Colours and Palettes

I received several requests asking for Milt Kobayashi's Japanese palette. Well, here it is.

Winsor Newton:

Raw Sienna, Jaune Brillant, Olive Green, Indigo.

Holbein:

Monochrome Tint Warm, Foundation Umber, Mars Orange, Coral Red.

Rembrandt:

English Red

Other colors:

Raw Umber, Yellow Ochre

As you can see, there are no Cadmiums, no White - Foundation Umber, which is a light beige, is used instead of white.

This workshop was held in April, 1997 for two weeks and we did work with this palette of colors.

What is interesting is that you mostly see Cadmiums on most artists' palettes, and for sure white. I have attended quite a few of Milt's workshops, and each time his palette was different. So that does tell you something. Work with your own individual set of colours and experiment and mix a lot.

Milt teaches every April/May at the Scottsdale Artist School, in Scottsdale, Arizona. Milt's workshops are with live models and every day he does a demo in the morning till approximately lunch time, and then we work. There are 2 to 3 costumed models each day.

The painting posted here is one that I did with the Japanese palette.

Memories

I wasn't planning to do a new posting today, but after seeing the comments which my last posting produced, I decided that I would like to share something about my former teaching studio, and my good friend
Carmi Cimicata.

After many wonderful years of hosting workshops, I had decided to close my Montreal teaching studio. The adventures and excitement of operating such a studio can hardly be conveyed. Those years were an especially satisfying part of my life, and I enjoyed sharing much of this with Carmi, and many others who came and participated in these workshops. People like Claudine Hellmuth, Gail Rieke, Sharilyn Miller,
Anne Bagby and many more too numerous to mention at this time, were some of the very talented artists who came to instruct and share their talent and skills.

Through the years, I came to know Carmi through the experiences of the workshops and her times spent in Montreal. We went junking together, even New York City several times, to visit international artist Patricia Nix at her fabulous home in the Murray Hill district. Another time we viewed an opening of Patricia Nix's assemblage exhibition in a beautiful old church in NYC. We dined (Asian-Fusion) food at an unforgettable restaurant by the name of Tao, decorated with a sixteen foot Buddah. We did have fun.

I watched as Carmi ascended the Art world with her own style of Artwork....watched her succeed creating on her website and blog. It made me very proud to know that somehow I had played a part in her development as an artist. I am proud of the countless art sessions and workshops we had worked at, creating an important presence on the Canadian and American art scenes - all while having a great time.

So, it was with great reluctance that I made the decision to retire from teaching and hosting workshops. I am dedicating this posting with a fondness and appreciation to all the teachers and students who graced my studio.

I still receive phone calls and e-mail from former students and artists who ask....what are you doing with all that time on your hands....well, here are the answers....I paint a lot in oils, mixed media, love shopping for junk, and creating assemblage as well. I have started traveling with my hubby, this summer we will do a Mediterranean cruise starting from Barcelona visiting, France, Italy, Greece and Turkey (Istanbul) and ending in Venice (my favourite Italian city)....that should prove very inspirational for me. I also do some gardening and play with my puppy Shirley ( who is the boss in my house).

I will be attending a workshop with Robert Burridge in Vermont, at the Hampton Inn Colchester, which will be hosted by the Holbein Paint Company. I will be looking over the surroundings to see if such an event will be feasible in Montreal. If so, hopefully we can persuade Carmi to instruct a very eclectic workshop for us.

The Alpha State

“Art, who comprehends her?
With whom can one consult concerning this great goddess?”
- Ludwig Van Beethoven –

This painting was done with a Japanese colour palette suggested by Milt Kobayashi, another of my great teachers. The title is "La Belle Epoche" and measures 24" x 18".

Sometimes while painting, I wish for someone to come and rescue me….a Muse, a Great Master, especially when it’s not going so great. What to do? Leave the painting for a few days turned to the wall. When you come back, it will be with “fresh eyes”.

Here is a very appropriate quote from J.Krishnamurti, philosophical and spiritual writer.: “you are the teacher and you are the pupil”.

When I am in my studio painting, I am alone with myself, listening to music, and it almost doesn’t matter what I am painting. It is the alpha state that I go into. What is the Alpha State? I did a search on the internet and found these answers:

The Alpha state is a state of being which:

Calms your body and mind while it maintains alertness.

Stimulates imagination, intuition and higher awareness

Creates detachment from the outcome and increases accuracy

Improves mental processes, concentration on clarity of thinking, decision making, memory

Frees up more of your potential, and helps you achieve the goals in your life

When I am in the studio painting, there are lots of people in there with me. My teachers, friends, the old masters, new masters, other artists who are my peers, and so on. If I am really painting in the Alpha state, and I am in a state of creativity, they all disappear for the moment, and come and go throughout my time of painting.

In order to get to the right frame of mind for painting and creativity, I try to clear my mind of clutter and try to relax so that my mind will be calm and receptive to the music and to whatever it is I am trying to say in my painting.

One of my great teachers and friend is Harley Brown, Pastellist par excellence. Here are some tips from Harley while painting.

Try and schedule your painting time with no disturbances
Take the phone off the hook
Have your art materials clean and orderly
Keep your brushes clean.
Squeeze out more paint than you think you will need
Make sure your lighting is state of the art.
Prepare all reference matter before you start to paint
Your studio is your oasis and sanctuary. Let everyone know it, including family members.

A good tip from me is:
If you can do it, before painting, try and go for a brisk walk, or turn on some disco or salsa music and dance by yourself .

The technique of Massing

I have decided to focus this post on my humble beginnings as a painter. David A. Leffel, notable international Artist was one of my first teachers. He taught this most valuable technique of "Massing".... and that you did not necessarily have to put down a careful drawing before you paint...a sketch is OK, but not an outline like in a child's colouring book. Massing your subject as a flat plane, rather than in terms of it's details. Massing gives a feeling of weight and also starts you thinking about composition and negative space. You are always working from the large shapes to the small. Form comes first, details later. If a painting fails, it is usually because the details have been focused to early on in the process. It is essential that the overall abstract design or composition and the colour relationships be worked out. It is good to spend a lot of time on the earlier stages of a painting and adjust as you go along.

This little painting, one of my first in the small format is 5" x 5", oil on canvas, and is titled "Wandering Bouquet".

David A. Leffel has two books published: "Oil Painting Secrets from a Master" and "An Artist Teaches, Reflections on the Art of Painting www.brightlightpublishing.com. Both are excellent books to keep in your studio, or on your night table.

Greetings from the world of Fine Art and welcome to my Art Blog. My journey in Art has become my passion. I believe in the beautiful and the aesthetic in Art. My obsession is to produce Art that uplifts and captures the elements of light and space in a way that moves the viewer's emotions.

At the heart of my work is my fascination with the figure which has been the case for several years. I also have had a lifelong interest in junk and assembling junk into interesting art. I love the female face and figure and it was only a matter of time before these two passions merged.

Every piece of artwork I have created pushes the envelope of what is possible to achieve.

This is one of my favourite models Erin - done in oils on canvas with neutral colours. When Erin is posing for me, she is able to transmit the expressiveness I look for. This painting is titled "An Artist's Model" and measures 36" x 18".