Summer Cabins

 

Summer Cabins

9” x 12” watercolor

Julie Pryne sent me this wonderful photo of some summer cabins from her trip to Sweden. I loved the log structures with the metal roofs. I used several different techniques in getting the textures of the logs, decreasing the details as the cabins moved into the distance. The biggest problem here is my difficulty with trees.

I am trying to move away from painting tree symbols to painting realistic looking trees. I need to find more tree painting tutorials. I looked at a few today on YouTube, and one was very helpful for painting pine trees. That would have been good for this painting. I think I will start using the backs of older paintings, that I don’t like, to practice trees for awhile. Since most of my paintings have trees, they could only improve if I practiced trees more.

Art Contests - a rant of sorts

Uptown Glassworks

12 x 18 soft pastels on Kitty Wallis white

by Miki Willa

Plein Air Painting

" Create an art piece between 11:00 a.m. and 3:00 p.m. on August 22, 2009 in the Art Walk vicinity."

How would you interpret that? These were the instructions for a "Quick draw" contest held in conjunction with an art show this past weekend. While my husband, our son and his wife set up and manned our area, I set up my easel to do a painting of a local landmark "in the Art Walk vicinity." I had a great time painting this wonderful old building, working on perspective, and trying to make it look the way I wanted it to look. After a few hours, I felt it was done and got it ready to enter into the auction and contest. We framed it in the prepared frame we brought for just this painting. I took it down to the entry table to turn it in. I should have suspected something was amiss when the people manning the table had no idea what they were to do with the painting.

It turns out I really misinterpreted the rules for the contest. "In the Art Walk vicinity" meant only that you had to paint whatever you painted in the area that day, but it really didn't matter what you painted. It didn't have to have any relationship to the area whatsoever. I don't mind not winning art contests as long as I feel that the same criteria have been applied to every entry. Perhaps I should have verified exactly what they meant. Now, I can see just how vague the statement is. I also didn't realize that friendship counted. Being new in the area, I haven't established friendships in the local arts groups. Oh well, live and learn.

We will be moving on from the venues in this area. There is a good market there for our son's glass art, but none for our pastel art. It will take time to learn about the local market. In Hawai'i, people bought art with different things in mind than people in the PNW, it seems. It also doesn't help that the economy is affecting art purchases. I have observed that art that serves a second purpose is more marketable right now.

In the meantime, I will add the painting of Uptown Glassworks to my glass making series. I have a nice collection of Hugh's glass, and Tom hung some of the paintings above the mantle where a few pieces are displayed. I like the way it looks as it is all tied together. While I had a difficult time with the contest, I had a wonderful day painting and adding to this series.

Patterns in Wood, Art Shows

Door in the Wall

14 x 20 soft pastels on Art Spectrum Colourfix

by Miki Willa

There is an old lumber complex on Lake Washington near the southeast end of the lake. For years there were log booms in the lake where the mill got its raw materials. Later, it was occupied by a wood product manufacturer. Now, it is abandoned. On a recent artist field trip, Tom and I found ourselves wandering these premises to gather reference photos. As we were walking back to the car, I caught sight of this door in the middle of a wall created with concrete and varying wood panels. The window panes in the door reflected the bright sun that was out that day. I fell in love with the colors, shapes and patterns on this wall. I loved the patterns in the wood and the concrete and how they worked against each other. I really liked the brilliance of the reflection in the windows. I relished the challenge of capturing all of this in pastel.

I started this painting by blocking out the shapes. Then I added the darks in the woods so the grain would work. I added lighter values as I came to the surface of the wood in places where the lighter grain showed. I added the door and the light fixture to the left of the door last. I pushed some of the colors to capture the emotions I had when I first saw this wall, especially in the windows. I am happy with this work.

We have done three art shows this spring and summer and have been very disappointed at the outcome. It is hard not to think negative thoughts about my art at this point. I know the economy is not in the right place for people to be buying art that does not serve another function, like serving bowls or quilts. That doesn't help at the moment. Another problem has been the venue in two of them and the timing in one. That, also, does not help. We have two more shows coming up. I am working on being optimistic about both of them. One of them is part of a show billed as an art show. The second one is in an area where I know quite a few people. There is a lesson to be learned in all of this, or probably many lessons. One of them has to be about marketing. Hopefully, I will figure it all out soon and the next shows will be better.

The next show is in downtown Renton, The Arts and Antique Walk. It is next Saturday, August 22. We are on Third Ave. in front of A-1 Locks, across the street from the Western Store.

On September 12 and 13, we will be in Lake Boren Park at Return to Newcastle Days. If you are in the area, I hope to see you there.

Does art have to have deep meaning to be good?

The Warehouse

soft pastels on Art Spectrum Colourfix

by Miki Willa

There are so many people out in blog land who have much to say about what art is and what makes good art. There are quite a few people who have differing opinions on the subjects. I didn't want to be left out, so I decided to jump into the fray.

There is a rather large camp who think that a work by an artist must make a statement about the state of the world in some way in order to be considered "real" art. It is not good enough to be sell executed, or to be visually appealing. As I came across these opinions, I wondered what grand statement about the human condition my art makes. So far, I can't see any.

There is another camp that says to be considered good art, it has to be technically well done. It has to follow all the rules. And, it has to convey the feeling of the artist about the subject at hand. I do try and put my feelings into my paintings.

There are also a group of people who think that anything that smacks of realism is not true art, but merely copying. This seems to have been happening in the world of academe for a while. I have known a few people who were not accepted into university art programs because their art was too "predictable and inside the box." But I like realism. Does that mean that what I like isn't art?

I do have more questions than answers in this discussion. However, I have come up with something I think is important. I think art should be celebration. I should celebration human emotions, the beauty of the small stream or majestic mountain, the ingenuity and resilience of humans, and the ways in which the earth reclaims what humans reject over time. There is much more to celebrate in art, and I guess that is what I think my work does. I celebrate the earth in my landscapes. I celebrate the power of water in my waterscapes. I celebrate glass art makers. Not everyone will agree with me, but that is okay. What is a discussion without opposing viewpoints.

The painting is a celebration of a landmark in Renton, Washington. It has survived earthquakes, fires, and the gentrification of the neighborhood. I took the reference photo on a glorious fall day because I loved the colors on the hillside, and the plume of steam and smoke against the brilliant blue sky.

Painting for Different Strokes

Wheat Farm

8 x 18 soft pastels on Kitty Wallis Professional White

by Miki Willa

based on gray scale photo provided by Karin Jurick

I really enjoy watching all the wonderful interpretations of Karin's biweekly photos on Different Strokes From Different Folks blog. Every once in a while, I decided to try my hand. For this one, Karin provided us with a gray scale photo of a Pennsylvania farm and asked us to use our own favorite palattes. This was great for me. I loved the photo, and I knew it would lend itself to my favorite complimentary palatte. This was quite fun to paint. I really like the lost edges in the distance and the cripsness in the nearer buildings. I also had a lot of fun with the size.

Sedona Day 4

Painting in Jerome, Arizona

First, I have to say I don't loathe yesterday's painting as much today. I see possibilities in it. That is a good thing.

This morning, we drove to Jerome, an old mining town that went bust and has turned into an art colony of sorts. The town is built up a hill, as are most old mining town. As you wander up and down the streets, you can visit many different art galleries from fabric art to blown glass to paintings. There is a big artist cooperative in one area, and the old high school is home to several galleries and studios. We parked on the middle street, across from the Mile High Grill where we later had lunch. I decided to paint a couple of the buildings across an alley from the Mile High. The photo above was taken by my husband, who chose to be photographer today instead of painting.

The painting is not finished, but I know where I want to take it. I was intrigued that the lower buildings had one set of perspective points while the upper on that is behind had its own set. The front buildings are also on a sloped street and sidewalk. I still have to work on those lines and angles, but I think I am fairly close to the values I want. The windows will be interesting to finish. I think I will work on this one some more before I post it.

Now that we are nearing the end of this week in Sedona, I really want to say what a wonderful model this mentoring workshop is. All of us are staying in one house. We eat breakfast together, then we have critique sessions. After that, we follow Michael to a great place to paint. Michael is there as a resource for us as we need him. We are each working on learning different things, and he has time to give each of us the individual attention we want or need. After a few hours painting, we head back to the house for lunch together. Then we are on our own for the afternoon to paint, explore, read, or nap. Any paintings we do, we can include in the next morning critique session. I really think there should be more mentoring workshops like this. It has been a great experience for Tom and me. Check it out at Michael's Sedona page.

Jefferson Memorial at Night

Jefferson Memorial at night

9 x 12 soft pastels on Art Spectrum Colourfix

by Miki Willa based on a photograph by Karin Jurick

This is my most recent painting for Different Strokes from Different Folks.

I have not done a night scene before and found getting the value of the sky right a bit tricky. I know and love this spot, so I could see it in my mind at all times of day and night. This helped. There is quite a bit of street lighting and lights from the monument, as well as reflected light from the tidal basin. This usually keeps the lower atmosphere lighter than the vault overhead. It is also very difficult to see stars there, because of all this light.

When I lived in Northern Virginia, I really enjoyed this memorial more than almost all the rest. It is built on a grand scale with a very large statue of Thomas Jefferson in the center. It is right on the edge of the Tidal Basin and the walkway is lined in Japanese Cherry trees. In early spring, the trees are all in bloom, making it a photographers paradise. I have many wonderful memories of my time spent in and around this memorial.

If you want to learn more about the Jefferson Memorial, please go here.

Morning shadows

Early Morning at Number 5

9 x 12 soft pastels on Art Spectrum Colourfix

Miki Willa

I was walking back to my little room the other morning when I was struck by the shadows cast on the walls surrounding my door. The sun was just cresting the roof on the southwest side of the courtyard. There is a large tree near my end that cast these great shadows. After much debate, I decided to use purple, even though I saw purple and blue in the shadows. The walls are a dark cream stucco. The wall light near the door had reflections of so many colors, and I wanted to show them all. Unfortunately, this photo didn't pick them up well. I am not particularly pleased with the shadows on the lower part of the door, but I think I can work on that some more to fix it. The differences in the purples to the left and right of the door are from the camera. Color on the right is more accurate.

Pastels and old buildings

The Desert Wins

9 x 12 soft pastels on Art Spectrum Colourfix

Miki Willa

I really like using pastels on old buildings. When I first started, I had some trouble controlling my touch. Every stroke was just like the one before it. Now, I am pleased to say, I am getting better. I can use a different touch on each layer to get just the look I want for weathered siding like in the eave of this building. I also enjoyed the different strokes to create the adobe feel of the building. The foliage of the big bush was great fun to do with light strokes in several colors. I really had fun doing this painting.

This building is on the east side of the built up area of the Antelope Valley. In fact, it is right across the street from a very new housing development. As I was driving east, this scene grabbed my eye. I don't know what the yellow wildflowers are, but they really look beautiful with the tumbleweeds and Joshua Trees. I will be doing another Joshua Tree painting tomorrow. This one has tons of character.

Painting buildings

Ford Island Cottage

7 x 10 soft pastels on Art Spectrum Colourfix

Miki Willa

I really enjoy the challenge of painting buildings. I drew this one in a very draftsman-like way.
When I picked up my pastels, I wanted the overall feeling to be a bit looser, but retain some of the crispness in the house. I wanted it to contrast with its surroundings in a fairly strong way to show the contrast between what we create and the natural world. I have done other plantation style houses in a much less structured way, and I have enjoyed both methods.

Another Barn

Once Upon a Time on the Plains

11 x 15 soft pastels on Art Spectrum Colourfix

Miki Willa

Several years ago, I drove across the country with my best friend. We loved so many things we saw. We stopped to take photos of silos, rolling corn fields, wild flowers, and barns. We were in South Dakota when we spotted this on at the end of a road that took us to a very small town. I am not sure why we were there, but I fell in love with this barn. The roof was nearly gone. It had been deserted for a while, but it still stood there telling its story. My friend, now my sister-in-law, used to have a large photo of it hanging in her house. I only have a small one in a photo album. I wonder if she remembers it.

Today is Cezanne's birthday. He was born to a wealthy father in 1836. He wanted to be an artist from a young age, but his father fought him on it. Eventually, he got his way. After time spent in art school in Aix en Provence, he headed to Paris. There he was introduced to Pissarro and Monet who convinced him to start painting outdoors. Before that, his paintings were dark and melancholy, often with a religious theme. Once he started painting outside, his pallet changed and he began painting with much more vivid colors. In 1872, he spent two years in Pontoise with Pissarro painting as much as he could outdoors. He entered works the annual Salon exhibit was always rejected. Twice, he entered his works in the Impressionists exhibit but they were soundly derided. He left Paris fed up with the city and the style of the Impressionists. He wanted to paint what he saw and felt. He began to develop his own strong style that did not worry about depth and dimension so much as feeling and color. It was twenty years before he exhibited his work after the last Impressionist show he entered. By the end of his life, his works were being recognized and selling well. Here is a still life of his to enjoy on his birthday.

Apples, Peaches, Pears, and Grapes

15 1/8 x 18 1/4 inches oil on canvas

Paul Cezanne

To see more of Cezanne's work, go here. To read more about him, go to this site.

When Sugar Was King

The Old Sugar Mill

11 x 15 soft pastels on Art Spectrum Colourfix

Miki Willa

I painted this old sugar mill last summer. The sketch was done en plein air, but I did the painting in the studio. I was out on the North Shore of Hawaii with my painting friend when we discovered a wonderful park in Haleiwa. The park is on the water at the west end of town. You can look back toward Haleiwa to the east, out across the vast Pacific to the north, or west toward the mountains. I had always wanted to paint this place, but hadn't seen it from this vantage until that wonderful day. On other days, my friend and I have driven all over the area around the mill taking photos of plantation style houses and buildings. Someday, I will have to get those out to paint.

We just took down our show and this painting is hanging in the living room. I thought it would be fun to share.

In praise of colored pencil artists

sketch for composition

colored pencils on Strathmore sketch paper

Miki Willa

I spent some time looking at the August 2007 CPSA winners this morning, and was in awe of all that talent. It made me go hunt down my old colored pencil set. I had a photo I wanted to sketch for composition before I did it in pastels. I decided to use my colored pencils. By the time I was finished, I was even more impressed with real colored pencil artists. Even in the best circumstances - all the colors you want/need, a good pencil sharpener - it takes patience and perseverance to create a good colored pencil drawing. I learned a lot about the composition I will use for the pastel painting, as well as learning about my lack of patience. I must have had more patience when I was younger and loved using colored pencils. I think, for now at least, I will stick with my pastels. The setting for this drawing is an abandoned sugar and molasses mill on Kaua'i. I just loved the truck.

Ketchikan reflections

Ketchikan Reflections
8 x 10 soft pastels on Art Spectrum Colourfix
Miki Willa

Barns and kahili

The Barn

2.5 x 3.5 soft pastels on drawing paper

Miki Willa

I decided to try one more of the miniatures. I like the concept, and am impressed by the ones I have seen, but I think it is better suited to other medium. I think it would be easier for me in watercolour or oil, even though they are not my medium of choice. As I said in the beginning, this is a learning journey and this is just another marker along the way.

On a completely different note, my kumu, Namahana, showed me how to make a small kahili. The kahili was, and is, a symbol of the Hawaiian ali'i, or royalty. It is made with feathers and a long staff. The one I made is a very small version, only 12 inches. I thought I would share it with you.

Christmas Croton

Christmas Croton

2.5 x 3.5 Pastel pencil on Art Spectrum Colourfix

Miki Willa

I thought I would try my hand at the ATC, or artist trading card. Tom took a photo of a wonderful green, red, pink croton. Most of these plants here have oranges and browns. I decided this would make an interesting Christmas card since it resembles the poinsettia. Working that small is quite a challenge, and I stuck with my pastel pencils. In my travels through WC, I have been really impressed with some of these miniature paintings, or ATCs. Some of the artists do complete and wonderful landscapes in that size. I also understand that there is an Ebay community where artists sell these cards. There are quite a few collectors out there. I am not sure I will do many this size, but I may try a few more since I have the cards already cut.

Late Autumn

I think I have finished this one. I think it is a 9 x 12, but I haven't measured it. I wish the photo was better. Next time, I will work it in Photoshop until the brights are the way they are in the actual painting. I am happy with the sagging roof and the leaning bell tower.

Old Schoolhouse II

Here is what I was able to do this morning. I am having fun with this painting. The photo shows the golds as brighter than they are in the real painting. I still have to put in the sky and work on the tree. I may try a fall look, since the photo reminds me of late summer, or fall. I am hoping to finish this tomorrow morning. It is not big, so I should be able to. I want to mention that jemgold is the photographer and the original photograph can be found in the WC RIL.

Drawing for detail

Abandoned School

Miki Willa

After a few weeks of painting without doing the drawing first, I decided to go back to putting in my charcoal sketch before adding color. This is the only way I painted before trying the Secor challenge. I enjoyed the freedom that gave me, but I love drawing and wanted to get back to it for a while. I may not have a lot of time to paint this week, so this may appear in different stages over the next couple of days. Right now, I have the sketch done with vine charcoal and some charcoal pencil to set up the lightest lights and the bones of the tree. This photo of an old schoolhouse was in the RIL on WC. Ordinarily, I don't like to work from other people's photos, but there are times I just can't resist. If you are wondering if the bell tower is supposed to be so crooked, it is. That distant tree, however, may be a bit too big. I look forward to working more on this tomorrow.

Photorealism or Visual Impressions

Old Fishing House

9 x 12 soft pastels on Art Spectrum Colourfix

Miki Willa

A friend asked me a question about pastels today that caused me to think about how I use them. She asked me if one could get a smooth look with clean edges. I started thinking about how that was what I tried to do when I first started. I wanted to create an image that was exactly like what I saw. I think it is called photorealism. Susan Borgas has the ability to create this in her paintings. I really like her paintings for that quality. I, however, decided that I would rather try and convey the feelings about what I saw in a looser, more representational way, because that was more important to me. It took me a long time to come to that, to let go of trying to copy creation exactly.

This painting is not finished. I wasn't sure of that until I saw it on the computer. The red line of the pier does not stand out so much in the painting. I also want to push the lights a bit more. I am a sucker for old, abandoned, weathered buildings. I thank the photographer at WC who shared this for anyone to paint.

I will be away at retreat until Sunday afternoon. Look for a post then.