Reflections of an Artist

Get Out the Vote

Morning Hits the Rocks #D

I have been selected as one of five finalists in the Best of WetCanvas 2010 in the Landscape Category.  With only a week left to vote, I hope you will take the time to vote for the painting you like the best at Wet Canvas. (I am #D but you should vote for the one you like the best.) If you are an artists and do not have an account at WetCanvas, you should. They offer a lot of wonderful information, so join up. If you are not an artist you can join but opt out of the emails. It takes a few days before you can vote after you sign up so do it soon so you can vote before December 27.

Morning Hits the Rocks was inspired by a plein air painting (Morning on the Rocks), which I painted in Monterey at Lover's Cove. It was interesting for me to paint the larger painting. I found that I needed to punch up the colors and introduce complementary colors (see my blog post Painting with a Colors Complement) for the under-painting. For me, smaller pieces don't need as much detail and the colors are less important. The composition seems to be my main concern when I paint plein air.

Thank you for voting and enjoy the Holidays. If you are in Southern California, keep dry. What are we ducks?

What is in a Name?

      I recently read an article in the FASO newsletter about the importance of the artist's signature. I have always considered my signature as an integral part of the painting but until I read this article I was under the impression that I had mine all worked out.

      I sign my painting with S Weaver, using my first initial followed by my last name. The article I read brought up an interesting problem which I had not anticipated. What if a potential buyer admires one of my paintings and then Google's my name. Would that person be directed to me? Well guess what listings comes up on the first page when I Google S Weaver? Lots of Sigourney Weaver. The remaining links on the rest of the first page are also not me. Going to page 2, 3, 4, 5 6 7, 8, 9, 10, 11, 12, 13, 14, 15, 16, 17, 18, 19, you get the idea. On all the pages I looked through under S Weaver, I am nowhere to be found.

      This creates a dilemma for me. I believe it is necessary for me to change my signature to include my full name: Sharon Weaver. I have recently tried this on some paintings and have liked the results but am concerned that it could be confusing or show an inconsistency unfortunately I see no other way out. So from now on Sharon Weaver is my signature of choice.

      If you are an artist you should Google your signature and see if you are listed. I hope you are pleasantly surprised and find it on the first page, but if you are like me you may need to reconsider that signature.

Calvin Liang Painting the Ocean

Third Demo by Calvin Liang

      The third and last day, Calvin Liang met the group at Heisler Park in Laguna. It was conveniently located right around the corner from the hotel, just a short walk. This day the cloud cover was very thick and it threatened to rain. Luckily for everyone it never did.

      Calvin decided to paint a large rock at the waters edge which looked like a broken table. The colors he uses for his plein air paintings are quite basic. You can see his palette above.

Calvin Blocks in the Shapes

      It surprised me that he didn't tint the canvas but he explained that on cloudy days he just uses a very light wash of color. He tints the ground with a burnt sienna for sunny days. Calvin applied sharp angular shapes for the rock. I thought the ocean color would be too dark but later you will see how it works. 

Using a Palette Knife for the Wave

      Using a palette knife, Calvin really loaded on the white for the crashing wave. He instructed us to keep movement in the water to depict the oceans natural movement.

      It was fascinating to watch him play. The back and forth was very interesting as he applied the paint, blending some together while keeping other areas separate for contrast. The finished painting was rich with color, texture and movement. Here is another blog called Jose's Art Journal: Calvin Liang's Workshop Day Three regarding edge work. Thank you Calvin for putting on a wonderful show.

Calvin Liang: Second Demo

Calvin Paints the Shadows

Calvin Works on the Details

Calvin Liang's Completed Second Demo

      Throughout the day, Calvin again emphasized the need to paint the shape, not the thing.  He repeated his mantra of the first day; instead of the thing (the building, the ocean, etc) think of 1) Shape 2) Value 3) Color 4) Edges

Calvin Liang Landscape Demo

Calvin Liang Talks about Shapes

Calvin Applies the Darks

      Immediately, I noticed that Calvin's brushwork is very deliberate. Every stroke is applied with care and he leaves nothing to chance. He uses different size brushes even in the application of the shadows. The intent was apparent in every brush stroke. Calvin also told the group not to be afraid to apply paint, even in the beginning when first painting the dark areas he put down a lot of paint.

Colors are Blocked in with Varied Brush Work

      On this day it was hazy and the lighting subdued, so #3 Color temperature is most important. Value takes a back seat. Calvin kept explaining that the colors were very dirty but I thought his gray colors were full of life. He told us to paint the shapes without detail but note the interest in the varied brushwork throughout this stage of the painting.

                                                   Finished Painting by Calvin Liang

      Now it was time to put in the details and refine the shapes. Here is where Calvin is a master. A few added details brought everything together. Watching him play with the paint was wonderful. He would smear it in some places and make a sharp line in others. He added the flags and the boat fittings with the smallest of brushes. Note that even in these details the line is broken, the color lighter at the bottom and darker at the top. His name is a wonderful addition to the painting.

      You can see the painting I did near the same spot called "Rest Stop."

Necessity is the Mother of Invention

"necessity is the mother of invention"

      In my last post I talked about the introduction of the pointed arch and how it changed Medieval architecture. With one small change in construction, art changed drastically.

      The ribs pointing to the peak of the arches are the structural devises which hold up the great weight of the cathedral, not the walls. This simple innovation opened up the walls allowing for windows which in turn lead to a burst of inspiration in stained glass window design.

Rose Window in the Notre Dame Cathedral

      One thing leads to another and this new building devise also allowed for the cathedrals to be built higher and higher, but as the structures rose so did the winds. This unforeseen effect led to another innovation; the flying buttress. Without this exterior support the great cathedrals would never have soared to their great heights.

      The vast interior of the churches were now open to the light. Objects of art were needed to fill this newly created void. Decorative carvings, paintings, wood carvings, murals, ironwork, sculptures all gained prominence as sunlight streamed into the cathedrals.

Carving at Notre Dame Cathedral

It is amazing how one thing leads to another and then another. As I write this, I am reminded of the movie "It's a Wonderful Life" and when Clarence tells George how every action is connected. HAPPY HOLIDAYS!