Paintings from My Trip to Cuba

This February I had the fantastic opportunity to visit Cuba - and paint!!!
100 of us participated in this adventure, thanks to Eric Rhoads of Plein Air Magazine who organized this Historic trip.   And it was perfect timing as I just happened to be in search for a way to get to Cuba to paint all those fantastic old cars.

The sights, the smells, the sounds, the colors, the cars and the people.  All made an ever-lasting impression on me.
While I was there I went entirely off the grid for the week, which was pretty liberating:-)  and it's been a bit of an overwhelming endeavor to blog about it since I got back :-)

I've been filled with gratitude for many more opportunities that have come from this trip and
you can read all about my experience in 2 articles written by local papers (see the links above), and you can also read my thoughts on the trip at PleinairCollector.com.

Turner Vinson created a video about our trip that you can see here.
See more of my photos on FB here

There are 2 gallery exhibits that I will be participating in:
The Crystal Moll Gallery in Baltimore, MD April 4th to May 24th
The McBride Gallery in Annapolis, MD May 1st to June 26th

Coming up I will be posting the studio pieces I've created since I got back in the states, but
here are the pleinair sketches I did in Cuba:

"What's New becomes Old" Oil, 8x10"

"Built to Last" Oil, 12x9"

"Alley Patina", Oil, 8x10

"Renee's 56' Buick" Oil, 12x12"

"No Drama", Oil, 9x12"

Crystal Moll Gallery

"Ghosts of the Past", Oil, 12x12"

Crystal Moll Gallery

"Reina Maria"Oil, 8x10"

"Taller Experiential Graphica", Oil, 12x12"

McBride Gallery

"A Day in Cojimar - Passing Hemingway" 

McBride Gallery

Afternoon Tea

Afternoon Tea

11x14"

Oil on Linen Panel

Received an Honorable Mention at

Plein Air Ventura Invitational 2015
DPW

This painting was actually really enjoyable!  First off, I felt lucky to stumble onto a scene that had both atmosphere and a back lit classical car, and the opportunity to paint the view with a high horizon line!!!  Some of my favorite things!  I was a happy camper!!!   I also simplified more than usual - The fast changing light helped me with that:))
The car is owned by a really nice couple who is selling their house and they were both so sweet to offer me a cup of tea!  Did I mention he was British?...
The honorable mention was nice and you could say it sort of makes up for the fact that this piece didn't even get juried in to  the Ventura County Fair's Art Show....

This all confirms for me that it's more important to focus on how I feel about a piece and enjoy the ones where I attempt something new, than pay a lot of attention to the subjective likes and dislikes of jurors - either good or bad!

Which pieces do you feel good about when it comes to your own work?

Summerland Roofs

Summerland Roofs

8x10"

Oil on linen on board

DPW

I painted this one up in Summerland a few months back with my friend Shannon Celia (you can check out her great Seascapes on her website) There's a lot of pretty homes and buildings in that area, but this day I zeroed in on something that looked a little more like a shack.  I always look for subjects with a little character and wanted to explore cropping in on these buildings with the way they were intersecting and I liked the dramatic shadows the sun created.

Here's a painting on the area where we were standing to paint.

 Shade for Lunch

6x8"

Oil on Linen on Board
DPW

SOLD

It was right by the freeway off ramp, but with some shade it still made for an enjoyable paint out. 
What's the most difficult thing you deal with if you paint outdoors?

A Walk to the Beach

A Walk to the Beach

10x10"

Oil on Linen on Board

DPW

Excited to be displaying some of my paintings at the "En Plein Air Gallery" in Carpinteria this next month!  It's a small treasure of a gallery owned by artist Leigh Sparks and located in this quaint small sea-side town south of Santa Barbara.

I will post more of the paintings I've had a chance to do locally in the coming days!

The address is 963 Linden Ave, Carpinteria, California 93013, if you'd like to come and see them in person! or see me painting around town:-)

Afternoon Stroll

Afternoon Stroll

12x12"

Oil on Linen on board

DPW

The painting on top here is the Final version of the painting I started on location 2 years ago.  As with anything painted plein air it has a certain freshness to it that I love.  I just wasn't thoroughly happy with the foreground rock formation:-)  Worked on it the other day and even though neither of the photos probably captures the exact color temperature I feel that I resolved a few things...and it only took me 2 years?!:-)

And whether it's an improvement...only you cant tell.

I have a lot more paintings sitting around my studio these days, waiting for that final critical step...

Barn Treasures

Barn Treasures

8x10"

Oil on linen on board

Got to paint by this old barn of Las Virgenes last year, through a call to a park ranger on the property.  It's a beautiful old barn and when peaking in we ( my painting friend Lyn and I), found a sign from a restaurant that was once open in Malibu....so many stories to be found!

When it comes to the painting...Shadows are an interesting challenge and I worked on the shadows to make them less severe and cut-out looking, which I think helped:-)

Edge of Afternoon

8x10"

Oil on linen on panel

The Railroad Play House

The Railroad Play House

6x8"

Oil on linen panel

2nd painting of the day Saturday.  Painting up in Naples with my friend Carolyn Counnas and members of the organization SCAPE (whose goals are to have exhibitions to help raise money to protect open spaces, to increase public awareness of environmental and conservation issues, to promote camaraderie and provide education for artists).   

 

Sometimes getting the first painting done opens me up to be more free with the second...especially if I have a limited time:-)

This building, I learned, used to be a playhouse belonging to the girls who lived on this property in Naples on the Gaviota Coast before it burned down.   I don't know if it was right by the railroad back when it was built...would have made me a little nervous Nelly as a mom for sure...

Day 13 - A Restful Stop in Ojai

A Restful Stop

8x10"

Oil on Linen on board

$275

Had the pleasure of painting with Dan LaVigne and Dan Schultz in Ojai today!  This year is getting off to a fun start with all these paint-outs with friends.  Always great to see how different each artist's take is and what subject matters we all choose.

Here's a great clip on YouTube about how we each have a unique voice and to embrace it!

It starts with Walt Disney quoting Robert Henri and ends with 4 Amazing Disney Artists painting a tree 4 ways.  It's great!!

Day 11 of 30 - Balboa Island "Early on the Dock

Early on the Dock

8x10

Oil on Linen on Board
$275

This past Friday, I was fortunate enough to get in an actual Plein Air Painting day.  And lucky enough to have my good friend and painting buddy Shannon Celia brave the early hour (leaving at 5:30AM) to come paint as well!  We drove down to Newport beach where we also met up with Kim VanDerHoek on Balboa Island.   Each of us got a painting done before having a nice lunch and getting to talk shop at Picante Martin's Mexican Restaurant.  Check out both Kim's and Shannon's websites to learn more about their work!

I am so grateful for the artists and friends I make on the journey!!  It is at least half the fun of painting for me.

On this particular day I was interested in doing something based on an unusual view and composition, cropping in to get more of an abstract feel.  I also started with my most delicate color and I liked the direction it took for the most part.  

It's such a great challenge to paint water, and reflections, along with all the movement of the water, and the sky reflecting in the water surface.
 There is a lot going on!   
What I noticed is that I tend to lay in all my brushstrokes to describe the water horizontally, and that makes it look really busy.   As I'm always working on getting better at simplifying.....I'm now thinking it's better to save those horizontal strokes for describing just the surface of the water and keep most of the reflections as shapes, just like I saw Wyllis Heaton do the other night in his demo.

 I get a little caught up with all the edges to soon and this new way would keep it more unified and not so broken up.  Something I will get even more conscious of next time I try it:-)

Happy Painting!

The Colors of Hard Work

The Colors of Hard Work

12x12"

Oil on Linen on Board

To Purchase

This past week I had the opportunity to paint in Down Town Los Angeles for the first ever Los Angeles Plein Air Festival.   Talk about a different kind of Plein Air experience:-)   

The city is full of beauty.  The Colors of the Toy district are just up my alley!   And whether your audience is made up by sophisticated collectors, kids and homeless or intoxicated onlookers.   Art can always serve as a connecting point bringing endless fascination, opinions and shared joy.

Studies on the pond

Young Tree on the Pond

Study in Oil on Gessoed Board

6x6"
To Bid

I feel like I've been on a little vacation from blogging.  Seems to happen every now and then.  I think it's just part of the process of being an artist - Not that I'm not painting - just focusing more on the act of painting than showing...

And then I've actually been on vacation as well.  First camping and then 2 wonderful weeks on the Cape.  I got the chance to paint a little in between family and fun, 4th of July and impending hurricanes, and on this particular morning I actually did 3 little studies before everyone woke up.  I was just steps from the house down by the pond.   It was a greyish overcast morning, but the pond was delightfully still.

My first study seemed be-labored and I was fighting some bad habits of noodling - No likey!

In the second one below, I was determined to paint more loosely, focus on shapes and just have some hard edges define my center of interest.  It was a lot more fun than the first one:-)

Edge of the Pond

Oil on gessoboard

6x6"

Plein Air Convention 2014 - More Demos

Color Freedom

8x10"

Oil on Linen on Board

DPW

After a tough morning with my own painting on Friday I watched Lori Putnam paint at the All-Day Paint-Out and I was inspired again!  I loved seeing her making artistic choices with color and design - (not slavishly following what was there).  Her color combinations were beautiful and it gave me the freedom to tweak my own happy color combinations!  Thanks Lori!

Here are my notes from some more demos

Randy Sexton and Larry Moore
 The most inspiring part of seeing Randy and Larry paint was to see these two masters using an abstract start to their paintings and then seeing the very unique and different approaches they took to interpreting the subject.  It was a fascinating journey and again emphasizing to me that art is all about our own unique approach and interpretation.

 

 

Randy used an old painting (that looked great btw) and painted over it.  I loved seeing how abstract and loosely he started, working in the big masses with soft edges.  As he said "feeling the masses - from the inside out" and allowing himself to organically find the drawing.

Randy paints on regular birch, that he gessoes as well and will use a rag to wipe out areas.

"When you start out abstract you discover as you're painting what the image is."  Randy likens the painting process to sculpture although he likes when an area turns into a flat space.   

This is something I enjoyed hearing, because it is something I appreciate in other artists paintings, but have yet to achieve to my satisfaction in my own!

Larry started out with Golden Acrylic tints and Acrylic white gesso.  He uses a simple palette with yellow, red, blue and black - finding the info in the big shapes, not going for color notes (and local color) right away, but building up to a color with a contrasting color underneath.  

He focuses on seeing patterns of light and dark - without drawing, having the faith to know the figure will unfold.  He also stressed building dominance and sub ordinance of areas as you go.  In the picture above you can see him using a rubber knife to knock down the importance of an area.  

Softer edges recede and harder edges come forward.

Here you can see more closely the great dark and light pattern Larry achieved.   He uses a whole variety of brushes.    As Larry said:  "There are thousands of ways to attack a painting.  Find your own way - be open to new ways."
"Painting is like a train-ride:  Some take it to the end and other get off at the first stop, your personality decides where you get off."  which I believe he said were the words of Roe Wilson...but I'm not quite sure I got the name right.

Larry's advice, which I wholeheartedly agree with, is to look at other artists work to find your own voice by seeing who's work you respond to.

Larry Moore's painting is on the left and Randy Sexton's painting is on the right.

Words of advice from Dan Gerhartz on painting portraits:

• Find extremes in value, edge and color to start off so you have something to compare to.
• Use color temperature to change form
• Your values need to be consistent, so it doesn't get shopped up - hold on to the unity of that form.
• Keep your shadow and light areas as simple and solidly separated as you can.
• Edge variety is critical
• Use the reddest red for lips
• Moongoose Rosemary brushes are good for blending

Dan Gerhart's Palette:

Zink WHite

Rembrandt Permanent Red MediumTransparent Oxide Brown (a rich transparent dark)

Cad Lemon 

Cad Yellow

Alizarin Crimson

Ivory Black

Ultramarie blue

Prussian blue

Watching Dan paint made me want to go home and immediately start working on doing head studies...from real life,  to build some confidence in that arena of painting!

Charlie Hunter ....tomorrow...

Plein Air Convention 2014 - Another Demo

FogLights

8x10"

Oil on Linen on Panel
DPW

Notes on the

DEMOS GALORE

and all the great words of wisdom...starting with:

 Joseph McGurl

"Nature is a mix of order and chaos"

Order to make it real and chaos to make it natural.

 

 Joseph started his demo with a warm undertone on the canvas.  

He explained that part of creating that wonderful effect of sun light for this painting is making the white warmer and slightly darker as you go back in space and cooler as it comes forward.

(Great tips, because I wouldn't have instinctively thought that the light would get warmer moving back in space.)

 The effect is also enhanced by showing the light reflecting on the cliffs around the lightest areas, lighter at the lower end of the cliffs.

A tree is either in light or in shadow, very little in the middle.

Change your methods - you'll get different results
You can't solve every problem the same way.

When it comes to making the color work, ask yourself:

Is it too light or too dark?

Does it need to be cooler or warmer? 

Tools to try:

A Wallpaper plastic painting scraper - for making straight horizon lines

 Liquin - impasto

longer flexible palette knives - good for introducing that chaos.

Gamblin Flake White Replacement - Stiff Paint good to use on top

Fan brushes

Hansen Yellow - holds the yellow punch

I learned a lot and it is always fascinating to hear other artists' view on their individual approach, as I'm in the quest of finding my own way - or perhaps accepting my own way:-)
Joseph considers himself a Contemporary Luminist and I appreciate what he said about his technique in regards to the surface.   He doesn't want people to know about how he did something so he obscures the brush marks.  That way he continued: "It's not about me and my marks, more about the meaning of life - existence - nature and physics."

As he said that I realized that I do like to see the brush marks, showing the confident commitment to the process, a sense of the fresh impression of something...haha... I don't always achieve it....but I want to!

Plein Air Convention 2014 - Kevin Macpherson

 Disappearing Sun (Asilomar)

6x8

Oil on linen on board

This was painted on Tuesday when new painting buddies Nancy Duesing Takaichi, Kathy Carlquist and I got out a little  earlier to go to the second day's paint-out...we had sun for just a little bit and when everyone else got there...it was pretty much gone and the wind...it just kept blowing.   Bryan Mark Taylor gave me some excellent advice on having some vertical brush strokes in my waves and Bill Davidson helped all of us out!!

Just a Glimmer

8x10

Oil on Linen on board

Looking back at the PACE 2014 and starting with the key note address

It's been a week or so since I returned from the Plein Air Convention and looking back I must say that it was a whirlwind of impressions!   I learned a lot, I met some great people and I took a lot of notes on painting, tools and techniques, and of course marketing.  Wheew - it was exhausting!!   And with all the highs, the biggest challenge for me was probably dealing with the fact that I was there on my own.   I don't necessarily have a problem getting to know people, which can be a lot of fun!

It was just that by the end of the week I just ended up longing for friends (who already know me inside and out) to whom I could commiserate and complain when I was struggling; with my painting, getting tired of comparing myself to all the great talent there and just wanting to whine:-)))   Not really the recommended thing to do to a stranger, or a new friend, at an event like this I think?!

But before I loose you to my whining - Let's get back to some of the wonderful tidbits I captured in my note book from Day 1:

Kevin Macpherson 

gave the Key note address on Monday afternoon and he started out his presentation with:

"It's a privilege, and a horror" to be here... 

and he just got funnier from there.   I love the way he can make fun of himself and he didn't skrimp on sharing some of his own challenges and of (several) phobias he conquered along the way.   I think he got us all off to a great start for the week ahead as he emphasized the importance of having confidence in your own work - knowing your own voice and mixing your life and experience into your pigments....among many other pearls of wisdom.  Here's just a few:

Show up, you never know when the great one (painting) is gonna show up.

"As you're learning, share with someone else."

"Everything that's not useful in the painting is detrimental."

Areas of Sunlight DO NOT CROSS Shadow....(still trying to figure that one out:)
added /-5/14/14 (Liz Wiltzen has a great post that addresses Kevin's point)

Make all the parts support the focus.

Don't paint things, paint abstract shapes

Contrast adds surprise

Painting consists of dynamic oppositions

Use colorful compliments

and

Don't leave out the most important ingredience:   YOU!

I found this in my notes too...

Your work is changing

=

I don't like it

(not sure whether I just added the second part? or if that's what he said - just the truth of change..)

He kept me, and many more, in stitches and I can't believe he ever had a problem with public speaking...It's comforting to know we can all get there!

Plein Air Convention 2014 - Day 1 - Putting together a Plein Air Event

Carmel Winds

12x12"

Oil on Linen on Board

This is a continuation on my post for Day 1 of the 2014 Plein Air Convention and some of the Umbrella meetings before the Convention even started!

I wrote about the Gallery session in my last post and what followed that session was one of highlights of the Convention for me; the Panels on Putting together a Plein Air Event and working with you Community.  I took a lot of notes as I'm really interested in what makes an event work well and also how any art organization can work better, so read what you like and skip the rest:-)
 
Kathy Duley; Coordinator for the Grand Canyon Celebration of Art, Rosemary Swimm; President of LPAPA and in charge of the hallmark of Plein Air Events - the Laguna Plein Air Invitational, and Vince Fazio from the Sedona Art Festival 

The 3 of them spoke about several facets of putting together a successful Plein Air Event.

Here are some of their main points on what you might want to consider:

1.  Lead time - All three agreed that you need at least a year to prepare, especially for a new event.  (LPAPA starts preparing for their next event right after the end of the current one)
1. Magazines need 3-4 months.
2. Artists plan their schedule of events a year in advance.
3. Enough time to cultivate sponsors and raise the money needed ahead of time.
2. Why do we want to do the event? -  Set objectives  
1. Rosemary pointed out that the Laguna Invitational uses their yearly event as their main fundraiser - they invite 35 artists and the funds raised go to programs for their 300 members)
2. Vince (Education is the biggest reason - How do we let more people know about Plein Air?)
3. Kathy - the goal is funding a permanent art venue on the South Rim of Grand Canyon National Park.
3. What process will you choose to pick the artists?  Do you want an invitational or a juried plein air event? 
1. Factors that play a role in that decision could be (restrictions to a number of artists because of wall space or location - Kathy)
2. Juried - you have a big pool and will need to set a cap.
3. Invitational - you have more control.
4.  Pick a committee:
1. It needs to be a diverse group with different strengths!! Include community leaders and artists, but don't make it too big.
2. You need a Marketing Specialist/PR, Volunteer coordinator, team leaders for different events, Finances, Sponsorship just to start.
3. Rosemary - As a team leader you need to:  Have a good sense of humor, stay calm, roll with the punches, be professional and have fun -  Being the one in charge you can’t be the one to see that everything happens  - good directions.
4. You need Committee member that have particular key strengths, are open to suggestions, hard workers, with follow-thru.
5. How much money will you need?
   (Rosemary:  We set a budget and a deadline - and if we can't meet that deadline we can't do it.  Last year they raised $200,000 to put the event on.)
1. Write Grants to City and State
2. Sponsors - Have a great presentation Package.  A Sponsor packet could include; Getting a table, name/photos on banners/recognized on all materials, pick an award, get a painting
3. Use the sponsorships to cover the main costs.
4. Biggest cost is Advertising!!! Then there's food, the event (decorations, lighting, insurance, security)
6. Who is your audience?  And how will you appeal to them? 
1. Helps to have a captive audience to start (Kathy).
2. Started with the Museums's list (RoseMary)
3.  Build a Data-base - stay very organized.
4. Advertise in High-End Magazines (RoseMary - This year they're thinking of hiring a PR-Firm)
5. Sedona is in it's 9th year - just tried a different event to attract a new audience (Native American Sacred Sites to paint - brought a new audience)
6. Strong Social Media presence - Tweet
7. Special Events partnering with others (Art & Wine)
8. Continue to mix it up Kathy(add new events and new artists)
9. Keep the excitement up by having a limited buyers event – It helps when it’s sold out!
7. Thoughts on Publicity –
1. Best publicity is from the Restaurants and Facilities that talk up the event (Kathy)
2. Rosemary (Our Children’s event creates Amazing Publicity – it’s all over the paper/TV-crew came out – you have Artists working with children and the money goes back to the schools, big plus)
3. A Cultural/Human Interest story brings the Media
4. Social Media (LPAPA – One person dedicated to it).
8. How many volunteers will you need?  Are their community members that would be willing to get involved? Can you partner with other volunteer organizations?  Do you have the support of the community?
1. Volunteers love when they can be at the event and work with the artists.
9. How will you attract artists?   (Rosemary: a Big prize amount is a draw - $10,000 is their 1st prize amount) Great painting locations, having host families/accomodation helps, treat the artists well - feed them - and sales!
10. What venue will you use?  Do you have one, or do you partner/rent/get a sponsor?
1. After partnering with the Laguna Art Museum for 15 years - last year was the first time LPAPA didn't have the event at the Museum...turned out to be the most successful - Event was held at the Aliso Golf course (rented tent). 
2. Kathy - no permanent venue.  They work with the National Parks system - follow their rules and guidelines.

The following Panel focused more on Partnering with your community to Raise Awareness and Funding.

 Joe Taylor - so helpful, kind and inspiring

Joe Taylor  - Serves as an Executive Director of Franklin’s Promise Coalition, a hosting partner to the Forgotten Coast Cultural Coalition‘s Plein Air Invitational in Apalachicola, Florida. 

In 2013 he was awarded the Outstanding Volunteer Administrator Award for this work as a manger of volunteers in the nonprofit sector.

Robin Anderson Involved with a New Plein Air Event in Washington called Paint the Peninsula 

Following are some great gems on working with Volunteers and your Community:

1.  Partner with other organisations that already have a volunteer base in place. National Charity Leage, Boys and Girls Club, Humane Societies, Medical Centers, - Arts can support other groups in your community.
2. The best way to get a volunteer is to ask (personally)
3. Joe: Make sure you don’t miss the gifts that are out there.  When you look at volunteers, ask yourself:  What do they have to share? Not, what do I need? Connect with people about what they want to share and then empower them!  - Don’t disconnect with people just because you don’t know someone’s abilities strengths – be curious.
4.  Have it be skills based - The easiest way to loose a volunteer is asking them to do something they don’t want to do. (Joe)
5.  Look outside your box.  For the Forgotten Coast event they got a volunteer student from University of Florida to do Social Media in exchange for a stipend.
6.  There are state agencies that work on developing volunteerism.   Circlesusa.org    (I found this one for California http://www.californiavolunteers.org/index.php/Programs/)

Here are other ideas and suggestions on working with the Community and raising awareness/funds, and an audience for your event:

1.  Cultural Arts are driving the community economy. Bring in tourists.  (Ann – The tourism bureau provided a PR-Person) Involve the tourists by having supply kits at the hotel…to participate and enter in a competition.
2.  Most valuable in getting attention and support:  Education and Kid’s Events. 
3.  Getting the word out with Kid’s Events – reach out to Mommy groups and Facebook to spread the word.  Go to schools and meet with teachers to see what their needs are (contract with teachers to come in)
4.  To get funding:  Private funders (Ann – we got a lot of retired people and the appeal was Education)
5. Some examples of what Sponsors are drawn in by: 

• a.    Visibility
• b.    Benefitting the Community
• c.    They share the vision
• d.    Art Patrons – Art for Art’s sake 
•  

6    Develop relationships with suppliers and vendors
a.    Artists love getting something in their goodie bags.
7.    Local Support - Ann (We had a winery blend a Plein Air Wine – Creates funds/support all year round.)
8.    Easy to get sponsorships for Classes (Adult Basic Classes – small cost /very subsidized.
9.    When applying for grants it is important to keep good numbers of Beds and Heads.  Data is power – collect it and put together a report! 
a.    Have a survey form for participants in the event.
b.    # of students, visitors (lodging taxes and expenditures)
10. There are 2 types of collector base:  Inside versus outside collector base.  Strategic planning is important to not exhaust your market when it comes to collectors.  Ask collectors how it can be a better experience?
11. Refresh your program – keep your eyes open for trends and use what is special about your location.

Lastly, Doglas Morgan,  Michelle Byrne, Paul Kratter and Debra Joy Grosser spoke about plein Air Events from the artist's perspective.