day’s business as soon as I get my coffee — starting with email correspondence, news, and social media updates, and I never get back to my morning quiet time. My life has been complicated by a pesky knee injury which has required a good deal of physical therapy and greatly reduced my physical activity. I am coming out of that phase in my life, increasing my activity, improving my nutrition, and I intend to restore routine to my life.

I used to blog weekly. I couldn’t believe my eyes this morning when I saw that my last post was 2 months ago. This was a certain message that I need to re-organize my life.

It’s not that I haven’t gotten things done, or that I have neglected my spiritual and psychological health. But I have neglected a lot of things, obviously blogging being one of them.

So why does that matter? Because blogging is one of my chief way of assessing progress, with a little introspection on the side. Self-assessment is essential for monitoring progress.

In brief, projects accomplished and actions taken over the past two months:

  • Continued coordinating and attending weekly Wednesday morning plein air painting excursions with the Emerald Coast Plein Air Painters, with the goal of maintaining community among the painters, and maintaining if not improving my skills.
  • Organized and hung a small exhibit of works by the Emerald Coast Plein Air Painters in the lobby of Northwest Florida State College South Walton Center, with the goal of constantly exposing young minds to plein air painting, and with the end goal of creating appreciation for the genre, encouraging young artists, and perhaps inviting future participation and patronage.
  • Served as coordinator for a juried exhibit of plein air paintings for my local arts alliance at the Foster Gallery, preliminary to an event we are planning for this fall.
  • Completed my 4 months of physical therapy for IT Band Syndrome due to knee arthritis (what a pain!!)
  • Vacationed in Montana for a week with my sisters from Colorado, and their families, and visited my 97-year-old Dad in his senior home in Colorado, and shared pie with my brother and his family there.
  • Completed a commissioned painting for a patron.
  • Exhibited in two special exhibits at the Foster Gallery – showing two plein air paintings in Outdoor Magic 2017, and a figurative piece in Faces & Figures.
  • Studied DVD’s by plein air painters Laurel Daniel and Joseph McGurl.

Below are studies and works done over the past couple of months.

Oil painting of the "umbrella trees" at Western Lake in Grayton Beach, FL, at dawn, a commissioned work 8"x48"

See full-size at Umbrella Trees at Dawn. This painting was commissioned by local friends who had a very specific space where they wanted to hang it in their house, a space roughly 9″ x 60″. The painting is 8″ x 48″. They gave me the subject, an iconic local treeline that we know as the “umbrella trees”, at Western Lake near Grayton Beach, Florida. They wanted to see it every morning and smile. So I chose dawn.

 

Oil painting of the first light of dawn coming over the mountain to kiss the grassy hill at Green Bear Ranch, Eureka, MT

The first light of dawn coming over the mountain to kiss the grassy hill at Green Bear Ranch, Eureka, MT, painted en plein air while on vacation with family two weeks ago. (click photo for larger image)

Oil painting of the road cut across Dickey Lake, MT, on a day hazy from the smoke of forest fires in BC, Canada.

Plein air painting of the road cut across Dickey Lake, Montana, on a day hazy from the smoke of forest fires in BC, Canada. (click photo for larger image)

Oil painting of the grassy rise edging the roadside park between Basin Bayou and Villa Tasso on the Choctawhatchee Bay in Florida

A roadside park in Choctaw Beach, on the Choctawhatchee Bay in NW Florida, painted en plein air. (click photo for larger image)

Oil painting of the lake at Lincoln Park in Niceville, FL, with the muted colors of a cloudy day

View from Lincoln Park, Niceville, FL, on a cloudy day, painted en plein air. (click photo for larger image)

Oil painting of a V-bottomed boat at Nick's Restaurant on the Choctawhatchee Bay at Basin Bayou near Freeport, FL

V-bottomed boat at Nick’s Restaurant on the Choctawhatchee Bay at Basin Bayou near Freeport, FL, painted en plein air. (click photo for larger image)

Oil studies of the light on the water at Thomas Pilcher Park in Santa Rosa Beach, FL

Plein air studies of the light on the water at Thomas Pilcher Park in Santa Rosa Beach, FL. (click photo for larger image)

Oil painting of a bend in the creek, showing the transparent tannin-stained water over the sand bar, at Turkey Creek in Niceville, FL

Plein air painting of the a bend in the creek, showing the transparent tannin-stained water over the sand bar, at Turkey Creek in Niceville, FL. (click photo for larger image)

I drew Katie and Marley for a special exhibit by my local arts alliance called “Faces & Figures” at The Foster Gallery. Katie is a neighbor in my community who walks her dog in Eden Gardens State Park. On this day, she was sitting on the bench up by the bayou. The paper actually is a very light blue — the camera incorrectly corrected for color-cast. (click photo for larger image)

As always, contact me if interested in available art or a commission.

 

Joan Vienot, Live Event Painter

June 13, 2017 in Landscape, Other Art, Plein Air by joanvienot

Several years ago I was asked to paint the bride and groom’s First Dance at their wedding reception. That first request blossomed into more as word got out. I have dedicated a page on my website to Weddings, Etc.

Last fall I painted at a beautiful wedding which was held outdoors in front of a magnificent private mansion. The weather was gorgeous, the light exactly mirroring the day before when I had visited the site to work out the details with the wedding planner. I arrived about an hour early, so my painting was well underway by the time the first guests arrived. A trio played classical music behind me, to the accompaniment of the splashing sound of the beautiful marble fountain beside me, and pre-wedding cocktails encouraged the convivial atmosphere. Guests looked over my shoulder as I continued to structure the mansion, cheating the color towards the warm glow I knew would be present at the moment I was asked to capture, which would be the bride’s father escorting the bride to her wedding. (I had taken a few reference photos of the wedding planner standing approximately where I thought the bride and her father would be walking, so that I had an idea of scale when I started the painting.)

I was amused that a few of the guests wanted to have their photo taken with me painting — apparently my activity was something essential to their anticipated memories of the occasion. But I was wholly unprepared for the revelation that my work would be so significant to the bride, surprised and pleased that she had my painting printed on her Thank You cards!

And then gratitude upon gratitude, when she included a photo of me painting, in the feature article on her wedding in The Knot, the premier magazine for “all things wedding”! The issue will hit the newsstands on June 26, 2017. Below are small photos of the 3-page article, and the fourth one is a composite of the photo of me working and the list of vendors. Click each image for enlargeable view.

Click image for enlargeable view.

Click image for enlargeable view.

Click image for enlargeable view.

Click image for enlargeable view.

 

Went to a Garden Party, en Plein Air

June 4, 2017 in Landscape, Plein Air by joanvienot

Sometimes our local group of plein air painters receives an invitation to paint at an event. When that happens, usually 4 or 5 of us will show up, and it is always fun. The garden party today, at Clay30A, was no exception. It was the 5th anniversary for the Seagrove Beach, FL, nursery and gift shop. I meant to arrive an hour early, because the party was only scheduled for 2 hours in the afternoon, and I wanted a head start. Alas, somewhere I lost an hour, so I arrived right after the party started. Several fellow painters were already hard at it. The business is a cornucopia for plein air painting – brilliant light and color and contrasting dark shadows galore. I often bite off more than I can chew when we (the Emerald Coast Plein Air Painters) paint here, so today I purposefully chose a simple subject, pots of flowers hanging from a tree. I correctly guessed that the sun would be starting to hit the flowers by the end of the party at 5:00, which was when I would be ready to paint the light. From when I started at 3:00 until then, I was busy with simple shape making and background colors. At the end, I was pleased with my result, so I gave it to the owner to thank her for inviting our group. To our surprise, she gave each of us a sweet card and gift. I am so grateful to live in such a classy place! Below is my painting. There was one change I made after shooting this photo — I removed the pot hanger I had started to paint in below the lowest hanging pot on the right. I decided that it would be difficult to identify, and that visually it would be less confusing to have the pots just hanging from the tree.

Oil painting of hanging impatiens at Clay30A nursery and gift shop, Seagrove Beach, FL

Trying Something Different, en Plein Air

June 4, 2017 in Landscape, Plein Air by joanvienot

I grow faster as an artist if I occasionally try something new, with a technique, a medium, or a subject I don’t normally use. Last week I posted a work in soft pastels. I’ve painted a couple more since then, for more exposure to the medium. Pastels are an excitingly different medium than the oil paints I normally use.

A month ago, I enjoyed oil painting using only black, white, and gray, to meet the requirements of a call for art by my local arts alliance. I painted en plein air, on a 12″ x 36″ stretched canvas, at Salinas Park near Port St. Joe, Florida, on the road to Cape San Blas. The marsh there is one of my favorite scenes. When I was a mentor for the Forgotten Coast en Plein Air in 2016, as a Florida’s Finest Ambassador, I taught 3 sessions at Salinas Park, but there is a difference between painting as a demonstration, and painting for the sheer pleasure of it. I loved doing this painting using only black, white, and gray. The only times I have painted with this palette of neutrals is in classes, either as a teacher or as a student. I really ought to do it more often, making a completed painting out of a value study, such a beneficial exercise! Unfortunately, the painting was not accepted into my local arts alliance’s exhibit — so I can’t wait to see the art that was accepted! To see a larger view of this painting, CLICK HERE.

Oil painting of the marsh at Salinas Park, Cape San Blas, Port St. Joe, FL, painted en plein air in black, white, and gray

The pastel works I completed last week are below. I specifically worked on creating the illusion of distance in all of these paintings, by softening distant edges, reducing detail,and reducing distant intensity and heightening the values. Pastels are pure pigment, and it is a challenge to reduce the intensity when you only have a couple hundred colors. Painters who work regularly in pastels have probably a hundred shades and tints of each color, perhaps a thousand colors in their box. As an oil painter, I am accustomed to mixing my colors. So it was a lot of fun allowing the brilliance of the pure pigment to show.

As always, message me if you are interested in owning any of my artworks.

Soft pastel study of a the afternoon light on the marsh at Bayou Texar, Pensacola, FL   Soft pastels painting of the marsh and bridge on Bayou Texar, Pensacola, FL