Journal of My Work-in-Progress: Painting and Photography
Thanks for taking the time to visit my blog. It's a journal of sorts. It gives me a place to show my work-in-progress for my painting and photography. Comments are welcome --- add one at the end of an entry or email me at BarbBlumer@gmail.com.
I worked on this iPainting in August at the lake. And I am glad I saved it along the way. I think I like the second one better than the other two.
Purple and Yellow
It has been a good exercise to look back on my work in the gallery of ArtRage.
This one was done last August at the lake, without actual fruit, just ones I made up.
I "saved" along the way. Now I think I like the second version better than the other two.
I am keeping some of the work, because I like elements of them, not the finished result.
In this case, I like how I used the roller tool to add patches of color to the fruit. (This review has also made me appreciate the roller tool!)
Overall, this painting is lacking in weight. The values of the color are too close together. If I did it over again, I would darken the shadows, and connect the fruits' shadows to the shadows under them, among other things.
Influenced by our recent trip to Japan. I didn't start out to make a Japanese figure, but he emerged when I made the black strokes that must have reminded me of something I saw while we were there. There is so much in our subconscious waiting to be awakened.
Just framed the final version of "Pumpkin on a Pillow" and named it "The Princess and The Pea." I will be dropping it off at West End Gallery later today for their opening on Friday night, 5 to 7:30. West End Gallery has a new website, too. Check it out. www.westendgallery.net.
We recently returned from a two week vacation in Japan. (Don't worry, we were far away from the nuclear reactor fallout.) We really enjoyed our experience -- the scenery, the people, their history, the food, the gardens, the art, the ceramics, the trains, etc. I came back very inspired.
Ticket and Flyer for Takeo's Exhibit at the Daimaru Museum Exhibit
One of the purposes of our trip was to see Takeo Takemasa's art exhibit in Kyoto. He is a master glass engraver and we are lucky to have as our next-door-neighbor back home, here in Corning.
It was a rare opportunity to see his 35 pieces of his work, created over the last 20 years. Most of his collectors are in Japan. Few people from Corning -- I think we were the first -- to have seen an exhibit of his work.
It was amazing! And the visitors were truly excited to see the work.
Each piece was shown in an individual case, lit from above, so you could walk around and around the piece to view it from all angles.
Some of the pieces are quite tall. Most of them are multiple pieces of glass which fit together in clever combinations.
All are exquisitely engraved.
The glass is ultra pure, ultra clear, and highly polished which showcases his beautiful tonal engravings.
The glass shape, size and arrangement is as important to design as is the engraving.
An overview, written by David Whitehouse of Corning Museum of Glass, was presented, shown here in English but also in Japanese.
In addition, some of his drawings for the pieces were shown.
Here is a drawing for the piece featured on the ticket.
And here is the actual piece.
Takeo also created a video of his process and studio. It showed Corning Market Street, the Corning Museum of Glass, his studio, his home, and even our street.
A companion 120 page book, featuring all of his work was created for the exhibit.
(I made the portrait of him for it.)
He signed the book for us.
Takeo is a celebrity! He was being interviewed for newspapers while we were there, and will be doing features with other master artists on television. The exhibit will travel from Kyoto to two more cities before he returns home to Corning in December.
Put this painting in the mail today. I used a warm silver frame which I ordered from JFM Enterprises that is new to me. The wider frame makes an 8 x 10 look bigger, which is a good thing. The finished size is about 16 x 19.
Finished and framed another painting from the grid yesterday. David chose this one. I painted it from a B&W photo I took with my film camera many years ago. As a result, I had to create my own colors, since I did not have a reference.
Today I liquined the pumpkin painting to see what I painted last Tuesday night in Marc Rubin's class. Liquin (or varnish) brings back the color and vibrancy. Oils go flat and change value when they dry.
Marc added a 5th week to give us a chance to critique our work and then fine tune it one last time. The critique of each other's work was one of the most valuable aspects of the class so far. It was fascinating (and inspiring) to see how everyone chose such different approaches to the same subject, and to get advice from each other.
In my case, I decided to add a shelf for the pillow to sit on instead of leaving that part of the painting so vague. Also, I cleaned up the background where I got orange mixed into the gray, and really worked on the highlight (where the brightest light hits the surface of the pumpkin).
I am pretty happy with where I ended up. They only things I want to change now are 1) the stem, which I can do from my week 4 photo. (I messed it up trying to put a highlight on it -- lost my place, but I think I can get it back) and 2) straighten the shelf. Then, I will feel I learned as much as I can from this painting.
Marc's class will be starting a new still life next Tuesday. It will be pears, a much smaller size (10 x 8), and last only 2 weeks. I won't be able to join them. But, I encourage anyone who wants to see Marc's technique to try out the class. You could learn a lot in just 2 weeks. 171 Cedar Arts now allows you to buy drop-in passes for classes.
I will be going to Marc Rubin's class tonight for the 4th Tuesday (and the last time) for the pumpkin painting. So, I thought I'd assess where I am after three classes.
I am satisfied with the look and feel of the pillow. And my colors. But I continue to struggle with how to render the pumpkin. I pretty much feel like I am at the same place as I was at Week 2. I spent most of last week's session on it and ended up in the same place as I started.
Week 1 - painting with lots of turp, directly on the masonite
Week 2 - oils only (no turp or liquin) -
we painted the background, corrected our initial drawings and started to develop the pumpkin and pillow
Week 3 - Trying to render the pumpkin and make the pillow look soft.
Marc paints much thinner and more carefully than I do. He takes his time and enjoys the process of studying every bit of the still life. Looking, looking, looking. Tonight I am going to try to zone in on exactly what I see, like he does, and hope if I can make a breakthrough.