Dr. Steven Leatherman, also known as Dr. Beach, rates the best beaches in the world every year, using 50 criteria. Grayton Beach, Florida, has been Number One at least once and in the top ten several times. That would be no surprise to anyone who has seen this beach. The reflective white quartz sand consists of small grains with a texture as smooth as sugar, so fine that it crunches and squeaks underfoot like very cold snow. Under the blue sea of the Gulf of Mexico, the white sand bottom reflects turquoise, punctuated by an emerald streak where the sand bar offshore rises to within 10′ of the surface. On days like last Wednesday, you would never know that those same waters could house the fury of a hurricane, like the one last month that destroyed most of Panama City, Mexico Beach, and Port St. Joe, the destruction starting a mere 20 miles east of Grayton Beach. Continue reading Plein Air on the World’s Most Beautiful Beach
I spent half of August and half of September on a month-long adventure of travel and plein air painting. Two weeks were in Colorado at the Estes Valley Plein Air event where I painted almost every day in beautiful Rocky Mountain National Park near the town of Estes Park, Colorado. And one week was in the spectacular Blue Ridge Mountains, near Blue Ridge, Georgia. I completed 11 paintings.
It was an honor to be juried into the Estes Valley Plein Air event, which was sponsored by the Art Center of Estes Park, and managed by the very capable team of Lars and Kristi. I opted to drive, instead of fly, from Florida to Colorado to reduce expenses. I had a cabin to stay in while I was there, thanks to the generosity of my friend Dr. Cynthia Reedy, but while traveling to and from, I tent-camped. I used love being in the great outdoors, “roughing it”. By camping and driving, I saved a $500 flight and a $900+ car rental and probably at least $500 in motels. I also saved the trouble and expense of shipping my frames and canvases and tools and equipment. I did buy new tires before I left, which I paid for by instructing a course for the employees of the business I had recently sold. Even so, except for the fact that I have family in Colorado, traveling this distance for an event is worthwhile as a business venture only if sales are generated.Continue reading A Month of Adventure: Estes Valley Plein Air and Blue Ridge Mountains Paint-Out
I attended the Forgotten Coast en Plein Air and Plein Air South again this May, taking time out for painting between demo’s and discussions. I practice painting en plein air to study the transient effects of light, to become more adept at composing, to learn more effective technique, and to develop a stronger instinct for decision-making. Many times a plein air painting will be worthy of framing. All are learning experiences. My intention is to study something different every time I paint, even when I paint a scene I have painted before. Every painting is making it easier to paint the next painting, but I challenge myself even more the next time, so I can’t say that painting is easy. I can say that I am seeing better. Continue reading The Forgotten Coast en Plein Air and Plein Air South 2018
|Postscript, 10/21/18, 11 days after Hurricane Michael
I am in shock, seeing that places I painted are heavily damaged or perhaps even have disappeared. When I painted “Spring Dune”, the third painting pictured below, I remember feeling like the huge old dune was a big protective bear guarding the edge of the park. Today I saw video that gives me every reason to suspect that this dune does not exist anymore. https://youtu.be/EVkRgeqgcdI
The Plantation of St. George Island is a beautiful gated community situated on the west end of St. George Island, one bridge away from Eastpoint and and two bridges away from Apalachicola, Florida. The Arts Committee of the community, led by Bunnie Ison, produced the 2018 St. George island Paint-Out, an invitational plein air event. The artists participating were Catherine Hillis, Olena Babak, Craig Reynolds, Vernia Moore, Lynn Wilson, Debby Brienen, Randy Pitts, Janyce Loughridge, Randy Brienen, Karen Margulis, and Kelly Rysavy, Alison Menke, Natalia Andrea, Ed Nickerson, and me, Joan Vienot.. This was my first invitational plein air paint-out. I was a little worried because I thought that most of the other artists have been in invitational paint-outs before, and I had the impression that all were extremely talented. So it was to my surprise at the end of the week when I found one of my paintings, ” Marsh at Nick’s Hole” decorated with a 2nd place ribbon by judges Sandi Shaw of Pines and Palms Gallery of Thomasville, GA, and Ann Kozeliski of LeMoyne Gallery, Tallahassee, FL. The other winners were Alison Leigh Menke, Best in Show; and Natalia Andreeva,1st Place; and Ed Nickerson, 3rd Place. Continue reading 2018 St. George Island Plein Air Paint-Out
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.
As the year comes to a close and I look back on it, I find it difficult to put into words how I feel about so many things. I have felt crushing disappointment in our country’s political direction, but have felt helpless to do anything of consequence to help it. But the discomfort of it has used up most of what little patience I have for that sort of thing, and I have instead tried to pour my energies into my art and my mental health. Both have improved noticeably.
I continue to paint en plein air on Wednesdays. The big change is that this past month I also began practicing clothed-model figure painting every Friday with a drawing and painting group, meeting at our Cultural Arts Alliance‘s Foster Gallery. I have considerable experience in drawing the nude figure and enjoy it immensely — it was one of my areas of emphasis for my Fine Arts degree. But I haven’t practiced figure painting a lot. I am learning to handle my brushes better, and I am learning to create skin tones using the Zorn palette, which is very limited – white, yellow ochre, cadmium red, and black. Below are some of my figurative efforts, all with our amazing model Abigail. We post our group’s studies on Facebook under Figurative Artists Atelier.The first painting, in blue jeans, is the one I did this week, and the painting with her wearing the Madame X dress, was last week. These are all 3-hour poses divided into 20-minute segments with 5 or 10 minute breaks. I am purposefully painting profiles or near profiles because they are easier, and that allows me to practice my brushwork and skin tones. Click on the images for purchase information.
Opportunities materialize when you keep saying “Yes!” It’s easier to say “Well, maybe, maybe not…”, but if I do that, inertia keeps me rooted. Saying “Yes!” moves me forward and opens doors.
Recent “yes’s” include…
- Painting a demo December 16 at the Open House for The Joe Center for the Arts in Port St. Joe, Florida, which in May will be the epicenter of The Forgotten Coast en Plein Air and Plein Air South this year;
- Accepting an invitation to speak to the Emerald Coast Meditation Society about the Zen of plein air painting at their regular third Thursday session, 6:30 PM, January 18, 2018, Christ the King Episcopal Church, 480 N. County Hwy 393, Santa Rosa Beach, FL 32459.
- Agreeing to give a presentation on plein air painting to the local Library in their winter programs series, 10:00 AM, January 31, 2018, at The Coastal Branch (South Walton) Library, 437 Greenway Trail, Santa Rosa Beach, FL 32459
It’s about time to start thinking about New Year’s resolutions again. I prefer to think of it as setting goals to pursue, or objectives I would like to attain, or even challenges I am setting up for myself. Somehow I feel less threatened by those words than by “resolutions”, which seem to me to be things that I resolve NOT to do, like eating a carton of ice cream in one day, versus goals, objectives, and challenges which are things I plan to work towards. Here are some of mine:
- Paint every day either plein air or in the studio, for 30 or 60 days, maybe longer. To do this, I plan to have a palette and brushes ready all the time, in my studio, as well as in my plein air backpack. I have ordered a whole bunch of 6×6 panels for this effort. I can use larger canvases, which I keep on hand all the time, but for this goal to be achievable, I want to be able to finish my daily painting in just 30 minutes, so it makes more sense to use small canvases.
- Learn to paint shapes common to our local landscape. Or to paint them better. Shapes such as, palmettos, palm trees, blue herons and other shorebirds, tugboats and fishing boats and pleasure boats, paddlers, waves and choppy water, clouds, live oaks and scrub oaks, sand dunes, twisted dune pines, etc. If I spend a week on each of those subjects, that covers at least 2 months, without even considering that nothing is carved in stone, fortunately for this easily distractible artist, where every shiny spot of light cries out to be captured, now!
- Learn to simplify, simplify, simplify!
- Figure out what appeals to me about paintings I admire, and then practice that — compositional design, color combinations, contrast, development of focal area, etc.
- Practice putting people in some of my paintings. Participate in the upcoming figure painting sessions to be held every Friday at the Cultural Arts Alliance’s Foster Gallery on Grand Boulevard in Miramar Beach, Florida. Learn how to use the “Zorn Palette” to create skin tones (cadmium red light, yellow ochre, titanium white, and ivory black).
The last 8 weeks have been amazingly busy.
In September in my capacity as the 30A Wedding Painter, I painted a commission en plein air
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.