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.
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.
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.
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.
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 & Live Event Painting.
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.) Continue reading Joan Vienot, Live Event Painter
(Added July 26th, 2019: Would you like to purchase the painting featured in this blog post? “Owlets”, the painting above, is available in my store now. Click here for more information.)
Inventory record keeping can be a chore. I have many paintings. Some are on my studio walls, some are in storage, some are entered in shows, some are entered in competitions, some are in galleries, and some are out on loan. I used to simply upload my works to my website. But I might want a list of the paintings in a collection at a particular gallery, and my website cannot make reports. For that I rely on an online inventory system called Artwork Archive. This site allows me to assign my artwork to various collections (galleries, competitions, locations, etc.). It generates nice reports, and it can create gallery labels with as much or as little information on them as I want. For example, for a recent show at St. George Plantation on St. George Island, FL, I opted to include the one-paragraph “description” on each 4 x 6 label, because each of the paintings had a story, my experience and observations while I was painting it there on location, with which I knew the viewers would identify.
Artwork Archive also allows me to immediately mark a piece sold, and to record where it was sold and by which gallery or exhibit. It was a valuable tool this week, when a number of sales happened through various avenues. I sold a plein air painting off the easel on Wednesday, to the owner of the house in my painting. I also sold 3 paintings this weekend at the the St. George Plantation show. One of the galleries showing a number of my paintings called to say they had sold one painting, and also a small figure drawing, and the interior design shop representing me sent me a check for the proceeds from 3 paintings sold. Plus I received an order for a commissioned painting. It was a good week! Artwork Archive made simple the record keeping for these sales.
It also can make a beautiful report on any single painting, complete with image.
Before I started using Artwork Archive, I used to try to keep a spreadsheet of sorts, but it was cumbersome, to say the least. I still keep a spreadsheet of due dates and delivery dates for competitions and exhibits, but the bulk of my record keeping is on Artwork Archive.
Below are my sales for the week, a sample of the necessary record keeping. The first five are recent paintings.
The following paintings also sold this week.
All of the above paintings have sold. If you have a scene that you would like memorialized in a painting, contact me on this website’s “Contact Form”. I am happy to do commissioned work.
My local arts organization, the Cultural Arts Alliance of Walton County, FL, produces an annual exhibit called One Size Fits All. The Call for Art stipulates that art is to be produced on 10×10 cradled wood panels 1.5″ deep. Participants can submit two panels, using either side, creating any kind of art or craft that they want. The panels will be hung at the Foster Gallery at the Market Shops in Sandestin, and will all be offered for sale for the low price of $125. The Gallery will take 40%. The artist may hang another panel in place of the ones that sell. Most of the artists who produce art for this show, put in far more value than $125, just for the fun of coming up with something creative and new. This year I produced two antiqued photo transfers and today I painted a third panel, a beach landscape, en plein air.
I was painting with the Emerald Coast Plein Air Painters at our weekly outing this morning. Our location was Beasley Park, on Okaloosa Island in Fort Walton Beach, FL. The sky was dark, but the sun was peaking through, highlighting the grasses on the dunes. Three or four old fence posts wandered up the dune, and a mockingbird perched on top of the nearest post. The scene was exquisite. The sun played with the scene off and on all morning, and painting was a delight from the beginning to the end.
Below are my three panels for 2016 One Size Fits All. I will turn in two, and have the other ready when one of the first two sells.
Below are pieces I have done for One Size Fits All in years past.
Art does not come out of the void. At a minimum, it interprets experience and renders a modicum of the artist’s truth, and at its best, it takes the artist’s inner and outer experience, undergoes experiments in alchemy in the boiler room of the artist’s soul, and then spawns something seemingly completely original. Yet to the artist, it merely is another step in the process of expressing herself or himself. Most of the artists I know are amazingly humble in that regard. They see their work as an experience, a process; while those viewing the final piece, the artwork, see the magical release.
By mingling with other artists, seeing their work, talking with them, listening to their excitement, their struggles, observing their unbelievable courage and their ability to withstand misunderstanding and rejection along with acceptance and recognition, I see mirrors of myself, and my creative spirit is magnified.
Facebook has been a tremendous boon for me, creatively. Through this phenomenon of social media, I have been able to see the work of my artist-friends and acquaintances, as well as that of other professional artists through the various groups I belong to, and then there are the very giving spirits who appreciate good art so much they share a veritable museum of found art on their Facebook pages, people like my friend the amazing Susan Lucas, who shares a wealth of creativity by others.
I volunteer for one such community, as a member of the Board of Directors of the Cultural Arts Alliance of Walton County (CAA). I serve on the A+Art Committee, whose mission is to showcase the work of CAA member artists. I had the privilege of being the show coordinator for Creative Textures, a current exhibit of the work of 11 artists known for the textural quality of the work, featuring the sculpted acrylics of Justin Gaffrey, colorful weavings by Margaret Rogers, art quilts and stitchery by Mary Zahner and Becky Brodersen, bold ceramic masks by Didon Comer, dyed silks and beaded fabric by Gabrielle Bullard, the haunting art dolls of Ann Welch, expressive tile work by Sherry McCall, exquisite glass and shell collages by Mary Hong (South Walton Artist of the Year 2014), wearable beadweaving by Emilie Pritchard, and unique art basketry by Carol Dickson.
Last month my own work was selected for the promotional materials for another one of our shows, Express Yourself, used on the posters, the program, and the custom wine labels. Bottles of the show label were auctioned. Photos are on the A+Art Facebook page, January 20 and 21, 2015. I’ve posted a few below. I believe Melissa Mercer Brown, 2014 Chair of A+Art, and Suzanne LeLoup-West, Express Yourself show coordinator, shot most of the photos, if not all. Music and song, poetry, theater, dance, all of the arts enrich the soul, and for artists, provide further inspiration, motivation, and a “refilling of the well”. Electronically we have the ability to bring all things “culture” into our living spaces and our studios. But of course there is nothing quite like mingling in person, in the actual energy of creative people, attending events, or even just getting together in small groups or one-on-one. We seem to energize from our contact with each other. There is so much value in community.
Recently I’ve been watching my good friend Leslie Kolovich develop Leslie Kolovich Live, her own internet radio/tv broadcast featuring “music, art, the environment, and purposeful living”, and especially observing her interaction with the musicians, and I see the very same creative energy exchange I’ve been writing about here. Likewise with my friend Melanie Cissone, organizing life drawing sessions for fellow figure-drawing artists, intent on improving her own skill and expression, but benefitting other artists at the same time. Community with other artists provides support and opportunity, infinitely energizing. Leslie comes to my art studio every week or so, a community I don’t invite into my personal creative space unless the energy is very, very simpatico, which it is, with her. This week I finished the painting I posted in my last blog, while Leslie produced an amazing pastel of an eagle, inspired by a pair of nesting bald eagles we saw when our paddle-group paddled the bay near my house last weekend (Leslie’s painting at right).
Last week I learned that water can see. Who knew?! That was just one of the hundreds of tips Julie Gilbert Pollard gave in her workshop in Panama City Beach, Florida, “Wet and Wild: Painting Vibrant Water Scenes in Brilliant Color”. This tip came on the first day, when we were working on reflections. In other words, Julie said, “Water reflects as if you were looking at the scene from its vantage point.” To illustrate, if a dead tree is angled out over the water sideways to the viewer, the reflection is a reverse mirror image, the same size and directly underneath the tree, in reverse angle. But if the tree is angled towards the viewer, the tree above the water will appear shorter due to foreshortening, but the reflection will be much longer in proportion, because the water is “seeing” the tree from underneath.
So I look at reflections differently now. I look at color and shapes differently too. Everything is more colorful since that workshop, and I am seeing much better. I find this is always the case after any period of immersion in art, that I see better and am more aware of colors and shapes. One of the other participants in the workshop said that one of the few things you get better at as you age, is art. I laughed, but I understand that statement.
We worked in the classroom, from sample photographs Julie provided which illustrated the concepts and techniques she was teaching. She used the first four chapters of her Adventurous Oils, a Workbook Companion to Brilliant Color as well as several hand-outs. It was a treat being taught by someone who understands how artists learn, who was able to paint and talk at the same time (no small feat, integrating both the left and right brain at the same time!), and who was able to provide constructive assistance as we worked on our various pieces. And the participants were a happy bunch, the paint-mixing and experimentation punctuated with their softly-spoken stories to their table-mate and their laughter. My own table-mate, Faye Gibson, owner of Meacham Howell Design, also was using oil paint; the rest were painting with watercolor. Since the instructor was giving demonstrations in both watercolor and in oil painting, I brought in a 6-color Walmart watercolor set and made a watercolor painting and then painted an oil painting the second day when we were studying waves, shown at left. The watercolor painting was snatched up by a good friend of mine as soon as I posted it on Facebook.
The third day we studied cascading water. Julie teaches cascading water as if it were a gathered skirt of a wedding dress, with the initial drop being the waist and flowing skirt, followed by a ruffle of white where it splashes down on the pond below, with a “train of lace” surrounding the splash on the flat pond. I painted my first palette knife painting that day. Clean-up is much easier at the end of a knife painting — all you have to clean is the knife!
The fourth and fifth days we were supposed to finish the paintings we had started the first 3 days, but I had already finished mine and painted a second one each day too. Plein air painting has made me pretty quick. So the fourth day I cut a few flowers off the crepe myrtle bush in the parking lot, and put them in a pitcher of water on my desk, thinking I would learn to paint the pitcher full of water. But the flowers fascinated me, so I painted them primarily, with only a suggestion of the pitcher underneath. Our technique for the day was negative painting, where you paint the negative space surrounding the form. My efforts taught me the techniques, but made the painting very twiggy, so the following day I painted out most of the twigs and branches, and it became flowers again.
On the final day, the technique assignment was to paint a scene in pure color, using colors straight out of the tube, or pre-mixed, using colors for their inherent light-dark values instead of as color. I again painted with a palette knife, using the wave photos for reference. Anywhere there were dark values in the painting, I used ultramarine blue, violet, and reds, and cobalt green, lavender, and orange for the middle values, and orange and yellow for the lighter values, with white for the froth. The idea was that if you took away the color, the painting would read correctly as a black-white-gray value study. So I took a photograph of my painting, and then de-saturated it to remove the color, and was pleasantly surprised that indeed, it looks “right” as a value study.
To top off the workshop, there was a drawing for one of the instructor’s paintings, and I won it! Icing on the cake!
Joan Vienot with Julie Gilbert Pollard Photo by Helen Ballance, Beach Art Group
Studio b. was the primary sponsor at the TEDx simulcast presentation in Telluride, Colorado last week. I had the pleasure of accompanying owner Colleen Duffley and her assistant Garrett Griffis, for the installation of Light Impressions and for TEDx-Telluride at the Michael Palm Theater. In the unscripted interview below, Colleen explains the concept of Studio b. and the motivation and production of the Light Impressions exhibit to videographer Sue Rostvold.
While in Telluride, I visited most of the art galleries. I particularly enjoyed the Telluride Gallery of Fine Art where I thought the graphite drawings and mixed media drawings by Bernie Fuchs are even more sensitive than his beautiful paintings, and Christian Burchard‘s sliced wood sculptures are so very interesting, and at Lustre Gallery, Steve & Katia Pflipsen’s glass and metal works are amazing. But I have to say the most inspiring work is at Stronghouse Studios, where I met artist Elaine Fischer (except we talked about her issues as a County Commissioner of San Miguel County instead of her art). At Stronghouse I saw some of Judy Haas‘ amazing fractals, which have a faceted filter overlay such that they change to a different image as you pass by them. And Sasha took me across the street to the Stronghouse Gallery, an eclectic collection of incredibly interesting and remarkably affordable art, fabric arts in particular. My favorite works overall were at the Ah Haa School for the Arts, a series of paintings by Corinne Scheman depicting various interpretations and representations of Stonehenge. Her works illustrated an excellent command of color.
I did no sketching myself, last week, instead using my camera to try to capture some of the winter wonderland of Telluride. Here are a few examples.