"Tuesday Morning", 5x7"

This past month has held a bumper crop of classes and workshops to be taught.  The palette knife painting above was created as a demo for one of my knife painting workshops, and I titled it "Tuesday Morning" simply because that is when it was painted!

Last month's marathon was culminated with a two day Color Theory workshop at Mainstreet in Lake Zurich, IL.  We pared our palettes down to five basic colors plus white, then got to mixing.  People were very surprised to learn that most of the "premixed" paint colors that we buy can be mixed using a simple palette-- including Yellow Ochre, Burnt Sienna, and Viridian.  I still don't think they'd believe me if they hadn't mixed all these colors and then some on their own!

The last afternoon of the workshop, participants painted from black and white references and had to choose a color scheme: Monochromatic, Triadic, Complementary, Split Complementary, or Analagous.  Below are some of the paintings they created.  I was so excited to see the beautiful color harmonies they achieved!

CW Mundy Workshop

"After" CW Mundy

"Before" CW Mundy

If a picture is worth a thousand words, I hope that the two versions of my simply painted apples will describe the transformation that my painting style went through after meeting and studying with CW Mundy last week in New Harmony, Indiana. Our class of 20 students had just settled in to our seats on the first day when CW told us to get up, set up, and paint a piece of fruit quickly.  My "before" version is above and it served as a benchmark for the changes I was to go through in the next few days in class.

I came in to CW's class with the intention of loosening up my painting style.  Sounds easy enough, but it turned out to be one of the most difficult processes I've ever gone through.  Surprisingly, after painting in "my" style for a few decades, it was not easy at all to break through to a new level of painting.  The left side of my logical brain was so resistant to change, it was shocking to me.  CW saw the frustration (also known as tears) in my eyes, and gave me space to wrestle with my demons.

I'm happy to say that the quiet complacent right side of my brain finally had a say in the matter.  In the stillness of my studio, my intuition is beginning to emerge.  This new style is not second nature to me yet, but in about 20 more paintings, I hope to have a sense of comfort with Impressionism.

I'll write more about the workshop in upcoming blogs.  I hope you'll stay tuned!

The idyllic town of New Harmony, Indiana

 We were treated to a talk on Visual Language by the workshop instructors:  Frank Serrano, Ken Backhaus, Carolyn Anderson, and CW Mundy

Figure Studies, Jeff Watts Workshop

On the second day of the workshop, we got down to the serious business of painting figures using burnt umber and white.  I learned something very important that day-- I tended to smooth things out on my figure studies, which made them boring!  Jeff suggested that I paint abstract shapes in different directions on the model to make them interesting to look at.

And here's a reason that figure studies are difficult.  You have to understand the anatomy underneath it all and build out from there.  Here is an example of how Jeff starts a figure study.

He plots the skeleton and major muscle structures before he begins to paint.  Taking the time to study anatomy is well worth the effort when painting figures and portraits.  He showed us an App that he uses called "Visible Body" which shows the skeleton and muscle groups from every layer and angle.  It even shows the muscles in motion.  I hope that I'll have the discipline to delve into this and stick with it!