Nov 6 - Aspens and Horses, 91.5% Finished

I got back to this one last night, and am glad I did. Jury duty didn't last but a couple of hours, once they said they needed people for 18 days and I told them I was self-employed, an educator and a consultant. I don't mind jury service--especially since they have free wifi in the courts, but three weeks out of my life would definitely impact my painting, lessons, and my teaching!

So, for teaching, let's get to it. Can you see from my prior post how many of those "fuzzy" edges have been found again? The artist's choice of which edges to leave soft (aka "transitional") and those that are regained to a hard status is what makes an artist's work unique. If you're not already familiar with John Singer Sargent's paintings, please go Google image him, and study his masterful use of brush strokes to lead and define the composition of his work. Wow. What a mentor for those of us looking to see edges handled by a master. And of course, there is the living legend in Richard Schmid, who reigns King of the Edges. He has a web site. But don't go away to it just yet.

In starting with the reference photo of the aspens, we artists have to make choices. If we paint to the photograph too closely, what we do is take that "match" for the fire of our creativity, and it is still a match when we're done. If we use that match (photo reference) as the starting point for our work, then the canvas can come ablaze under our hand. I did not stick with the reference photograph provided, but changed and bent the design to make what I hope is a better statement. One plein air artist I know put it well, "If you paint just what you see, you may not get good design in your paintings. God was planting bushes. You, the artist, might need to move a few to get a good design."

I've been asked, "Elin, how do you get such good images of your paintings?" So I offer the image below to answer that question. This was the image that became the one above. I take my work out into morning sunlight (not in shadow or under the eaves as some people would have you do.) I lean it up against something, and this is VERY important--with the canvas tilted about 12-15 degrees off of true 90 degrees to the sun. We visual artists need to SEE this, so look at the rock I put in the foreground, and see how the shadow isn't quite parallel to the bottom of the canvas, but "leans" a bit toward it. No glare, GREAT color, and true values.

Also note that the edges of the canvas are parallel to the sides of the image. That's very important if you don't want to learn how to "skew" and "distort" in photo editing programs. I know how, but prefer an easier path, so line up my sides of the work with the sides of the viewfinder.

My camera is a Canon digital, an ancient D30, but I also get great images with my newer Canon PowerShot A590. I've found it's not the camera, but the angle and sunlight that make the difference. Of course, I always photograph work without frames or glass.

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Oct 12 - Painting in Arizona and Hawley Lake

One of the nice things about on location painting (and one of its down sides!) is how the light changes from moment to moment. I was walking the dogs in the morning, and saw the distant light across this promontory of trees and rocks, and thought I'd like to get a small painting of this scene. The reflections were what held it up for me, and the flash of orange on the rocks. So this 7 x 5 inch oil came off the brushes as a fisherman in his floating inner tube came by several times. He had good luck catching rainbow trout--but kept throwing them back. I would have taken one of the smaller ones for my dinner, but he was too far from shore.

"Reflections" is available through Joyous Lake Gallery in Pinetop/Lakeside, please let me know if you'd like to add this one to your art collection.

On the way out from Hawley Lake, I found these fellows to show you that although the roads are very well maintained, the "wildlife" will keep your speed down. This trip I didn't see any elk, but saw these ladies each time I was on the road.

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Color System information can be found HERE.
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Oct 11 - Memories of the Aspens

Last night was the last night in the cold and clear air high in the Arizona mountains, and I was completely alone (except for the three dogs), and enjoyed a solitude that allows for contemplation and choice-making. It was a fabulous night, as I placed the camper so I could look out the door and see the fire while my dinner of brats and garlic marinated mixed vegetables (in the foil) cooked over the open wood flames. I brought out my guitar, and ran through a couple songbooks, dogs for an audience, with the only harmony being the elk going about their own affairs in the distance. Company would have been nice...

I am home now, and easing back into the routines, including a ride with the neighbors to show them the newest trails behind our place. I'd only been back 45 minutes, and found myself up on the mare and heading out when they stopped by on their horses... one must have priorities!

Remember I said that the upper half of the diptych I did a few days ago needed clouds to assist the composition? Here it is below, completed. Now it and it's mate are hanging in the Joyous Lake Gallery for the month of October.

I'll have more paintings to share tomorrow, and the beginning of the bigger painting of the woods and picnic table--first the study, then the larger canvas--in stages. Thanks for joining me on the journey--now off to some much-needed sleep!

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Color System information can be found HERE.
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Oct 9 - Still Painting in the Aspens of Arizona

Here's a "long drink of water" in the form of a diptych--two 12" square canvases, one above another, and painted on location at the Railroad Grade Trailhead near Sunrise Ski Area. It's an acrylic, and I had several people looking over my shoulder while I worked. I'm going to add some clouds to the canvas, as the composition will benefit from breaking up the sky area.

Using the acrylics in this REALLY dry air is tough--thank goodness for a spray bottle! I'm looking forward to working with the Golden Open Acrylics for challenges like these. But I do so love how they are finished so quickly, and it's hard to beat them for making texture in a painting.

On my way out of the campground this morning, I went off on one of many side roads along streams in the area. I took my camera, and thought you'd enjoy some of the beauty that is everywhere. Each bend in the road brings yet another "Arizona Highways" image to life. The camera really doesn't capture the true radiance of the foliage, so my brushes have to do the job!

Last night something large and heavy landed on the roof of the camper in the middle of the night, waking me and the dogs. Whatever it was, it walked around the roof for a while, then left. I don't know still if it was furry or feathered. However other wildlife was very close, with the elk bugling and the coyotes keeping company with yelps as I sat by the fire earlier in the evening. Soem of the other plein air artists came up for a campfire dinner, but most were gone by 8:30.

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