Living Waters Undulate, Inundate, and Facinate Artists

"Skudeneshavn Norway" 20 x 16 Oil on canvas

It’s always hard to get ahead of the curve. Just when you think you’re pulling forward, someone or something pulls the plug on you.  Last week it was a leaky roof. Our place is about 17 years old, and one by one, the houses around us have been getting new tile roofs. Now it’s our turn.

Once the water gets through, however minimal, the damage above has already occurred and wood rot begins. We’ve repaired three fascias’ already, and there may be more. But that’s “water under the bridge.” (I couldn’t resist).

When our family lived in Kansas City, we battled water continually. Except for a bedroom for our teenage son, the leaky parts of the basement had prevented us from refurbishing it.

Finally we found a solution to the crack that ran diagonally down one wall. A friend who repaired swimming pools slathered it with a rubber adhesive that sealed any leaks. We were ecstatic.

"Arabesque" 18 x 14 Oil on canvas

After several dry months went by, we painted and laid carpet in our new family room. The children and their friends finally had a place to hang out. And then the spring rains started up with a vengeance. We held our breath, but the patch held.

The rains continued; one of the heaviest downpours in K.C. history. The front window well filled and flooded into the basement, and then another and another. We started a bucket brigade, but couldn’t keep up with the water filling the wells back up again.

We ended up taking out our soggy new carpet and replacing it with area rugs that could be rolled up in a hurry and put away. We dug trenches around the wells and added pipes to draw the water away. We slanted the front yard so the water wouldn’t come towards the house. Alas, nothing worked. A hard rain could still wipe us out in a matter of minutes simply by filling up the window wells.

"Egret Reflections" SOLD/Prints available.

Water is one of the necessities of life we cannot live without. We fear it. We’re drawn to its sparkling surfaces and its shadowy depths. Without water we would perish; and yet, we have difficulty controlling its unpredictable movements and enormous strength.

Recent flooding this summer in the Midwest brought back so many memories. Artists try to capture the violence and beauty of water; its serenity and peace.

How do you make reflections both in the water and on top of it? Small wavelets on the surface create white netting in the sunlight. Depth changes color. Clarity demands a different technique to indicate a translucence that depicts the sandy or rocky bottom below. 

Painting water requires practice. Once you get the hang of it, brushing on water is fun and addictive. 

Water droplets seem almost impossible until you realize that you have to get away from the canvas before they appear realistic. When you learn how to make them, you have to learn when to stop. Too many of them may give your canvas the look of poke a dots.

"Kelly's Rose" (A rose heavy with rain water) 16 x 12 Acrylic on Panel

It is easy to get carried away as you get better and better at painting lakes, seas, oceans, rivers and puddles. Samples of my own work throughout this blog illustrate how you get better at painting water with practice.

“To live a creative life, we must lose our fear of being wrong.”
Joseph Chilton Pearce

I chose the following three artists to demonstrate their personal techniques for water paintings done in acrylics.

Marion Boddy-Evans shows you how to paint water droplets 

@ Marion Boddy-Evans Water Drops

Lori McNee has the best suggestions for painting different types of water 

@ Lori McNee Painting Tips

Mark Waller shows you the fine details and colors that make up the ocean’s surface.

How you Look at Clouds may determine how you Paint them

"Vikeholmen Lighthouse , Skudeneshavn, Norway"  Acrylic on canvas

I once heard that unless your clouds are the center of interest, don’t paint what you see – paint what people expect and want to see clouds look like. In other words, don’t allow the clouds to “steal the show.”

I’ve had to work at clouds. Landscapes sometimes overwhelm me. I always do better focusing on portraits and close-ups of details. But I want to do better. I love to study cloud formations and enjoy their beauty.

What do you see in the shapes of clouds? I see teddy bears and turtles, and fat round babies. I see enormous faces from different places. My imagination depends on what kind of day it is.

Judy Collins saw things in the clouds around her (inspired by Joni Mitchell’s words):

“Bows and flows of angel hair and ice cream castles in the air
And feather canyons everywhere, I've looked at clouds that way
But now they only block the sun they rain and snow on everyone
So many things I would have done, but clouds got in my way

I've looked at clouds from both sides now

From up and down and still somehow
It's cloud's illusions I recall
I really don't know clouds at all.”

If you want to catch Collins singing, watch this video. 

 

Is there a right and a wrong way to paint clouds? Some people think so. I did not get into a juried show once because the judge did not like my clouds. I've since tried to improve upon them.

"Beach Buddies II" 20 x 16 oil on canvas

Two different artists below show you two very different techniques. One starts with the “lights” and makes small circles, adding the darks later. The other starts with the darkest darks making odd rather than defined shapes. Both agree that the results should suggest transparency.

Tim Gagnon likes to create fluffy cumulus clouds.

Mark Waller, the artist below, believes that clouds should be made up of random shapes. Like Gagnon, he believes that paint should be applied gently and loosely. “Little circles” should come after not first, and be defined by the dark straight edged underpinnings.

"Vikeholmen Lighthouse, Skudeneshavn, Norway" a close-up view 20 x 16 acrylic on canvas

Before you move forward, you sometimes must look backward

"Innset Kirke, Norway" 11 x 14 Oil on Canvas SOLD (Prints available)

History is our infrastructure. It provides the foundation that steadies and grounds us. Where we come from gives us added information about our physical characteristics, about our likes and dislikes; our weaknesses and strengths.

My family has a history of musical talent. Two of my grandfathers were violinists and composers. An uncle and his family were musicians and played musical instruments and sang for the community.

This musical talent skipped over my generation. My children, on the other hand, are not only gifted in this area they are music teachers, and their children are excelling in music and the arts.

"Skudeneshavn, Harbor, Norway" 16 x 20 oil on canvas SOLD (Prints available)

My father was artistic at heart. In his limited spare time, he drew portraits of people and animals. He loved to doodle. Unfortunately, earning a living for his family kept him away from home and from drawing most of the time. I think my love for drawing and painting came from him.

My husband’s family came from Norway. His great grandfather carved a beautiful family emblem that has passed from one generation to the next. Another grandfather was a lighthouse keeper who loved the ocean and the beautiful Fjords of Norway.

"Vikeholmen Lighthouse" Skudeneshavn, Norway, 16 x 20 acrylic on canvas

I painted some of these scenes for members of the family and have sold prints, cards and originals to other Norwegians around the country. I’ve heard many artists complain that they don’t know where to get ideas. Have you ever thought about looking backward? Find out where your ancestors came from. What were their customs? Where did they live? There may be ideas just waiting for you to find them.

Sometimes the simple, unexplored objects that surround us become beautiful paintings simply because the right artist saw something unique and shared his or her vision on canvas. Examining the detail, emphasizing the way sunlight glistens from an object or the way it casts a shadow may be enough to inspire a work of art.

"Vikeholmen Lighthouse" (close-up) Skudeneshavn, Norway 16 x 20 acrylic on canvas

There is a walnut tree not far from us. After a recent rain storm, one of the encased nuts had dropped to the ground and shattered, but the nut was still intact held within the other half of its covering and still attached to the original twig. Its maple color and layer of skins was a work of art. I carried it home, and today it nestles in a basket of finds on my dining room table.

There is beauty all around. Look behind at what links you to the past. Look ahead at what draws you to the future. Celebrate!

"The Neptunes -- Golden Girls" 11 x 14 acrylic on canvas (3rd in The Neptunes Series)

A Damaged Canvas is Tragic, but not the End of the World!

(Sold several prints from this painting the last three months) "Beach Buddies;" 16 x 20 mixed media

I had made up my mind. I was going to enter a favorite painting in a juried gallery. All it needed was a frame; one that would complement the colors in the painting without distracting. I had a framer already in mind, who never disappointed me.

I pulled out the canvas from a box it shared with two other paintings, and horror of horrors there was a screw sized hole in the canvas. Sometime, either in transport or storage, the canvases had been weighed down by enough weight to cause a puncture.

Lesson learned: Always have sufficient cardboard or materials between each painting so this never happens!

(This painting has sold more prints than any others) "With these Hands -- Wonder" mixed media

Could I repair the canvas; absolutely! Was its value compromised? Unfortunately, yes. I found several web sites on instructions for repair, but I also discovered that once a canvas is damaged, most collectors don’t want it. In addition, even if you could find a buyer; you must declare the damage (or ruin your reputation if discovered), and the price of the painting must be slashed by at least 30-50%.

If that doesn’t push you into protecting those precious original creations, I don’t know what will..Here are a few remarks from a helpful site and a link:

“The worst possible course of action in the event of damaging an art piece is for the artist not to tell the buyer, repair the problem, and hope the buyer doesn't notice. If the buyer does happen to discover the repair at some point down the road, ask about it, and find out the hard way what happened, that will pretty much ensure the end of any relationship between the two of you. And now for some facts about how the condition of a work of art impacts its value...

(This commissioned painting is still selling prints) "Skudeneshavn Norway" 16 x 20 oil on canvas

“Condition is a paramount consideration in any decision about whether or not to buy-- both from the dealer's and collector's perspectives. Original untouched condition is best by far. In fact, unless a work of art is excessively rare or important in some way, many experienced dealers and collectors won't even consider adding it to their collections or inventories if condition is anything less than perfect.

“But wait; there's more. Approximately 100% of dealers and collectors will tell you that a work of art with repaired damage is worth less than a comparable work of art in perfect original untouched condition.

“. . . People are less interested in owning art that has been damaged at some point in its existence than they are in owning art that's in perfect original condition. It's precisely that simple and no more complicated.”

http://www.artbusiness.com/how_to_options_fix_repair_return_damaged_art.html

Never put your coffee next to your turp!

If you’re still intent on repairing the canvas, you must declare that it has been damaged, and the price better be discounted. We all make mistakes, but this one we have to live with!

If you want to forge ahead and fix the canvas, at least for yourself, here are some links to help you. The following site Suggested pasting the back of the canvas with another piece of canvas to reinforce and aid in appearance. Use a pallet knife to paste and flatten under the spacer bars.

I discovered after I’d repaired my small hole that I had done all the right things. I’d applied a small piece of canvas on the back with adhesive, and put modeling paste and gel on the front side over the hole. It worked well because the hole was where a worn stone wall appeared. Paint wouldn’t even be required, but I will still add the needed acrylic with a dry brush to avoid any shiny appearance.

If you want specific help and details, the following sites are helpful!

http://www.gainsboroughproducts.com/patching_vs_lining_article.html

http://www.wikihow.com/Repair-Canvas

Five More Things from Milton Glaser’s Book

"Skudeneshavn Norway" 16x20 Commission SOLD (Prints available)

I have never done anything in my life the easy way. Art is no exception. After spending half my life marrying young, raising six children, working as an office manager and then a free-lance writer/consultant, I came to art in my thirties. Unable to finish college because of my children’s university expenses, I struggled on my own with the help of the Public Library and some inspirational art teachers.

My interpretation of the “10 Things I have Learned—The Secret of Art” by Milton Glaser continues.

"Inset Kirke" Original Sold (prints available)

Glaser’s book seems to be designed for those who had the money and encouragement to attend University and study abroad. It is designed for those who plan from the start to pursue a career in art or design. But there are things every artist can learn from his observations:

1.    Style is not to be trusted. Life is not static. It is in constant flux and usually unpredictable. That’s what you never want your style to become; predictable. If it does, your buyers will get bored; your work may become dated and obsolete. Glaser’s example was the famous bull painted by Picasso. Several versions were made, each a variation of the other beginning with realism and ending up with abstraction and a simple line. Each was unique, each a different style by the same artist.

Glaser’s point? “Anybody who is in this for the long haul has to decide how to respond to change in the present moment (zeitgeist). What is it that people now expect that they formerly didn’t want? How do you respond to that desire in a way that doesn’t change your sense of integrity and purpose?”

"Vikeholmen Lighthouse--Skudeneshavn, Norway" 16x20 Acrylic on canvas

2. How you live changes your brain. This statement almost sounds Biblical; “as a man thinks in his heart so is he.” (Prov. 23:7). Mahatma Gandhi put it this way: “A man is but the product of his thoughts; what he thinks, he becomes.” Ralph Waldo Emerson said: “A man is what he thinks about all day long.” Drawing each day changes the brain. Repetition and programming improves cognition. Your actions may literally change how you see things.
   
3. Doubt is better than certainty. “You just have to know what to compromise,” said Glaser. “Blind pursuit of your own ends which excludes the possibility that others may be right does not allow for the fact that in design we are always dealing with a triad – the client, the audience and you.” My interpretation: Being open and teachable is more important than being right all the time.
   
4. On aging Glaser said: “It doesn't matter!” I’ll go with that!
   
5. Tell the truth. If you’re in business, and art is a business, you must stand by your product, your word, and your promise. When you accept a commission or a project, you should seek to fulfill it. Customer satisfaction should be uppermost in your mind. You should go beyond what is expected and offer your customer some additional incentives for buying from you; free cards, a copy of preliminary sketches of the painting, or other gifts of appreciation. Never deceive a customer if you want a repeat customer.

"Egret Reflections" acrylic on canvas SOLD (prints available)

Featured Artist:

Kandy Cross, a teacher of art and art history who has since been fortunate enough to live near the sea, visit many of the places written down on her bucket list, and paint within the Mediterranean and Caribbean-inspired areas visited across the globe. Shown is the painting “Boats at Burano” and a link to Kandy’s online gallery.

http://kandy-cross.artistwebsites.com/featured/boats-at-burano-kandy-cross.html

The Economy is getting better! Oh, Really?

Two more galleries in downtown Fort Myers are closing. The monthly Art Walk has been a huge success for shops and restaurants, but it has drawn more art admirers than buyers; a definite sign that the economy is still in a slump.

Some galleries are doing better than others. The ones located on the main thoroughfares adjacent to shops and restaurants are holding their own which indicates it’s all about location, location!

I personally have done better online than I’ve ever done in a show. The audience is larger and more widespread. When you’re in a booth on the street or a gallery, viewers and buyers must come to you. If the weather is bad your audience is limited. If you have a local fan base, you may get “sympathy” buyers who purchase a few cards or prints to butter up your ego, but token sales do not pay the rent.

My major sales have come either from commission or by contact from a buyer who has viewed my artwork online. I don’t have to haul my paintings to a site and worry about scratches or damage. I don’t have to set up a display. I don’t have to battle the wind, the heat or the rain. I’ve met some wonderful people who were looking for something specific and found me through their own personal search.

Don’t get me wrong. If the timing and location are right, I’ll battle the elements with the best of them. But if I had my druthers, I’d take selling online any day. Yes, there is something to be said for personal contact. When a buyer sees and talks with the artist before a purchase, it makes a personal connection that may lead to repeat sales and a friend. However, in our technological savvy world, emails and Skype can do the job just as well.

The most important part of any transaction comes in keeping your word and delivering what you promise. Promptness and follow through trumps the handshake of yesteryear and confirms your professionalism. Then as now, quality still holds the key to repeat business and devoted followers.

A Lesson on Portraits, Skin Color, and Mixing Paints

"Vikeholmen Lighthouse" Skudeneshavn, Norway 16x20 Acrylic

I received a call today, from a fellow artist. She was painting from a photo and was concerned because her grandson’s portrait made him “look so old for his age.” I had just read an article from “the Artist’s Magazine,” and felt fully prepared for her questions. A few months ago, I had painted my own grandchildren from photographs and had learned the hard way what works and what doesn’t.

I explained to her that photographs generally appear darker. Laugh lines and creases show up darker making a child or an adult appear older. In sunlight, these same lines would all but disappear.

"Day Dreams" 11x14 oil on canvas

The fix? Use a lighter color to paint lines and shadows. Take the base skin color and lighten it. Try using a light red mixed with medium to lighten it even more. The Artist’s Magazine article suggested painting the areas on either side of the crease or wrinkle instead to decrease the need for detailing.

The fold of skin at the side of the nose and down the cheek is usually highlighted. Against this lighter value, the wrinkle or crease automatically becomes darker without having to paint them in. The skin on the upper lip, next to the smile fold, has a different color and value. When this upper lip color or shadow is painted next to the wrinkle or crease, our minds fill in a line without having to paint in a darker color, or value.

"With These Hands -- Love" 24x18 oil on canvas

These subtleties make the skin look more natural. My favorite skin tones were learned from Richard Kirk at the Bonita Springs Center for the Arts.

Basic Formula (oils):
1 part Cadmium Red
3 parts Raw Sienna (Grumbacher or Gamblin)

The basic formula is only a beginning. It must be mixed with Titanium White to lighten, or mixed with Ultramarine Blue or Burnt Umber for shadow. Different values of the basic formula may be made by adding 3 parts formula to 1 part Titanium White; 1 part formula to 1 part titanium white; 1 part formula to 3 parts titanium white; 1 part formula to 5 parts titanium white.

Darker skin has a somewhat different formula:  3 parts formula to 1 part Burnt Umber; 1 part formula to 1 part Burnt Umber or use straight Burnt Umber.

Another dark skinned formula: 2 parts formula to 1 part Burnt Umber and 1 part Magenta. I discovered richness in the skin tones with this last color. Another reason I like using magenta in shadow is that "overly brown portraits" according to Kirk, may appear dull and lifeless.

Experiment! It is great fun to test how many variations you can achieve with this one basic formula.

Weak tinting strength colors can adjust the formula as needed: Terre Verte, Ultramarine Violet, Permanent Rose, Thalo Red Rose, Indian Yellow or Raw Sienna.

Kirk stressed there are colors to avoid: Naples Yellow, Buff Titanium, Unbleached Titanium or any color that has white in it. What you’re doing is adding more white into the basic formula changing its color. Strong tinting colors should also be avoided.

I have seen many variations on skin tone formulas, but I continue to go back to Kirk’s formula again and again for the glow it gives to skin and by how easy it is to obtain the right value for any given skin color. The mixture that is closest to your model's skin color becomes the "key" color. This formula easily adapts to acrylics.

"Fish Market" 18X24 Acrylic

Back to Your Roots; an Exploration

"Fish Market" 18x22 acrylic on canvas

What do you think of when people say “roots:” that it’s time to recolor your hair? that your newly planted vegetable garden is bursting into life? Or do you think of your child’s stubbornness when he or she plants those tiny feet firmly on the ground and shouts “No!”

For many of us the word roots means family: the people who have gone before us (ancestors) and the people who will come after (descendants). A wonderful new program on the Public Broadcasting System (PBS) is called “Roots.” Produced and directed by Henry Louis Gates, Jr. the show “explores race, culture, and identity through the genealogies and family histories of famous people. The ‘who we are’ and ‘where we come from’ is at its core.”

The show is scheduled on Sunday nights at 8 p.m. EST. We have been enjoying it for several weeks at our house. It’s amazing to see that as we go back in time, we are all connected in some amazing ways. It touches my heart to see people find their roots, understand themselves better, and gain a new appreciation for those who have gone before. The show is emotional, surprising, and climactic. When the trail of family is exhausted, DNA evidence reveals additional information on country of origin.

"Innset Kirke" 11x14 oil on canvas  SOLD

My love for painting Norwegian scenes comes from my own Scandinavian roots in Sweden and Denmark, and my husband’s strong Norwegian ties as a direct descendant. His family comes from Stavanger and Skudeneshavn. Some of his ancestors were buried at the old Innset Kirke. His great, great grandfather was a lighthouse keeper for many years at Vikeholmen.

The family loves to tell the story of the beautiful nude young woman who would swim in the waters around the lighthouse. Eventually they were married. That’s one way to catch a husband!  I would love to get a hold of more information on the lighthouse and how long his great great grandfather cared for it.

Work-in-Progress -- Vikeholmen Lighthouse underpainting

I have two versions of the lighthouse that I’m going to paint. Of course, the original lighthouse is no longer there. An electronic machine has taken its place, but the area is still as beautiful as ever.

In Sweden, my great great grandmother baked pastries and sweets before sunrise and then sold the tasty treats on the city streets. She did this for many years.

Drawing for 2nd Vikeholmen Lighthouse painting 16x20 on canvas

One of her jobs as a young girl was to fill the vinegar jar with vinegar, a precious commodity, from a neighboring farm. Returning one day, she decided to shorten her walk by cutting through a pasture. Unfortunately, a bull ruled the grounds and decided to charge her. The vinegar jar was broken as she ran to climb over the fence. She received a sound scolding from her mother when she got home.

It’s fun to go back in time and research one’s family, if only for the stories. Better yet, gather the stories while your relatives are living. Their courage and strength in the face of difficulties is food for inspiration. Even if one generation fails you, there is always another one that may surprise and enlighten.

"Skudeneshavn, Norway" oil on 16x20 canvas  SOLD

The "old wooden village" above can be entered by land or water. Many festivals occur in the bay and people arrive by boat.

I hope you've enjoyed my completed African acrylic painting: “Fish Market,” my other Norwegian paintings, and my “works in progress.”