My work and words, featured in my favorite art supply catalog!

DickBlick2014-15-p17

Well, hot-diggety — my artwork and my endorsement are featured in the new 2014-2015 annual Blick Studio catalog! One of my other pieces was shown, without endorsement, in the Spring 2014 catalog supplement — not too shabby either — but this one’s quite a thrill. Featured is Unlikely Dance: Golden Clouds (30 x 48 in., oil on canvas), and yes, it WAS painted with Blick Oil Colors. I’ve always loved Blick — have dealt with them both personally and professionally for nearly forty years — but now more than ever! Looking forward to receiving it in the mail. (You can request one for yourself, here.)

Blick_spring2014-p68
My painting Morris Dance: Half-Gyp (20 x 16 in., oil on canvas) was shown, without endorsement, in the framing and matting section of the Spring 2014 Blick Studio catalog supplement — not too shabby either!

To Be Published… Soon!

Morris 1: Half-Gyp is one of the images requested by both Blick and Vestal Life. 20 x 16 in., oils on canvas
Morris 1: Half-Gyp is one of the images requested by both Blick and Vestal Life. 20 x 16 in., oils on canvas. It will be in my December show at RiverRead Books, 5 Court St., Binghamton

Through entirely separate channels, my work is soon to be published in two different commercial venues.

Vestal Life Magazine
Vestal Life Magazine

The first is Vestal Life, a full-color ad-supported magazine put out by a Philadelphia-area publisher.

Their publication manager called the Broome County Arts Council, who suggested a story on my Unlikely Dance project and the exhibit in the gallery space there — so I’ve sent a write-up and photos to VL for the December issue. (What a great support system BCAC is for their members.)

Sample page from Dick Blick
Sample page from a Blick catalog — this is a treatment similar to what I’ll get in the spring catalog.

Then the creative director for Dick Blick, my longtime favorite mail-order and web-based art supplier, emailed in response to some sort of survey form I’d filled out; in return for an endorsement of their house-brand oil paints (which I use, and ARE great — no problem with that endorsement) my words, artwork, name, and website address will be shown in conjunction with some of their products in their spring catalog supplement. (She requested specific images she’d found on my Fine Art America site.) How cool is THAT?! Very exciting!

The Unlikely Dance series: finished, and soon to be shown!

Unlikely Dance: Roundabout - 30 x 48 in., oils on canvas
Unlikely Dance: Roundabout – 30 x 48 in., oils on canvas

Finally, I’ve finished the Unlikely Dance series — and what a journey it’s been: a year and a half of learn-as-you go planning and painting! Except for the first one I’ve started each piece with a growing sense of confidence, only to be waylaid by an obstacle or three in the form of illness, competing time demands, technical issues, composition, lighting, line…

In the case of Unlikely Dance: Roundabout, the first issue was naming; I didn’t have the piece finally composed when the call came for a list of exhibit information. Knowing at least what dance figures I was using, I called it “Unlikely Dance: Velveteen,” for the velveteen waistcoats the figures wear. But, unhappy with the provisional visual context, I decided to change from Cutler Gardens to a shoot in downtown Binghamton’s courthouse square, and settled on the new traffic circle as an unlikely — and visually interesting — dance site. The light was wonderful, and shot specifically to match the angle of the sun in the original photos of the figures. So I renamed it “Unlikely Dance: Roundabout,” for a nice dance-like reference. That caused some confusion about the exhibit name… but all is well now, and the show is scheduled to open on First Friday, November 1.

Skintones palette for Roundabout
Skintones palette for Roundabout – warm lights and cool shadows

On the painting end of things, the primary challenge of this piece was the composition, which proved to be overly heavy on the right side. The angles of the figures #2 and #3, the mass of the neoclassical bank building on the right, and the unstable curved line of the traffic circle’s edge all conspired to rotate and lean in that direction; I actually found myself tilting my head when I looked at it. The darker buildings and the cloud formation on the left were meant to counterbalance that effect, but they seemed to be outweighed.

Fortunately, a darkening of left-hand elements, a lightening of the right-hand elements, a few added or revised stabilizing vertical elements (the bank window, the central figure’s spindle, the end of the cloud formation, a subtle color trail in the sky) worked pretty well without spoiling the dynamics. It’s all a lot easier to say than it was to do, but I’m happy with it now.

So: the exhibit! The culminating show of this grant-funded painting project will be in the gallery space at the Broome County Arts Council, 81 State St., Suite 501, in Binghamton. Along with the complete series of finished paintings, I’ll be showing studies and preparatory materials with each piece. Read more about it here!

Now I have to get all those smaller materials matted and framed — and in some cases, ready to show — and get print-quality photos of all the paintings in the series, to post for sale in my online shops in time for the show.

Here’s the progression of “Roundabout” as it went together:


………………..
The “Unlikely Dance” project was made possible by a grant from the Artists Fund of the Community Foundation for South Central New York, facilitated by the Broome County Arts Council.

Unlikely Dance: Fresh photos, fresh paint

The Ballyclare Irish Dancers, in the bandstand at Recreation Park
The Ballyclare Irish Dancers, in the bandstand at Recreation Park
Last evening, in the heavy summer heat and humidity that’s settled over the Binghamton area, I photographed a women’s dance group called the Ballyclare Irish Dancers. What fun! It was all I could do to not start jigging myself, though my jigging experience — what there is of it — is in the English Morris tradition rather than Irish. All shapes, sizes, and ages these women were — and all of Irish descent/heritage — and how wonderfully they danced, in their simple dance kits of black knit skirts and tops, black stockings, and Celtic-pattern neckscarves. This is the real stuff, to me — not the costume-y children’s competitions. The joy of dancing was contagious, even in that oppressive air, and I got a lot of material to work with on my next Unlikely Dance piece.

But here’s a dilemma — the current piece on the easel, Beethoven Oaks, is set in Recreation Park (though I photographed the dancers in Gilbertsville, NY), and the neo-classical bandstand is visible in the background. Last night’s shoot was IN the bandstand, and the setting is lovely. So far each piece in the Unlikely Dance series is in a different Southern Tier location — Green Skirt in The Forum, Golden Clouds on the street in Johnson City, Entry Hall in the Phelps Mansion Museum, and Beethoven Oaks in Recreation Park. (See the first three together at the bottom of my Unlikely Dance page.) WHAT shall I do with the Irish dance piece?

Beethoven Oaks, stage 10
Beethoven Oaks, stage 10 (unfinished) – 30 x 48 in., oils on canvas
Speaking of Beethoven Oaks, I’ve been slowed down a bit lately in pulling it together, but I’m very happy with it so far. Hoping to have it finished in time for Binghamton July Fest, July 12-14.

The “Unlikely Dance” project was made possible by a grant from the Artists Fund of the Community Foundation for South Central New York

To follow my progress in Unlikely Dance, just click on the “Unlikely Dance” link under TOPICS, on the left of any page in this blog.

Unlikely Dance continues, as my process evolves

Beethoven Oaks (finished underpainting)
Beethoven Oaks (finished underpainting) – 30 x 48 in., oils on canvas

I’ve got a good start on the next Unlikely Dance piece — the fourth in the series — which I’m provisionally titling Beethoven Oaks. The setting is a Binghamton park variously called “Recreation Park,” “Rec Park,” and “Beethoven Park” (because Beethoven Street runs alongside it); the dancers are sourced from a photoshoot I did in Gilbertsville NY last month. Once again, the dance is in incorrect formation, but I crossed that line again in favor of a lively composition, and I’m quite happy with both the design and the underpainting. It’s been a values-based battle so far, as the lights and darks are complicated in places where they intersect and contrast. The color block-in should be interesting!

Also interesting, to me anyway, is my evolving process of putting these pieces together. For one thing, I’ve changed my palette, in both physical shape and content. I covered the physical part in an earlier post — still figuring out how to best use it, but I really like it.

My current palette, clockwise from left: titanium white, cadmium yellow light, cadmium yellow medium, cadmium red, alizarin crimson, cobalt violet, ultramarine blue, cobalt blue, viridian, sap green, burnt umber, burnt sienna, raw sienna
My current palette, clockwise from left: titanium white, cadmium yellow light, cadmium yellow medium, cadmium red, alizarin crimson, cobalt violet, ultramarine blue, cobalt blue, viridian, sap green, burnt umber, burnt sienna, raw sienna

But I’ve also, with the last painting, Unlikely Dance: Entry Hall, added a couple of colors to my limited palette. Influenced by instructional videos from Sharon Sprung, Brian Keeler, and Rose Frantzen, I’ve added cobalt blue and raw sienna (a yellowish brown)… and what a difference they’ve made! Sprung is so right when she says that cobalt blue is not only a beautiful color, but “plays well with others” — so much better in the mix than ultramarine blue. And raw sienna adds so much to depth to fleshtones. I’m not giving up ultramarine (a deep, rich blue which makes a really delicious black, mixed with burnt umber), but I am going to back off on my experiments with yellow ochre; it’s very similar in its pure appearance to raw sienna, but unlike raw sienna it seems to go flat when mixed. In the painting of the piece, I notice I’m becoming more methodical, reducing the intimidation factor: starting with the middle third of the canvas, sitting on my high painting stool, standing as needed to concurrently work the top. Then I move to my low painting stool, to get the area directly below the middle, and finally move to a low chair for the bottom — sometimes even a little paint crate to get right to the very bottom. From each position I frequently stand and back off for the larger view. Rose Frantzen’s intriguing idea of using a large mirror behind me for a quick turn-around doubling of distance from the painting is one I’m intending to try, as well.

The “Unlikely Dance” project was made possible by a grant from the Artists Fund of the Community Foundation for South Central New York

To follow my progress in Unlikely Dance, just click on the “Unlikely Dance” link under TOPICS, on the left of any page in this blog.

Unlikely Dance: Golden Clouds – finished!

Unlikely Dance: Golden Clouds
Unlikely Dance: Golden Clouds – 30 x 48 in., oils on canvas

Finished… and being submitted this afternoon to the 2013 Roberson Regional Art Exhibition, along with my other finished Unlikely Dance painting, Green Skirt. No guarantees of a place in this juried show, of course, and it’s impossible for me to be objective about it. As my artist friend Barbara says, we’re always in love with the latest piece. And I do love it, as well as the many friends and fans on Facebook who’ve Liked it. I’m such a sucker for approval.

Lydia
My assistant, Lydia

Getting good photos of these larger pieces has been a real trial — I was afraid I might have to pay a professional to do it (which I’ve done in the past — photographers have to make a living too, but I don’t make a lot of money with which to pay them). Finally I found a place/time that worked — it’s at the top of the stairway to my studio, where at midday or thereabouts there’s even, diffused light coming from the rooms at either side of the landing. Here’s an unedited version where you can see how I’ve set the painting into the center doorway, with door closed:

Golden Clouds, uncropped
Golden Clouds, uncropped

You might notice the small wadded-up piece of paper in front of the painting, which was deposited there by my young studio assistant, Lydia. She’s not the most helpful assistant ever, and can be a distraction at times, but she means well, loves the work, and is very soft and comforting. :)

And now, onward with Unlikely Dance — I’ve got a finished underpainting all ready for the easel. But first, the whole process of Golden Clouds:


The “Unlikely Dance” project was made possible by a grant from the Artists Fund of the Community Foundation for South Central New York

To follow my progress in Unlikely Dance, just click on the “Unlikely Dance” link under TOPICS, on the left of any page in this blog.

Golden Clouds: blocking in the colors

Unlikely Dance: Golden Clouds, stage 8
Unlikely Dance: Golden Clouds, stage 8 — colors blocked in except for heads

Golden Clouds is coming along nicely, I think, though it is a cause of discomfort — and derision, I understand — for some morris foremen. (It is art, after all, not a dance manual… I suspected this might become an issue.) I’m not having as many problems with glare now that I’ve rearranged the easels — had to fit my smaller easel in to work smaller pieces concurrently with the large (30″ x 48″) Unlikely Dance paintings, and although a bit crowded, the change has resulted in some lighting improvements.

My theme painting for Window on the Arts is now finished and drying — next post will be on that piece. Meanwhile, I’m doing some further preliminary studies on the heads in Golden Clouds, before painting.



The “Unlikely Dance” project was made possible by a grant from the Artists Fund of the Community Foundation for South Central New York

To follow my progress in Unlikely Dance, just click on the “Unlikely Dance” link under TOPICS, on the left of any page in this blog.

“Golden Clouds” – finishing, and RE-finishing the underpainting

GoldenClouds04 - Final version of the underpainting
Final version of the underpainting

I post all my art-in-progress photos on my GreenBoat Gallery Facebook page as well as here, and when I considered the underpainting of Unlikely Dance: Golden Clouds finished, I posted it — proudly so, because despite a few correctable flaws I was quite happy with it. However, one of my FB friends — a long-time morris dancer/musician, and an accomplished designer and illustrator himself — began posting about the dancers I’d used as models, naming names along with suggestions to make the dance positions more correct. I’d changed the faces, but evidently not enough. He’s primary musician for the team I was using as reference, so is well acquainted with “the girls” by position and stance, but this was not my objective. I didn’t want to come off all prissy, uptight prima-donna (okay, maybe I am?), but my intention was a painting of dance, using my various photos of the dancers, along with others, as reference only. And I needed the less-than-perfect position for the compositional line. I hope I was courteous and good-humored in my reply, but one never knows how the written word will strike the reader — especially late at night — and I’ve been read and heard before as sharper than I meant to be.

For my part, though, it was a wake-up call which produced a welcome result. I spent another several hours amending my Photoshop image with the web-searched faces of vintage French mannequin heads, and I’m actually MUCH happier with the final underpainting. And my FB friend the dancer/musician/designer marked it with a Like. So that’s good, I think.


The “Unlikely Dance” project was made possible by a grant from the Artists Fund of the Community Foundation for South Central New York

To follow my progress in Unlikely Dance, just click on the “Unlikely Dance” link under TOPICS, on the left of any page in this blog.