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.
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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.
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, and below is a photo of the work in progress.
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.
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.
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.
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.
Day 24, 2/24/18 – two works from Jekyll Island
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.
Day 23, 2/23/18: Jekyll Island Marsh
8×10 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.
Day 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.
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!
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.
Day 19, 2/19/18: Florida Dawn
6×6 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.
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.
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.
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.
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.
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!
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.
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.
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!
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.
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.
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.
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.
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. 😯
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.
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.