"Canyon Waterfall: Nature's Font" '08 oil on canvas 36x36

I have had a great time using a palette knife on this painting. I feel quite comfortable with it now, except the part where I'm figuring out how many cents' worth of paint are getting gobbled up every time I have to squeeze out more. Old Holland isn't what you use when you're painting thickly. I went into studio time last night with one question: how can I really define what I see as the light shining warmly down into this canyon so that it makes sense for the boy to want to slide down that waterfall into the cold water below. The photo I was working from was taken in February and I can feel that it is the pale Spring light, yet my brother told me it was probably in the 80's that day (much like what we get here in Austin in February). Noel and I discussed how the cooler sections of light on the water were a reflection of the sky, the warmer sections were reflecting the light on the rocks. I needed to make all of the canyon walls darker the way the iris would shut down when it is hit with too much light. And lastly, put some reflected light (bounce light) in the canyon walls that has elements of the color of the rock it's bouncing off of. I managed all that in 2 1/2 hours and he said, "Sign it! You're done!" And now he's eager to see what I will come up with for my next project and how I'll use the palette knife. Not sure the palette knife will get much use in the next one, but I could be wrong...I often am.

Don't Worry, Be Happy

I was reading a book the other day, "Living The Creative Life", by Thomas Kincaide. In one part, he describes how a friend was deeply worried and one thing or another kept piling up on top of the stresses she already had. Finally, she said, "Lord, what should I do?" And the worry went away.

Sami often comes to us with "What should I do?", but I don't often think to ask that of myself, of God. I just muddle along, sure that things will turn out right eventually.

But, I had some worries in the past week which were starting to affect how I acted with my family, how my art was working. I know when I push too hard at Life, Life pushes back, so I decided to try this lady's method and ask my higher power, "What should I do?"

I feel better now. My painting isn't sucking. My thoughts about selling my work are rearranging themselves to the point that if you want to buy something of mine, I'm willing to have you donate to my paint supply/framing fund. I don't want to deal with quarterly tax payments, getting a tax ID, itemizing when I have way more expenses than I suspect I will have sales, so I won't technically be selling right now. But, I will let them go to new homes.

And anything done in '07 can go for free if you're a good friend or relative. That way I have visiting priveleges. I just won't do what my grandmother used to do, take it home again to work on it!

My biggest goal, besides improving on my abilities, is to have a body of work that I feel is good enough to approach a gallery with. That means a whole lot more painting! I only have 2-3 that I would think could be considered. And that's probably flattering myself too much. Once I feel finished with this piece, I'll do an evaluation of the pieces I'm considering. It may be that, as usual, I only can consider the one I'm working on, since my work matures with each painting I do.

Like Buttah

I've been working with a palette knife for a week and thoroughly enjoying the experience. Yes, it does take a bit of bravery to work thickly over something that was already on its way to being wonderful, but you have to take an attitude sometimes that will allow you to take chances. It's hard to grow as an artist if your goal is to "not suck". I have a friend, who was once my fine art drawing teacher, who says that is the lesson she's learned from me. Just go after it and know that the outcome is going to be good because you will have learned something.

This painting is all about learning. I'm learning about perspective, light, cohesion, edges, blocking-in, design and intent. And how to handle palette knives.

Then there's the problem solving that is part of the learning process. I'm not entirely certain, but it seems that one of my problems may be the actual paint that I'm using.

When I decided to start painting in oils, I started looking through the selection on Jerry's Artarama website. The Lucas 1862 brand had a lovely write-up and sounded like just the thing. Plus, the price was manageable since they were on sale. But, of course, I didn't realize that they're on sale more than any other brand. I also didn't realize that the beeswax that purportedly gives it its buttery texture is what they call "filler" and this messes with the refractability of the pigment in the paint. They often put filler in student grade paints so they'll go further. And while I *am* a student, I don't adhere to that idea of using a poorer grade of paints for students. I think it's actually quite a drawback.

Not having used oil paints since I was 13 years old, I didn't know any better. I did notice that they weren't behaving as well as I'd like them to. They'd dry darker than anticipated. But, the weirdest thing is that some paint would dry with a sheen, but other parts would be totally matte! A lady customer at Jerry's pointed that out to me last week and it pretty much went over my head until I brought my painting to class Tuesday night and we both noticed just how off it was.

My only hope now is that I can put some retouch varnish on it to even out the sheen and hold it together, because the other problem with beeswax in paint is that it might crack! Imagine! All the fat texture I've been "buttering" my painting with, cracking off. I'm all for learning lessons in painting, but this one hurt a great deal.

I have to finish off this painting with the Lucas 1862 paints and then not use them anymore unless I paint on a solid surface, like Ampersand board, that won't give at all and the paint won't be liable to crack. But, my next painting is going to be done in my new paint: Old Holland. No more experiments in paint for me. I'm going with tried and true. The ultimate upgrade. A paint so saturated with pigment that you don't have to use a ton of it to get the results you want. A paint that comes in 40 ml. tubes instead of the standard 37 ml., so while it is an extremely expensive brand (the Cadmiums' price gave me heart palpitations!), it's like buying the premium brand as opposed to the discount brand. You know when you do that with paper towel or dishwashing detergent, the premium uses less and does the job better than the discount brand.

I may not yet be a painter worthy of the premium brand paints, but I will be someday. And just so you know that I haven't gone crazy, I only bought 6 tubes: Titanium White, Alizarin Crimson, Cadmium Yellow Medium, Ultramarine Blue, Yellow Ochre and Burnt Sienna.

Dick Blick's has the best price I've seen, but you pay shipping, so I bought mine at Jerry's and used my Plein Air Austin discount card (20% biatches!!!), so it came in under $100, gah!

Anyone wanting to give me gifts for the next year can do it with paints. I have a feeling that if I do sell any paintings this year, it's all going to get turned into paints.

Now What???

This is how the painting looked on Monday. By Tuesday night, I'd taken a palette knife to the rocks and they now have some luscious texture. Of course, that means that I have to bring more texture to the rest of the painting and I'm okay with that, really I am. It's just kind of scary, since I thought I was so close to being done and was happy with how it was going.

I am excited about this new lesson I've created for myself. I bought three new palette knives today at Jerry's Artarama and I've already pantomimed how I'm going to use them on the painting, so I know they're a good investment. Wish me luck!

You Can Copy and Learn

There actually is a time in your life when copying will actually help you learn. That is when you are copying a master painter, which is what I did today in conjunction with the Impressionism workshop I attended. I've actually copied this painting before, a year ago, when I was taking an acrylics class through UT Informal classes. It was using a whole different technique than what Cezanne used to paint the original, but I still remember feeling like I was learning something about how he painted by copying his brushstrokes. It happened again today. A year later, and using the same oil medium that Cezanne used (or close to it since science has definitely changed oil paints and mediums since then), I felt much the same as last year. I discovered that it's very possible that Cezanne has colors on his brush that mixed together on his palette just like I did. I enjoyed painting with energy and lightness in my short strokes. And the best part is that last year's painting is hanging on a friend's wall, but this one I get to keep! Woot!

Ten Days Later...

"Canyon Waterfall"

Ten days later and I'm still blocking it in, but it's getting closer to what I want it to say. You can almost feel the anticipation of the youngster about to go over the falls in what I would guess is some cold, cold water.

After the blocking in, I get to work on all parts of it to bring it into harmony in value and color and tone. And I need to work on the perspective so that you can feel the depth.

My independent study teacher is so excited about this painting. He keeps saying, "It's got good bones!" and assures me that it will be a magical experience. He may even be more excited about it than I am, but then that's because I know how much learning and work I have ahead of me while he just has the joy of showing me the way. It's delicious torture.

And We're Off!!

"Waterfall Cavern" Quail Creek Canyon, Utah

Off on another painting adventure, we are, my paints and me. After much hemming and hawing and fussing and kvetching, soul searching and soul rending, I decided to do yet another landscape. Will I learn something new from it? Don't know. Will I have fun? That is an unqualified YES...so far.

I got in a good sketch and blocking in of the lights and darks that need little adjusting at this point. The next step...dun, dun, dun...are the spots of color that signify light, shadow, atmosphere, distance. I can hardly wait! And yet I've put off painting for two days now. Life gets in the way sometimes and if I want to make it in this career I'm entering into, Life is going to have to step off and let me paint! Ya hear that, Life? This is Connie talkin' to you! Better watch out or I'll get my brother to beat you up!

Phew! I can tell that it's time to paint, at least for sanity's sake if nothing else.

Got 'Er Done!

"Lake Austin View"

This painting was going to have another name, but I think the working title works. I can just have some artist notes that explain what was going on.

I just love that I painted a $4 million dollar view (that's how much the house cost that has this view) on a canvas someone was going to throw out.

I also love the frenetic texture underneath this placid landscape. They don't go together at all, creating an interesting tension that mimics my life so well.

Tension? Moi?

Ready To Move On

Sami left for Paris today. She tours with her University group for about 5 days and then they all head to Lyon for 5 weeks of study and touring. To say that I'm jealous is an understatement, so I need to totally immerse myself in a painting to get back to my bliss.

This painting is getting there soon, and that means that I should be getting a new canvas and planning out my next painting. Bigass canvas for a big painting.

I have some inspirational material from the photos my bro, Joe, took on a few treks to Utah. I'm also thinking of checking with my other bro's uncle-in-law about setting up my easel a few days in a row overlooking the Llano river at his ranch. But, it's so hot right now that I wonder if I could stand to haul myself out there to do it. Then, there's the third option of painting something from photos that Sami will be sending home. We got a Blackberry International plan so she can email with us, which means she can send photos she takes with her Blackberry. Woot!

If I can't be there, painting what she's seen is the next best thing, right?

It's really weird that I was the one looking into a trip to Arles that's just finishing up right about now. It was a painting trip with a teacher whose work I just love. But, with a kid in college...

Kid graduates in 2 more years and then will hopefully get some sort of aid to attend grad. school, so maybe then Arles will be in the works for Frank and me. Maybe.

I had my mom visiting for a week, so no work got done until yesterday. I'm heading upstairs to work some more, but wanted to document the progress. It's been fun and reminds me of why I love landscape painting so much. I think the month of June is going to be dedicated to some large landscapes and *maybe* a figure or two. Brother Joe has provided me with a ton of inspiration material from Utah, so I'm stoked! Now I just need to find the funding for the large canvases I need to purchase. Anyone want to buy a painting?

Moving On...

Following the success of The Mining Ruin, I've decided to do something totally fun. My teacher was okay with that once he saw the canvas I brought in and realized that it probably couldn't be taken seriously. It's an old canvas, full of texture from someone else's painting, and painted lilac. I took a photo of Lake Austin and have been doing a landscape on top of the textured canvas. I think it rocks! As my teacher finally admitted, it creates a lot of tension for the viewer to see a calm landscape on top of so much texture which is full of motion. It's cool!

Mining Ruin - Complete

Mining Ruin

It occurred to me that y'all hadn't seen the painting I referred to with the f-ing rocks. It's a work in progress, but getting closer every day.

The Mining Ruin is inspired by a photograph by Anne Kobdish of a ruin in West Texas near where her sister has a cabin. She took the photo in the early morning while tramping around with her camera and a cup of coffee. The thought of that coffee and the peaceful early morning stays with me while I paint this. Big sigh...

What Be Happenin'

I spent Thursday afternoon helping move paintings from the old Austin Figurative Gallery to the new location, an unfinished horse barn on 4th Street. Both Chris Chappelle and David Ohlerking were super excited and totally upbeat about the renovation ahead of them, so I would do well to emulate their attitude. Me, I like a brand new place so all I have to do is move in and hang pictures on the walls. Maybe buy a little furniture, do a little shelf paper. So, all I can see is a huge daunting task. What they see is the chance to do what they want with the space, since the owner is amenable to whatever they want to do to improve it. Well, I would be, too, if I was renting out four walls and a dirt floor. Whatever they do can only be an improvement!

While loading the ton of paintings from AFG into our cars, I came upon a couple of large canvases. Lin was going to throw them in the trash, 'unless you want them', so I brought them home. They're covered with texture, so I knew that I already had a good start on a painting. No smooth, detailed painting for these. Yay! Cuz after doing all the f-ing rocks on The Mining Ruin, I am done with detail for a while.

I found my inspiration picture while perusing a Realtor's site for a 4 million dollar home overlooking Lake Travis, the link of which came from John Mackey's blog. What I love about the painting is that Frank walked in the door last night and said, "Hey!" (which means he noticed it, which is a good thing) and when I told him that it was Lake Austin, he said, "Yeah, I could tell". So, another Yay! And y'all don't have to feel sorry for me that I live for the moments when Frank actually notices a painting I do. I use him as a good guage of the general public's taste. If I get a "Wow" from him, then it's possible that I'm getting close to a "Holy Shit!" that I'm working toward.

As I said, I am tired of being mingy with paints, so it was great to grab a huge paintbrush and paint large spots of color. By paying attention to tint, tone and shade, I think I've got the general feel for Lake Austin View heading in the right direction. I really only wanted to give an impression, but I'm sure that there is still more to do in helping it move in that direction without actually going into tiny detail. That's why I study at Noel Robbin's studio; he's a great guide.

I'll probably upload a different picture soon. This was the only one in focus when I took it upstairs in my "studio", formerly known as the game room. There are still vestiges of the game roomness that I am looking forward to letting go to a new home. Specifically, the daybed and the drum set. Interested?

I love having the space to move back and get a feel for my painting. Getting the drums moved out was a good step in the right direction. Now a floor covering so I don't have to be so super cautious with my paint. And better lighting because I'm going crazy with just windows and really poor overhead lighting. I'm thinking track lighting, which would be easier to install than going with the can skylights. Time to talk to my handyman.

Doodle Painting in oil 10x10

If you've never tried it, "doodle painting" is da bomb! Just like the doodles you do with a pen while you're stuck on hold for too long, or talking to some long winded friend/relative, it is a fairly mindless activity. You can consciously choose your colors and shapes, but it doesn't have to represent anything or have any meaning other than to be pleasing to your brain, your hands, your eyes.

And...I think it is like a palette cleanser for the brain. If you're hanging onto too much angst about a painting that you're working on, this is the equivalent of jumping up and down, shaking your arms, rolling your shoulders and saying, "Whoooo!"

It is not a painting that will hang in a gallery and elicit a "Holy shit!" by the viewer (my ultimate goal as an artist). It is an "Oh, how fun!" kind of painting. So have fun!

"What's Up, Doc?"

Not original, I know, but kinda fitting. The painting is an abstract for a show we did at Austin Figurative Gallery this weekend. Never having done an abstract/deconstruction, I was wary of how it was going to turn out. I think, because I had a concept of the human body being dehumanized by medical procedures, it was easier to do than just saying I was going to do an abstracted figure.

I suffered through the first two weeks' painting and then had to go for a mammogram and Xrays of my back and neck. The whole experience of feeling like body parts instead of a human being is what helped pull the whole painting together. And then the last part was to make an incision down the spine to allow the glow of the human spirit to pour forth.

The final touch was the medical label at the top right, like you see on Xrays and charts.

If you don't know, I had a total hip replacement 3 years ago, which is included in the painting. Because of that piece of ceramic and titanium, I AM less human, but because I can now live a life free of pain (and pain killers), I am able to feel more human and alive.

And paint to my soul's content.

"Winter Still LIfe II" fini!

"Winter Still Life II"

Ch-Ch-Ch-Ch-Ch-Ch-Changes

I am using a new book to work on getting my colors right, "Fill Your Oil Paintings With Light And Color", by Kevin Macpherson. His main theme is that if you match your colors exactly, then the values will be perfect and the light will shine true. I think he'd got something there. What do YOU think? It's not finished yet, but I'm on a roll and think it's getting close.

Here's A Winter Still LIfe

Here's a little something I'm working on using water soluble oils. I'm not fond of the medium, for two reasons: they dry out too fast and are a bear to work with when that happens AND they're messy like regular oils. When I'm working on a painting, I am often at a studio and then have to transport it home. At other times, I want to take my painting to "show and tell" at Jazzercise and again have the issue of transporting a wet canvas. Messy, messy, messy.

I guess I've been spoiled with acrylics, which dry fast and transport like a dream. But, guess what! Old Holland has come out with acrylics that they report look and feel like oils. I couldn't find anyone in town who carries them, so bought a starter set online through Jerry's Artarama, the only ones I've found so far who carry them. I'm so excited to try them out. If they work as well as I hope, I will do one final HUGE painting with my oils and dump what's leftover...unless anyone wants them? I'm waiting for a CD from my bubba, Joe, (of Saucy Joe fame) which has photos of his hike through some Utah canyons. I bet there is some inspiration there for a hugeass painting. Oh boy!

How Could I Forget This One?

"Mark up!"