"Ballerina in Backlight"

This is a studio piece that came out of my sessions with the model.  One way to describe the process of moving from quick sketch to studio piece is that the process of quick sketch “informs” the larger studio work.  This piece was painted in hours as opposed to minutes – but the benefit of having worked from this model in this light from life, was of great assistance in rendering the finished piece above.

While it is quite possible to have the model sit for the duration of the painting, this painting was done with the help of photo reference material.  The model is expensive, so I prefer to work from the model in a group setting, where model fees are shared and poses are shorter; however, the information gleaned from observing and painting her from life was of particular use when it came to getting the color temperatures right in the studio piece.  The camera can never do as good a job as the naked eye, and visual memory, even when working from a photo reference, kicks in and helps get the job done.

In addition, the drawing/painting/color mixing practice that comes from working from life keeps my eye in practice, so the rendering of the studio piece feels relatively easy when compared to working from life.  I  can’t emphasize what a difference I find it makes to my continued development as a painter to continually return to painting from life on a regular basis.

Speaking of artistic development – I hope with all my pontifications around working from life that some of you might make the time to start the practice.  If you do, I would love to hear about your observations.  Keep your brushes wet!

Best,
Gaye

Studio Painting from the Model is a post from: Gaye Adams

students working art class

This last four days I had the privilege of working with a keen group of painters, teaching a workshop that is a new one in my portfolio…”Speed Painting from the Model”.  We did quick sketch with oil paint – one, two, five,  twenty minutes.  Most paintings were wiped off immediately after the timer beeped.  Wiped off not necessarily because they didn’t turn out, but because the emphasis was on process rather than product.

The students found it extremely challenging to paint from the live model.  I reminded them that I found painting from the model challenging as well;  and that most painters I know, even those that make a living from their painting, find this process stretches them on every level, like push ups for the perceptual skills.

I am happy to report that there was steady improvement and total engagement throughout the workshop.  It was quiet enough to hear a pin drop for the most part.  Eyes were being trained. At one point I thought I saw smoke coming out of student’s ears,  and yet everyone left with a smile, exhausted but exhilarated.

Rest assured, I will be teaching this workshop again.

Happy happy painting,
Gaye

Speed Painting from the Model is a post from: Gaye Adams

May 27th to 31st I am fortunate enough to be instructing a painting workshop aboard the Columbia III.
The Columbia III is an historical boat that will leave from Campbell River (right on the heels of Painter’s Lodge sessions in Campbell River -  for those of you who are attending) and will explore the coastal regions and pristine inlets of Desolation sound for three glorious days.

Accommodation is superlative; wonderful meals, comfortable berths, and the hospitality of Ross Campbell  We will be painting alla prima  plein air sketches both from the shore and from the boat.  To get further information on the trip go to Mothership Adventures.  Feel free to contact me directly with any questions related to instruction,  (emailgayeadams@telus.net) and the good folks at Mothership Adventures will be pleased to answer any other questions pertaining to the trip.

I really LOVE that the pursuit of art making takes me to places that I may not have otherwise journeyed.  I hope you will join me on this adventure!

As always, happy painting.

Gaye

Painting In Desolation Sound is a post from: Gaye Adams

Santa Barbara Reservoir, 8×10" oil on canvas

Aerial perspective is the term given to the effect created when objects are viewed through the atmosphere.  Dust, smoke, or moisture particulates suspended in the atmosphere viel what we see in the distance.  Generally hills or whatever else we are viewing through the layer of atmosphere become lighter in tonal value, and cooler in temperature.

In the Canadian Rockies, this effect is virtually unnoticeable on a very clear day and at a high altitude due to thin atmosphere and virtually no particulates, whereas in coastal locations there is often mist, fog, etc., that creates cooler and lighter distant vistas.

Of course, this changes again when you are in an area where dust particulates gather in the air with moisture droplets.  The dust hanging in the air (or whatever other pollutant may be present) creates a warmer distant color than if there was just moisture present.  Are you confused yet?  There is an elegant solution:  paint what you see.

I find the tendency is to  paint the distant hills darker and warmer than they actually are.  Be aware of this tendency and look again.  Harder.  Believe your eyes – it’s only your mind that plays tricks.

Happy painting all,

Gaye

About Aerial Perspective is a post from: Gaye Adams

This Tree Painting is View from Carpinteria

On this trip, I’m painting a LOT of trees. Trees are good subjects when you’re trying to find the “bones”. They are such complex forms that they need to be simplified – Few of us have all day to paint, unfortunately. Yet their basic structure has to hold together. It’s important to study the Gestalt of your subject. If the structure (sketch) is wrong, the painting on top of it will not work well. Kind of like putting siding on a house that is framed out of square – the result just isn’t very appealing.

Notice the Shape of the Tree

John Carlson (Carlson’s Guide to Landscape Painting) talked a lot about the nature of trees. He mentioned how slow-growing trees, such as oaks, have more crooks and curls. On the other hand, faster growing trees, like the Eucalyptus tree above, are taller. They have straighter limbs. Of course, no tree ever grows straight up and down. I am learning all of this for myself – tree by tree by tree. This painting is one of my small studies, only 8×10″. My painting is a meditation on trees, and this place certainly has a lot to meditate on.

Happy painting, everyone.

A Word About Painting Trees…. is a post from: Gaye Adams