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 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 and will run through the first couple days in March.

 

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: untitled and unfinished, 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!

Oil painting of Norah, from live pose at the Figurative Artists Atelier at the Foster Gallery on Grand Boulevard, Miramar Beach, FL

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.

 

 

 

 

TO BE CONTINUED…

 

 

Back-to-the-Basics Drawing Course

January 19, 2013 in General, Landscape, Still Life by joanvienot

 

In February, 2013, I will be offering a “Back to the Basics” Drawing Course at the Bayou Arts Center, in Santa Rosa Beach, FL, for the Cultural Arts Alliance.  The course will be four two-hour classes, on Tuesdays from 1:00 to 3:00pm.  We will practice line quality, “seeing” shape and drawing what we see, and creating textures.  We will practice drawing as preliminary to other art, as well as drawing as the final masterpiece, and we will experiment with several kinds of media.

An otherwise fabulous work of art can be ruined by poor perspective.  So in the first of the four two-hour classes, we will review one-point and two-point perspective, which are useful tools for making representational objects look “right” in our attempt to create the illusion of 3 dimensions on a two-dimensional surface.  Knowledge of perspective will assist us in seeing correctly.

Above is a drawing I made several years ago, showing the weeds near to the viewer to be much larger, relative to the trees and the structures further back in the picture plane.  As objects recede, they should be drawn smaller and there is an orderly way to go about that, which is the tool called perspective.

Below I have posted a simple sketch showing some perspective problems.  You immediately get a sense that there’s something wrong with this picture, and you may or may not notice what it is exactly that bothers you, but you will recognize it and agree that the house on the right looks crooked, and the telephone poles seem too tall as they go over the horizon, and the fence underneath them doesn’t seem right, and the tractor looks too small.

 

Back-to-the Basics Drawing Course

Register at (850) 622-5970.  The fee is $100 for CAA members, slightly more for non-members.  Below is the suggested supply list.

Ebony pencils — jet black, extra smooth (Prismacolor) or similar very soft, black graphite pencil (6B or 8B)

A water-soluble pencil, i.e., Derwent Sketching pencil – dark wash, 8B,  or Derwent Graphtint pencil – nice colors are steel blue(06), port (01), shadow blue (05)

A water-soluble pen, dark (Vis-a-Vis, or Flair) — blue, black, or brown

A white eraser (White Pearl)

12″ ruler — 18″ is even better

Watercolor brushes — nothing fancy, anything will do, but if you have one, a #4 rigger/liner/script and #6 pointed round

Small water container (Dixie cup is fine)

Soft cotton rag for smudging

Old sketchbook for note-sketches and for practicing at home

Assortment of papers — white, cream, mid-tone, and colors, different textures, nothing terribly expensive, but better than newsprint,whatever you have on hand, and perhaps some watercolor paper or illustration board, 12 x 18 or larger

Plus anything else you might want to draw with or on

You may want a to bring your drawing board and table easel or stand-up easel, but we can work on the tabletops.

Optional supplies the instructor will bring for you to experiment with:

Charcoal pencil, paper-wrapped — soft or extra soft (Berol)

Woodless pencil, 6B (Grafstone), or graphite sticks

Cretacolor Woodless watercolor pencils (Aqua Monolith)

Nupastel, white, and some dark colors

Stabilo Aquarelle Black 8046 or Red 8040 or Brown 8045

Practice paper (cheap, not colorfast):   Smooth newsprint, Textured newsprint, Gray bogus paper

The instructor gets supplies from www.dickblick.com, and standard delivery is usually about 10 days.  But please do not spend a fortune — let’s use the supplies you already have!

Oil Painting with Jan Bennicoff

September 9, 2012 in Still Life by joanvienot

Jan Bennicoff, Demonstrating

Yesterday I attended Jan Bennicoff‘s oil painting workshop at the City Arts Cooperative in Panama City, Florida.  The day before, I packed up my supplies from the list she had distributed, which I have been gathering over the past 6 months or so in preparation for my plan to start plein air painting.  I had signed up for this introductory workshop as a review, since the last serious oil painting I did was in college, dare I tell my age, almost 40 years ago.  I loaded a couple of small canvases, 11×14, my brushes, my new lightweight easel and palette, paper towels, and some containers.  The solvent, medium and the paints, were provided at the workshop for a mere $5.00 supplies fee.  The workshop was free to members of Panama City Artists.

Jan set up a still life of melons, and she began her demonstration by making a line drawing of the subject using a brush and a dark color, red in this case. She instructed us to then paint from dark to light, that is, to paint the dark colors throughout the entire painting first, covering all of the canvas, and afterwards painting the lighter values.  She helped us to see the different colors, shapes, and values in the subject from our individual viewpoints, and gave tips on how to execute them, and how to mix the colors.

While painting, I found that I need to buy a few better brushes.  Some of the brushes I have that are the perfect size for how I want to use them, are a little stiff in the bristles, so that putting another color on top of an area of wet paint results in the bristles scratching off the other color.

I didn’t have too much trouble drawing the subject onto the canvas, even though I haven’t practiced contour line drawing in a while.  I’ve been practicing figure drawing, focusing on light/shadow, and defined vs. lost edges, rather than all contours.  I worried about the composition from my viewpoint, which was nearly split in half, with only a small area of a tray overlapping the right hand masses with the masses on the left.  Jan helped me see the shadows and highlights that would also help tie the two halves together, and I repeated some of the watermelon reds in the orange pieces of cantaloupe, and added some oranges into the red watermelons, to also help tie the two together.  To make the colors brighter, I heightened the background contrast, deepening the blue-brown until it almost became black.  I liked the end result, especially considering I completed it in just a little over 2 hours.

I have always been of the opinion that things are more interesting when a little is left to the imagination.  I know that my tendency is to try to be exact with my art, but the painting style I want to develop will be a little looser, exact only when absolutely necessary to define an essential element.  This will require me to assume that my audience can “read” the painting without me describing every little detail, a leap of faith on my part.

Most of my images are available for purchase.  Contact me if you are interested. — Joan Vienot

Encaustic Workshop at Studio b. with Rae Broyles

November 27, 2010 in Figurative, Other Art, Still Life by joanvienot

I ventured into new territory today, taking a workshop on encaustic painting at Studio b.  The closest I had come to encaustic painting was when I was a child, melting crayons and drizzling the molten wax onto paper.  I don’t remember very much about my childhood experience, but I’m sure that what I loved most about it was playing with the candle.  Today we traded the candle for a blowtorch, which was infinitely more exciting!

First we used a paintbrush to put hot bees’ wax  onto the board to make a background, applying multiple layers, scraping each layer smooth.  Then we added pigment to the wax and brushed  colors on, building up textures, carving into the wax, cutting and scratching into it, stenciling, stamping, embossing, adding collage, and even writing  into the wax to create powerful, colorful 12″ x 12″ encaustic paintings.

Instructor Rae Broyles demonstrated many different ways to work the wax, and then she worked alongside us on a painting of her own.  We were surrounded by some of Rae’s recent work on the walls at Studio b.

With every medium, there is a craftsmanship that must be mastered before one can be freely expressive, but we all had a lot of fun trying, and we were all pretty successful, I think.  Part of it of course was Rae’s excellent instruction, but part too was her relaxed, and even playful, attitude.  After all, creativity often is playfulness.

I pressed a plant into the soft wax and then filled the embossing with colors, layering additional cover layers, so that some parts are in sharp focus and others appear to be further away.  I tried to put a fish in it, and he disappeared, and I decided I didn’t have enough control to put a small scuba diver in the background, which was my other idea for an underwater scene.   So it ended up being a picture of some kind of flowering plant.

For my second piece I wanted to experiment with a figure, and I used the general pose that we had at figure drawing last week, dividing the background with simple geometric shapes.  I tried making lines with a hot drawing tool, but that didn’t work very well, so I carved lines using a clay sculpting tool, and then filled the lines in with black wax, scraping off the excess.

Will I do more encaustic work?  Maybe so.  It’s fun, it forces me to accept looser, less-controlled expression, and all I would need to buy, that I don’t already have,  is an electric flat grill-pan to heat the wax in aluminum bread-tins.  (Oh, and I would need that neat trigger starter for the blowtorch, that was pretty cool.)