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…

 

 

Five-Day Challenge

January 18, 2018 in Landscape, Other Art by joanvienot

I am participating in Mary Gilkerson’s Art+Work+Living Five-Day Challenge, which is to paint a painting in 20-30 minutes every day for five days. The purpose is to develop a daily painting practice, using a knife or #6 brush or larger. I plan to add an to add a painting to this blog every day for 5 days.

And Day 5, January 22, 2018: Apple, 6×6 oils on hardboard. I painted this while looking at the Apple. This concludes the Five-Day Challenge, so now the question is, will I continue this daily painting practice? I intend to,  at least puttering in the studio whether not I produce anything worth looking at.  In the process of doing this, I also have straightened out a glitch in my Instagram account so that now it will post both to Instagram and to Facebook at the same time. It was something about how I had created the account, that it just would not post no matter how hard I tried.  I ended up having to dissociate the accounts, delete them from my phone, and re-upload them, and then change the IG account to a business account, and then re-associate the accounts. Now I am learning all about hashtags.

Oils on hardboard

Day 4, January 21, 2018: Aloe, oils on hardboard, 6×6. Last month I bought about 20 6×6 pieces of hardboard last month, planning to start a daily painting practice and not wanting to use expensive linen panels. I wanted to feel free to experiment and have less investment in the outcome, both emotional and financial. I realized I hadn’t primed them, so I gesso’d 12 of them, all that I had space for. I use clear gesso on panels or board that is not white; that way I don’t have to tone it to reduce the glare of white gesso. Now… what to paint? I have potted aloe on top of the microwave near the kitchen window, and it receives beautiful high-contrast morning light. I decided that would be my subject, and I squeezed out some greens that are not normally on my palette — sap green, thalo yellow-green, and viridian. (Normally I mix my greens, for plein air painting and for painting the figure.) For the Five-Day Challenge, we are supposed to be reducing the amount of time we paint, from 30 minutes to 20, not counting color-mixing. Since I mix as I go, I adidn’t worry about the time. My timer stopped me at 30. I squinted at my work to evaluate it — not enough contrast. I took another 10 minutes to add some darks, and I cleaned up some edges, and then added a few scalloped edges on some of the leaves, to help identify it as aloe. I’d like to give this subject a second try, reducing the amount of reflected blue light and making it more distinct. Also I will place the pot differently, so it doesn’t look like it is ready to fall off a table. I wasn’t thinking much about composition when I started this painting, just the luscious greens.


Day 3, January 20, 2018: Sunrise on Eden Drive, oils on canvas panel, 6×6. Today’s painting used a photo I recently took looking out over my yard from my front deck. My house has a bayou in my back yard, and behind the lot across the street from me, a freshwater creek, which together provide wonderful atmosphere on winter mornings when the air is colder than the water. I learned my lesson yesterday, today painting with a well-shaped brush. It’s a #6, as recommended by the guidelines for this project. A well-shaped brush can be turned on it’s edge to deliver very thin strokes. The wet paint created a little glare on the left side of this photo of my painting.


Day 2, January 19, 2018: Four Views of Merritt, oils on canvas or birch panels, 6×6 each. On Fridays, I enjoy studying the figure in the open studio with a model at the Foster Gallery on Grand Boulevard in Miramar Beach, just 10 miles from my home.  Since I am doing this five-day challenge, I decided I would use figure painting to fulfill my challenge commitment. We break up the long pose into 20 minute segments, so I painted four 20-minute versions of the same pose, moving my easel for each segment so that I would have a different view. The first painting was on a canvas panel, and the other three were on clear-gesso’d birch. The small format was pretty restrictive, and painting with a number six brush was very difficult because it was not a well-shape brush, rather like painting with a dogs tail, I imagine. But no excuses, because I know some artists who can paint with a stick if they forget their brushes so it’s all a matter of experience. 


Day 1: January 18, 2018, Two Palms, oils on canvas, 6×6. Apologies for the glare on the canvas — it actually is pretty well covered — the canvas texture is showing because of the wet glare. It was difficult to put down my #6 brush after only 30 minutes. I’m not sure what’s happening with that gigantic branch hanging down on the right. So much refinement can be done in just a few more minutes, but I’m going to try to follow the rules for this Five-Day challenge. I was working from a photo on my iPhone, and was timing myself with my meditation timer app. I had app’d the photo into 3 values – black, white, and gray – with “Notanizer” so that I could simplify the darks and lights, and had sketched even more of the darks on a print-out from that app, to remind myself to make a workable silhouette with my darks from the get-go. When i started, I used pure ultramarine blue for my darks. Unfortunately I never got around to warming my trees so my eye tends to go to the warm grass in the foreground instead of to the trees. Now the decision — whether to keep it and refine it, or to wipe it off and salvage the canvas.