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Scenes of South Walton, 2012

A local group focused on environmental and growth issues in the mostly rural community where I live, in Santa Rosa Beach, Florida, is called South Walton Community Council.  Missioned especially with protection of our fabulously beautiful, pristine environment, relative to development and community growth issues, SWCC also puts on a Back-to-Nature Festival every fall.  Last year for the first time, Hidden Lantern Gallery partnered with SWCC to produce a juried art show called Scenes of South Walton, comprised of art inspire by the local natural setting.

Aster Reflected

I decided to enter a few of my photographs this year, and I was pleased to receive notice that my work had been accepted.  I usually shoot photography for fun, for Facebook, and because I love the process of capturing images.  If you’ve been keeping up with my blog, you know that I also shoot for Leslie Kolovich of The Stand Up Paddle Radio Show, but working for her is so much fun I hardly call it work.

Being a visual artist, of course, line, shape, size, position, color, texture, and density, all of the elements of composition, and repetition, harmony, and unity, the principles of composition, factor into my artistic evaluation of any of my photographs.  Ultimately, though, my chief interest in my own photography, is the play of light over the forms.  I rarely do much with post-processing, primarily enjoying the act of shooting the photo much more than the infinite tweaking that can happen after the image is on the computer.

Tree Frog

To my pleasant surprise, one of my pieces was selected for Honorable Mention.  There were works by 12 other artists and photographers, all of whom I consider my superiors in craftsmanship, experience, and sheer expression.  But my pieces do have impact, and the piece I submitted that received the Honorable Mention, “Aster Reflected“, also has enough of an abstract element to be just a little confusing.  It is a photo of an aster hanging out over the creek, and perfectly reflected in the creek.  Actually, the reflection is a more distinct image of the flower than the actual flower, which is over-exposed.  The confusion comes from there being such a perfect reflection of the aster, stems, and leaves, in contrast to some pine straw and debris that is just floating on the surface without any reflection.  When you look at it, you have to stop to figure out why there isn’t a double image of everything, how there could be just a single image, unreflected, mixed in with all the double imagery of the reflections.

Water Lily

The juror, KC Williams, didn’t mention the composition when she talked about my photograph, but instead discussed how it clearly represented an image that could be found in South Walton.  She actually talked quite a bit about each piece she that she had chosen, and also about the superb craftsmanship and artistic expression of all of the works in the show, but when mine was announced, I was smiling too wide to be able to listen.

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

Juror KC Williams is Director of the Galleries at Northwest Florida State College in Niceville, and she along with the Director of the South Walton Center of NWFSC, Julie Terrell, facilitate the exhibition of Cultural Arts Alliance members works through the A+Art Committee, on which I serve as co-chairman.

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Great Paintout at Grayton Beach

On Saturday I joined at least 16 other painters at Grayton Beach State Park, in Grayton Beach, Florida, to participate in the local effort for the Oil Painters of America 8th annual Great Paintout.  It was my first try at plein air oil painting in perhaps as much as 30 years, but something I have been intending to do for a long time.  I have occasionally painted outdoors using watercolors or sketched with pencil or ink, but the last time I remember painting the landscape with oils, plein air, was while on a camping vacation in St. Augustine, Florida, in 1978.  That day, so long ago, was memorable for being so hot and buggy.  By contrast, Saturday was the perfect day for plein air painting, being shaded by the park pavilion, and virtually bug-free.

So what’s the big deal about plein air painting, you may wonder.  En plein air is French for “in open air”, a phrase used to describe painting an outdoors scene “from life”, while actually looking at it, in the often changing light and weather conditions.  It requires intense concentration and awareness, and is much more challenging than painting from a photographic reference in a studio.  It appeals to me in much the same way that figure drawing appeals to me, because time is a limiting factor, so one must work fairly quickly, finishing or very nearly finishing the painting in one session.  For that reason, and because I felt so out of practice, I chose to paint on small 8″ x 10″ canvas boards.  I managed to make a passable effort on two boards.

To a certain extent, this was a trial run for me, to see how my equipment worked, and to start remembering how to paint.  I used just 3 brushes — two to paint with and a third one to sign my name, and a palette knife to scratch out some bush branches.  The brush I used for most of both paintings was a Winsor-Newton #6 round, sable, I think.  It worked better than the stiff bristle brushes I used a month ago in my first effort at returning to oils, in the workshop I blogged about on September 9. My new Coulter System easel and palette/box that I purchased last summer worked like a charm.  I used my 35-year old Grumbacher “Pre-tested” and Rembrandt oil paints from my days doing demonstrations as a high school art teacher.  My oil painting medium is about that old too, and while the paints are still good, I’m pretty sure the medium is degraded.  The paintings I did Saturday are dry today, one day later, but the painting I did a month ago in the workshop, in which I used more medium, is still a little sticky.

The sand dunes at Grayton Beach are made of  sand is so fine that it crunches underfoot like dry snow, and it even looks like snow in the bright sunlight, thanks to the clear crystals of quartz that make up the majority of its composition.  The scrubby oak bushes and half-buried scrub pines round over the tops of the dunes, shaped away from the Gulf of Mexico by the salty seabreeze.  Palmetto bushes and dune marsh grasses dot the lower dunes, fringed this time of year by various yellow wildflowers that some of us locals refer to collectively as goldenrod.  I never got around to painting as much as I would like to have, never adding in the finer details of shadows and sea oats.  I might go back in and put in those details, but the photos I have posted here are exactly as I finished on Saturday morning.

After we painted for about 3 hours, we all got together and looked at each others’ works, and we ooo’d and ah’d before giving feedback.  It was an excellent critique, with the masters of the craft commenting on areas of paintings that worked well, and areas that were challenging, and even discussing compositional tricks, like pointing out places where something in a painting might need to recede, made difficult by being light in value.  (Typically, light shapes and colors tend to advance, and darker forms recede, in a picture plane.  That can be overcome by muting or graying the lighter colors, shapes tending to become less bright as they recede, the way that we see things.)  Everyone was kind to me, not being critical at all, but I admit that I gave fair warning, protecting my vulnerability by explaining that I had just returned to oil painting again about a month ago, and that this was my 2nd effort in 30 years.  That was a fairly clear request to cut me some slack, I think.  The regular plein air painters go out every Wednesday, so if I start coming regularly, I’m sure they will feel more free to make helpful comments, and I will not be so scared to hear them.

Shane McDonald

Some of the artists who were there have their work online:

Becky Perrott

Charlotte Arnold

Rosalyn O’Grady

Margaret Ann Garrett

Jeanette Brooks Sherritze

Nancy Nichols Williams

Melody Bogle

Velda Dougherty

Shane McDonald

Matt Craven

And I wish I had the names and websites of the others there — if you read my blog and know the others, please email me with their names, and I’ll include them.

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

 

 

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Figure Drawing: Commitment to Practice

After warming up with two-minute, 5-minute, and 20 minute drawings, I spent the last hour of the figure drawing session drawing the model clothed, in her blue jeans and her brightly colored shawl.  I had noticed her shawl when she first arrived.  I was the only artist this week, braving the rainy weather, so I had my choice of pose and costume.  I worked with watercolor pencils, which brighten and get runny when wet with clear water spray or brush wash.  I used the watercolor pencils without water while drawing there at Studio b., waiting until I got back to my home studio to do the wet work.

There is a lot to be said for making a commitment.  My commitment, a couple years ago, was to myself, to participate in the weekly sessions at Studio b., making them my highest priority for Wednesday nights.  It has paid off, in that I learn another new aspect of figure drawing every week.  I rarely use color in my figure drawings, so this week when I did, I was very uncomfortable, several times making the decision not to tear it up and start over with my usual white nupastel and graphite, which I very much wanted to do.  I achieved the delicious color-texture of the shawl, and managed to show the slightly worn character of the jeans, but I need to return to her face and try to refine her features.

Below are a few of the warm-up sketches from earlier in the session.

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

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My Livelihood Gets in the Way of My Art

The activities of my life are an extension of who I am right now, and so the amount of time I have available to devote to my art is limited.  Knowing that I have made that choice does not stop me from sometimes resenting it.  I have a full-time job, owning and managing a small service business, and I have a second job, consulting for my retail store, and I have a third occasional job, teaching in the same industry as the other two jobs, all of these providing the necessary income to pay the bills so that I can enjoy the lifestyle I want, and also indulge my artistic efforts.  One day I will be brave enough to throw caution aside, quit my jobs, and become a full-time artist. Until then, I must resign myself to devoting limited energy to my art.

The preceding was a long introduction to explain that I was dog-tired last night at figure drawing at Studio b.  I drew slowly, getting lost in details, and losing track of the time.  I completed a couple of warm-up pieces to my satisfaction, at right, and another at left, but none of the extended poses reached any level of completion.  Nevertheless, I am posting them all on this blog entry, just to show what came out of my efforts.  After all, no effort is a waste of time.   Even when I am not satisfied with my results, I know that I have gained experience.  In retrospect, last night would have been a perfect time to experiment with different media, because then I would have had lower expectations.

Our model provided interesting poses.  In one pose, she was on her back, hugging her knees tightly to her chest.  I was at her head, so her pose was nearly symmetrical from my vantage point.  But at left is an image of the extent that I had completed by the time the 20-minute timer went off.  I hadn’t even gotten half-way into the drawing, getting lost in my own “zone” as I explored the shadows and shapes.

All evening we were tantalized by the heavenly smells of a wonderful dinner for a private party downstairs in the main gallery.  Cheese diva Paula Lambert was preparing all manner of delectables, and Studio b. owner Colleen Duffley kept bringing samples to us artists upstairs.  I can’t imagine a better place to practice figure drawing!

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

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Figure Drawing: The Power of the Group, Chakra Work, Music and Communication

“Reclining Arched Back” is available from my site! Click the painting for information on adding it to your collection.

“Standing” is available in my store. Click the painting and to purchase for your collection now!

Last week I didn’t draw, except for my practice at home.  Instead I watched and listened to a lot of live music at the 30A Songwriters Festival, which I blogged about in my last post.  And last Friday I attended a yoga presentation on the Root Chakra, the first in a 7-week series, a subject which is all new to me.  Then on Tuesday a friend and I got together and brought each other up to date, all good.  And Wednesday, a whole bunch of artists I hadn’t seen for a while were at figure drawing, at the regular weekly session at Studio b., which was exhilarating.

So whether a positive result of my fledgling efforts to allow more energy to flow through the Root Chakra, or good old-fashioned open communication with a dear friend, or listening to so much good music, I felt very confident in my artistic expression this week.  I found myself very quickly lost in the process of executing each pose.  When I lose myself is when I enjoy it the most and feel the most successful at capturing what to me is the basic emotive and visual essence of the pose, whether I am focused on the light, or mass, or shapes, texture, or line.

Our model struggled with the standing pose at top left.  Supporting herself on one leg with a locked knee, she wasn’t able to hold it for as long as she had intended.  Nevertheless, even with the pose a little shorter than expected, I felt completely comfortable with the end result, leaving portions of the drawing a little sketchy.  In fact I think I am enjoying that more and more, developing only the more important area of each pose, although I need to be careful not to always leave the feet undeveloped, because that might be suspected laziness.  Feet are difficult to draw.

The drawing at upper right is the only drawing I was unsure about, when I was finished, because her right elbow creates a triangular shape above the woman’s throat.  Effective composition  requires the artist to be judicious, to leave out visual description which merely confuses.  So I worked on this drawing when I got home, removing the elbow shape entirely, and then drawing it back in.  Sometimes it is that little quirk of confusion that requires the viewer to puzzle for a moment, and engage a bit more, holding his attention for a bit longer.  And in this day and age of instant communication, holding someone’s attention is like gold to an artist.

Speaking of attention, to those of you who wade through my blogs each week, from the bottom of my heart, thank you!  You don’t even have to say anything, though I love it if you do — I feed off your collective support.  May we all give support to each other for our efforts at creative expression, whatever the avenue!

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

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Don’t Worry, Just Draw!

Sometimes the artists will talk during the breaks between the longer poses at the figure drawing sessions at Studio b.  This week we touched on the purpose of our lives, parallel universes, and the annihilation of the solar system that is going to happen in a zillion years.  I have to confess, I have never lain awake at night over any those issues.  It’s challenge enough just being myself in my small world!

My life is pretty basic.  My “day-job” can be all-consuming.  Many of my activities are trade-offs, where I have to give up one thing so I can do another.  But having made those trade-offs, I am so much healthier than I was 3 years ago when I first started working out, and I draw better than 2 years ago when I started coming to the figure drawing sessions at the b., and I have more friends since spending more time paddling the local waters over the last 2 years, and somehow I have managed to find a little time to practice meditation and yoga.  All told, that probably consumes 20 hours a week.  If the economy changes, and my work gets busy again, I’m going to have to make some choices, because that 20 hours is time I used to spend working.  But for now, things are good, and the solar system is not worrying me.  Global warming, yes, acidification of the oceans, yes, but the solar system , no.

I don’t worry about anything very much.  Once in a while, not having a lot of money will make me itch, but not too often, because the experiences I have make me wealthy beyond any amount of money.  The trick is merely to be present, to be looking at what is, and allowing myself to be amazed.  And that brings me back to figure drawing, to my state of mind when I am most successful at capturing the essence of a particular pose.

Both of the poses I show above, were about 30-minutes long.  I roughly and lightly sketched the gesture with white Nupastel, and then refined the shapes and the lighting with both nupastel and graphite.

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

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Interruptions and Trade-Offs

I’m spread thin right now.  I often have to give up one thing in order to do another.  I wish I could work up the nerve to become a full-time artist.  When I start to paint, it will be another step in that direction.  Whether it takes me another 10 years, or if it happens tomorrow, something is going to have to give, because I am enjoying my art more and more every week.   Last Saturday I took videos at a stand-up paddleboard race but I discovered that my videos took forever to upload to YouTube.  I ended up doing projects around the house between video uploads, and I never got my blog written about last week’s drawing efforts!  So here we are, a week later, video-rich, blog-poor.

I won’t be drawing this week because I want to spend time with a friend who is visiting.

Below are my drawings from last week.  Underneath is a photograph of a blue heron that I took yesterday.  I had just finished a site inspection to make a service proposal for my business, and I was driving through the community when I saw a great blue heron, posing by a pond.  The overcast sky, frigid temperatures, and gray tones all combined to make the slightly nervous bird very picturesque.  Nature photography sometimes is just the good luck of happening upon it!

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

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Surrounded by Painters at Figure Drawing

On this night at Studio b. at the regular weekly figure drawing session, I was the only artist who exclusively draws the figure.  David Orme-Johnson brought his watercolor paints, and Nancy Nichols Williams brought her acrylics.  Steve Wagner also is an accomplished figure painter, although on this night he worked with charcoal and white on brown paper.  As expected of all students majoring in art in any university, I took my share of figure painting classes, but when it comes to the figure, I like making dry marks on paper.

I warmed up with some small sketches using water soluble graphite pencil on watercolor paper, which I added a wash to later when I got home.

I enjoyed the longer poses.  I feel that I am coming closer to my intended effect as I continue to use graphite and white nupastel.  It is always a challenge to draw the female model we had tonight, who is in constant training for triathlons and is now training for an Ironman next year.  Her musculature is supremely developed, but I find myself minimizing her definition, probably because it becomes very detailed and I always feel like I am rushed and must simplify.

The first pose I have posted above was supposed to be for 10 minutes, but we asked the model to hold it a little longer, so it grew to 15.  The pose below was for 45 minutes, with a break after the first half hour.  That longer pose allowed me to spend a little more time on the face.

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

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Figure Drawing the Night Before Thanksgiving

The model couldn’t make it to Studio b. for our figure drawing session this week, so the owner of the Studio, Colleen Duffley, graciously offered us her time, posing clothed for us.  When the artist knows the model, it seems important to try to be accurate in the drawing, for the sake of not offending the model by one’s poor craftsmanship.  I tried to put that additional pressure out of my head as I drew.

Clothed models are much easier to draw than nudes.  Clothing is very forgiving — I can fudge one way or another with a line or a shadow on clothing without it feeling awkward.  Nevertheless, I still wanted more time, even on the 20 and 30-minute poses.  Between the wire-mesh of the model’s chair, and the leather and denim of her clothing, and her extraordinarily beautiful, curly hair, it was frustrating to be faced with such rich textures that I could only hint at because of the duration of the poses.

Below are two warm-up drawings, and two longer poses.  Click on any image for a larger view.

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

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Showcasing Figure Drawings by Steve Wagner

Drawn by Steve Wagner
Drawn by Steve Wagner
Drawn by Steve Wagner
Drawn by Steve Wagner
Drawn by Steve Wagner
Steve Wagner is a fellow figure drawing artist at the regular weekly figure drawing sessions at Studio b. We had an assignment this week.  The owner, Colleen Duffley, said that a woman had come in to view the “Figure It Out” show of figurative works, and then said she would be interested in a series of poses, all reclining, using a male model.  The preferred style was gestural.  Steve and I were the only artists attending this week, so we accepted the challenge.
We warmed up with the usual 1-minute and 5-minutes poses before moving on to some 20- and 30-minute poses.  The model had an easy night.
Steve’s drawings are in the column at left, with two gestures on top, followed by 3 longer poses.
Steve presents his figure drawings as final products, but he also uses his figures as preparatory work for paintings.  Some of his framed works can be seen in the South gallery at Studio b.  He also shows at World Six Gallery.
Below are a the drawings I did, from the same last three poses.  The first pose is cropped.  Click here for the full pose.