ORIENTAL PAINTING - SECRETS OF THE GEISHAS

Then it was on to the faces. I decided to make the left, main, geisha more real, and also play up the makeup, leaving the other two more plain-faced. So I added the makeup after painting the face, and tried not to be too heavy handed.

I’ve never had a painting that I worked on so long to bring together. Usually I simply take one of my photos, perhaps crop it, and go from there; it’s that simple.

Putting so much thought and effort into this painting, while a lot of work and quite time consuming, was great fun. I’ll have to come up with more ideas along this line in the future.

After much thought and work, here is the completed piece! This will never be a winner of any kind but I like it!

Secrets of the Geishas, fluid acrylic, 22x30, Arches 140 CP

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The fans were next order of business. I didn’t want them to detract from the geishas, so I tried to mute the colors a bit. In one fan I used a floral motif to tie into the designs on the kimonos and on the other a bamboo effect to blend in with the kanji symbols.

After a friend’s critique and offer of her Japanese fan, I decided to add “Mt. Fuji” to the bottom fan along with and some striations which her fan had.

Once the painting was mostly complete, I misketed the symbols and flower design in the border, then taped off the border and used gold gesso – this was my homage to Judy Morris.

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Well, after my disconcerting discovery, I decided to forge onward.

Color was put into the hair ornaments of all of the geishas – and then it was on to the kimonos.

From my original (??) concept, I had planned on the main geisha to be wearing red and black with some gold.

The small geisha on the right was planned to be in similar colors to the flowers, so that she just sort of blended in.

I got out all of my oriental fabrics to help me decide on the colors for the center geisha, and decided on a vivid blue and teal with gold design work.

I tried out, or “auditioned”, my color choices on some Dura Lar. This is a thin acrylic sheet which I can lay over my painting and color on with my Caran d’Ache crayons. You can also use the thin acrylic sheet from an old poster if you (or your kids) have any. This lets you see how the color (or values) will look before you actually paint onto your picture. I’m sure most of you are aware of this, but some of you “newbies” might like this tip.

Just be aware that the colors might appear a bit gaudy since you can’t really blend colors nor soften the edges – but it can be a big help, especially if you only need help with your values.

My original geisha idea seemed to be working and I decided to keep the round fan in violet. However, I decided to change my left fan to red and put some red into the kimono of the left geisha.

I also changed the kimono on the left geisha to purple.

At this point I took a little break from the geishas to begin a watercolor - working at one table on the geishas and at another table on the watercolor!

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I knew the colors I wanted in the flowers from the get go. I allowed the colors to blend in every individual petal and added a touch of violets and blues in the petals. I believe Nick refers to this as “cell painting”.

Then I put the flower colors over all of the corner medallions.

It was at this point that I reviewed some of the kimono ideas and realized that other artists had similar ideas to what I am trying to do. After looking at the kimono photos from the internet, there appeared to be a painting done from the same fabric I was using. Even the figure placement remained the same. Then I found another painting that must have also utilized this fabric. There were changes, but when holding the fabric up to the painting the similarities were obvious.

Now, this is a dilemma.

I don’t know if the other paintings were ever put into shows, but if my painting turns out good enough, can I, or should I, enter it into a show? I swear my idea stemmed from the ideas noted in Step 1 – well before I looked at the online paintings. My concept was original to me, but after viewing the other paintings, would this really be considered “original” as defined in a show prospectus?

I’m curious to hear your opinion.

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My next step was the background. I used Nicks’ “batik like look” technique of spraying in the background areas.

After deciding on a dark blue, I began with the small areas in the flower petals. This was a time consuming process, since I could only do a few small areas and then spray or the areas got too dry. It took a while to get an idea of how long to wait for the drying process before I could spray, and I had to re-paint and re-spray some of the areas more than once to get the effect I wanted. I liken this to the salt technique – the timing has to be “just right”.

Then it was on to the flowers, which I knew I wanted to be in shades of red violet and fuschia.

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FINALLY - when I was convinced the drawing was what I wanted, I again traced it onto Cheap Joe’s tracing paper, had it copied again, and I was ready to begin.

First, I miskited the large kanji symbols and covered the faces.

As previously mentioned, Nick Simmons was my inspiration, so I wanted to utilize some of his techniques.

First, tossing paint! This was a dilemma, since I would have had to tape the paper up on a wall. I don’t have a place to do that! So I thought about doing it outside, but there was nothing to tape the paper to. If I leaned it up against a post it would be too low, and probably get dirty in the process. I thought about taking some small nails and tacking it up to a post, but was afraid it would fall and that would be a real mess. So I finally just laid it on the table and tossed the paint onto it. So, finally, paint on paper – yippee!!!

At this point I had an idea of colors for the flowers, and knew I wanted dark around the main face, and the main geisha to wear red and black, but no preconceived idea of other colors.

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Using tracing paper to fit a half sheet of watercolor paper, and my copier, I brought together my ideas onto the tracing paper. My first “draft” was done in pencil and many alterations were made. When I was satisfied (or so I thought!!) I retraced everything on the tracing paper with a Sharpie fine tip pen.

Then it was off to Staples where I had the picture enlarged to fit a full sheet.

After that, I realized there were some more things I wanted to add and a few other alterations to make before I would be happy. A Sunday afternoon was spent making all of those changes. Then I taped the drawing to cardboard and placed it on my easel to live with it for a few days.

Then more alterations as my ideas changed! I used correction tape and also taped paper over areas of change. Then I lived with that drawing another day or so.

ORIENTAL PAINTING

Lately I am pulled toward Oriental-looking subjects.

While walking through our local Joann’s fabric store, I saw some material that made me think about Nick Simmons, since the material contained geisha faces and some oriental symbols. That got me to thinking about creating a painting utilizing the faces from the fabric and incorporating some of Nick’s trademark techniques.

This seemed a simple enough undertaking, so I began a plan for a ½ sheet painting, nothing elaborate.

But, as soon as I got home and began looking at the geisha faces, ideas began pouring into my brain. As I began incorporating more information into the painting, I realized this could actually turn into a cool painting, but would definitely need to be larger - so after I had incorporated all of my ideas (or so I thought!) I took it to Staples and had it enlarged to fit a full sheet of w/c paper. Then I lived with the ideas for a few days but came up with more ideas, which necessitated several changes to the drawing. Again, I lived with it a few days.

Finally, I traced the drawing again onto some Cheap Joe’s tracing paper, had another copy made and then, finally, I began painting with fluid acrylics.

I’ll go through all of the process in the next several posts.

The idea taken from the fabric faces led to an online search for kanji symbols which led to an online search for geisha makeup and Japanese kimonos and fans. The fabric patterns in the kimonos were derived from silk fabric which I already had. The background design is from a book of oriental designs which I have had for a long time. The idea for the border came from a Judy Morris painting I saw last year in the traveling AWS show.

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This is an attempt to utilize some of the info I learned at the Nick Simmons w/s this spring.
I am using the “cell painting” idea – painting each little area by itself. I love doing this although it takes a while!

WHEN DISASTER STRIKES

After a lovely dinner with Rhonda and Nick Simmons last Monday night, I was in a great mood, until I was faced with a disastrous Tuesday.
It began with vandalism to our mailbox. We have had several instances in the past that are more “prank” than vandalism (allegedly) done by a young neighbor, but this definitely crossed the line. Both another neighbor, who was also targeted, and I called in the local sheriff. There is no way I can show the photos of the lovely “artwork” the little demon left on my mailbox and on two places on the county road. Enamel spray paint will take some time to wear off the road, and never will wear off our mailbox.

Then, to add insult to injury, later in the day while putting out more paint, the end of the tube split and created a little tiny hole that I didn’t notice until the cobalt blue casein had squirted onto the front of my shirt. Even though I sprayed it with everything in my laundry arsenal and washed it immediately, it still retains the blue dots.
Some days you just look forward to bedtime!

AMERICAN WATERCOLOR SOCIETY SHOW AT MIDDLETOWN ARTS CENTER

Last Thursday was an absolutely sweltering hot day – how better to spend it than viewing art, eating lunch and laughing with friends!
Some of you have probably already read Rhonda’s blog post about our trip to Middletown Arts Center to view the American Watercolor Society show. We are so fortunate to have the MAC close by – it’s a little over an hour drive for me, but well worth it. It’s always so wonderful to see the paintings you have seen in magazines in a little bitty 2x4 format in front of you – in person, full size and in living color!
The following are my comments about the paintings (if I was able to locate a website I attached the link) and some photos. (The photos are not great – got lots of reflections no matter how I stood and pointed the camera – but I’m OK with that. You will be able to see the painting I’m taking about, and I’m not overly concerned with any copyright issues, since I can’t believe anyone would try to pull these off my blog and copy them! If you want to see these works in a “better light” – go to either the organization’s or the artist’s website).

We decided there were still quite a lot of “gray” paintings. While I love John Salminen’s work, his signature style is shades of gray with some small “pops” of color. Although, in looking at his painting which won the top TWSA award – it looks like that one is showing some change of style (it made me think of Jean Grastorf). It has much more sparkle and lightness to it. I guess we all tend to change our styles somewhat over time.
Anyway – there were still lots of “gray” paintings. I guess I’m just more into color because, while some of those were lovely – especially Dean Mitchell’s (he is an amazing painter, telling a story with a simple composition and limited palette) – it’s the vibrantly colored paintings that pull me in.

So here we go with my critique!
First is the John Salminen “gray” painting! It does have sparks of light with the lanterns and definitely gives the feel of “Morning Fog”.

This one is by George Harkin who I am not familiar with. It looks like the Nick Simmons “cell” paintings and is unbelievably involved – how I wish I could do that!

This is the one that Rhonda had mentioned in her blog. It is done by Susan Montague, who won the bronze award here and who also won an award at TWSA with another figure painting. Her style looks like it is definitely influenced by Ted Nuttall. The painting is created from dots and swirls and blobs of color – and comes together as a portrait!

This is Mark Mehaffey’s entry. He is creating these abstractions as well as figurative work in watercolor and is also painting in acrylics. He’s certainly a versatile painter and some of my friends who have taken his workshop speak very highly of him.

Jean Grastorf’s entry. I took a workshop from Jean a long time ago and she has developed her unique pouring style into a true art form! This is amazing up close, the way the colors blend into each other and the incredible light pouring onto the figure.

This is by Preecha Promprabtuk (sorry, am not familiar with his work until now – but I’ll be watching for more!)
This was hung at the back of the exhibition hall and was the first thing you saw as you walked in – how could you not see it – the colors are soooooo vibrant. It’s a circuit board and most of those little bitty images at the top have little tiny numbers and letters on them – some had been miskited (maybe he uses a toothpick like I do???) This was my second favorite!

This is by Steve Rogers – who still has his sparkly white technique. I always enjoy his paintings – they look “dotty” up close but come together at a distance – I think that’s called “optical or visual blending” (correct me if I’m wrong!). His wife, Janet Rogers (same link as above), also had a painting in the show – a figure, her specialty. I have also taken a workshop from Janet, and she is a lovely woman, both inside and out! (But I still can’t paint people!!!)

And last but not least, here’s my favorite by Judy Morris. It’s done in shades of red. It has a border with words. Then there are patterns inside that on the curtains. Then her standard salt technique – which, with her, never appears “technique – y”! I love that the center of interest is – in the center! - the person in the blue shirt. You get such an impression of warmth and sunlight and glow through the curtains – especially due to that RED SKY – who would ever think to do that! The intricacy of the patterns – my kinda painting – double WOW!

If this show comes anywhere close to you, go see it (that’s an order!) Otherwise, go to the website and take a look at the paintings in a much better light! The website will have a list of the rest of the places to which the show will travel, so check that out, too.

Anyway - following the viewing, we had lunch at Olive Garden and then home – where I actually had time to paint a little that evening!

All in all, a pretty nice day!

NICK SIMMONS WORKSHOP

Well, if you ever need directions in Kettering, OH I can help! After being driven around there for 4 days this week I feel like I know the place – and it’s a beautiful area!
That’s where the Nick Simmons workshop was held – a great facility at Town and Country Mall – large, airy and well lit room with much natural light coming in through the plate glass windows fronting on the mall corridor.
Many thanks to Leonard Williams  for his hard work, as well as to Rosie Huart  and Karen Benedetti  – not only good artists but good bakers as well! Met several very nice ladies at the workshop, too, and reconnected with some others.
And it was so great to finally meet Nick Simmons in person!  I’ve heard so much about him over the past few years. (I have read articles about him and purchased his DVD – and he will have another one coming out soon!) He is a very giving teacher – no “secrets” held back. But just to make sure that I do not overstep my bounds - all I’m going to say is that I learned A LOT from this workshop (although you won’t be able to tell that from the paintings I made while there)!

My drawing taped and miskited

                                 

Working at it!

Also - seems that I left my SD card at home in my printer so I took an empty camera with me. (Not the brightest bulb!). These photos of my pathetic painting were sent to me by Rhonda so I could have something to show here!  We used Nick's reference and followed along - but, of course, they are all such different paintings!

You will have to click over to Rhonda’s blog to learn more of the specifics – she brought her camera and took lots of photos and you know what a great blogger she is!!!

We had a great time - learning, laughing, talking and eating!  My recommendations for any workshop (other than those that Rhonda spells out!) are to go ready to make a fool of yourself and laugh at yourself!  Sure, be ready to absorb what the instructor is teaching, but give yourself permission to have fun and not take yourself so seriously.  Absorb that special technique, the reason you came, and then figure out how to assimilate that technique into your own paintings.

My head is filled with ideas - we shall see how they actually come out on paper!

Friday I spent the entire day on the computer catching up with emails and other work related items, then off to a meeting in the evening. In other words, back to the grind!