Birthday Final Fri at Pendleton Art Center

Yes, Sept 26, 2014 will be Final Friday at the Pendleton Art Center: celebrating its 23th anniversary with an annual Silent Auction. Each resident artist is allowed to enter up to 4 pieces of artwork, with starting bids no higher than $200.

M. Katherine Hurley (Kay) also did a "gratitude wall" once in her own studio, offering extra pieces at very deep discounts, in honor of her years at the Pendleton. So that inspired me to do the same thing this year.

I put 4 original acrylic paintings, framed, in the Auction for $50 each. The first one is the "Big Mac Bridge with Queen City Tower in the Background." I shot this photo from the parking lot of Party Source, in Belleview KY. As you can see here, I've been sketching the 471 (Big Mac) bridge quite a bit, in preparation for painting a larger work.

Bicycling along the Ohio River Saturday, I realized how much I love all the Cincinnati Bridges and why I've wanted to paint them. My paintings and prints of the John Roebling Suspension Bridge have sold very well. So I'll sell this 8 x 10 acrylic of the 471 Bridge and Ohio River from Mt. Adams on my "Gratitude Wall" in studio 507 this month too, if anyone wants to buy it.

Glenda Suttman and I both have birthdays near September Final Friday, so we'll celebrate as usual with friends, cake and champagne in our studio on the fifth floor this Friday night. Come join the fun!

A New Way to Be Taught

One of the things I've always appreciated about my teacher, Elmer Ruff, is that he doesn't try to paint my paintings for me, as so many teachers do. And because I teach other subjects, I know how much easier it can be to demonstrate how to do something than it is to get the student to do it herself.

Because Elmer and I have been challenged to find time together, I sent him some images of the painting of the Pendleton Art Center I've been working on. And, as a result, we discovered a great new way to work together!

Elmer is fantastic using computer applications to paint (like Adobe PhotoShop). I, of course, have zero interest in doing that, since I already spend way too many hours in front of a screen. But by painting with my image, he was able to talk to me about things I should improve, demonstrating what he meant with these computer-generated images.

My teacher's suggestions

My work in progress

I was thrilled with this new way of learning from him: he hasn't touched my actual painting, so I'm still free to do with it what I will. But in the sky in his example, I noticed a nod to the "neo cubist" technique I used to use in past work that I've kind of gotten away from. I think I'd love it here; that it would really improve the work. And while I might resolve the problems differently than Elmer has, I can more clearly understand what he's trying to tell me about the perspective at the top (roof line) of the building, the vagueness of the form in the lower right corner and right edge and how to make the foreground and the "face" of the building more interesting -- front door, loading dock, driveway, trees, etc. Making the subject appear more real using value variations. All while preserving my own style of painting.

There's an old adage "Those who can't do, teach." Nothing could be further from the truth in my opinion. I love teaching but I don't ever want to teach art because it is so much harder to help others learn to develop themselves than to demonstrate your skill. Today, I just want to paint and learn from other artists.

I couldn't be more grateful for the opportunity I've had to learn from Elmer these last nine years -- he has a gift for communicating with me about my work: both what's good about it and how I can continue to improve. Even watching another artist's techniques can be helpful ... C. F. Payne shared some of his techniques with us at the Evendale Art Center a few years ago and I was able to adapt what he did into my own work in a way I still use and feel good about. Every new work is an opportunity to learn and grow.

I applied techniques learned from C.F. Payne to this home portrait.

Starting anew

I started some new things this morning. First, a home portrait. I usually start this way, drawing in pencil to get a feeling for the composition of the painting and the challenging parts of the subject. For example, I drew and erased the top left roof line 3-4 times. And then I still made the second story too tall on the left hand side.

Drawing sometimes shows me what to do to make the background and foreground of the painting interesting. In this case, I tried working out some values for the four corners of the painting.

This is a "from the right" photo of the home. Next, I'll draw it "from the left" and "head-on" using the following photos.

I plan to show these three pencil sketches to the homeowner this weekend, so we can talk more about what she wants, and doesn't want, in her home portrait.

The other thing I started this morning are my last Secret ArtWORKs for Nov 21. I can't say too much about them, because "It's a secret"  but I've supported this organization and its mission ever since I started painting at the Pendleton Art Center, where I learned about it To find out more, check the web at http://www.artworkscincinnati.org/secret-artists-submissions/