Blasquez Fine Art Blog

JUST WHITE by Randy Blasquez

2012-02-06T14:46:00.000-08:00

Just White, by Randy Blasquez, 30 x 30 x 1.5"

Just wanted to let you all know that I'm still out here. The holidays this year were wonderful, but I got off to a late start as far as planning goes and I thought I'd let you know what I'm up to lately.

Classes are going great. What a blessing it is to work with a student over a period of time, and see tremendous progress. I'm starting to really see what happens when a student comes in and wants to learn to paint after perhaps many years of thinking about it. It can be daunting to be sure, but with a little encouragement and some continued effort, a little light begins to shine. When I see this little light begin to shine, I know that this particular student has been reading about art, visiting art galleries and museums and sketching. These are all huge in the scheme of things if you want to grow. And the next thing you know this student is stepping out of their comfort zone again and taking another workshop with a new instructor. They might begin to see where their weaknesses are, and address them by taking a drawing class. Or they might try painting the same paintings again, only working out the flaws. But when I have a student that brings in her/his work from home to share with me, I know they are on the train to success. They are on the train to success because they are doing what it takes, making time to paint and paint and paint....

This is when I get excited about their excitement about painting, because I remember how that feels, and still does. It feels like a whole lot of joy!

So, as this year begins to come together I know I want to take some classes with Terry Miura and glean some of that beautiful design juice from him. The way he is painting the figure right now is amazing.

I have decided what shows I want to enter if I can get my act together, but I have not set my sights too high.

I'm considering renting a studio space close to the school. Just looking around right now.

I'm hoping to go to the Weekend with the Masters event in September in San Diego.

And I've been busy painting some large scale paintings for a new gallery. I am ready to make delivery in a couple of weeks so I decided to share one of them with you today. The rest will get posted after all is said and done, and you just never know.

Just one more thing, I'm seriously considering a workshop abroad next year and have been doing the footwork for that, so if you want to know more, just ask! Beginners Welcome!

Better Results using Proportions and Angles

2012-01-03T21:04:00.000-08:00


Provincial Vista from the Village		Oil on Linen - 16x20"

I just wrote a short lesson for my classes and decided to post it, even though I haven't taken photos to help with it. I will do some demonstrations in class and ask one of the students to take some photos. So I'll just add those later.

I painted this scene upon my return from France a couple of years ago after spending two weeks painting in the Villages of Provence. It was like going back in time to walk the cobble stones among the old 15^th century buildings.

BETTER RESULTS using PROPORTIONS and ANGLES

To paint well we must first learn to see well. Part of that learning curve is the necessity to learn how to see and draw proportions and find the angles of our subject.

Really it is just learning how to measure what we see rather than just eyeballing it. I have seen paintings that would otherwise be very nice, but it is always obvious to the viewer when something is “off”.

This can be done free hand using only your brush and your view catcher. Set up a simple two object still life and let’s get started.

1. First I do a simple thumbnail sketch using a black Prismacolor pencil to block in my composition and values, relying on my view catcher.

2. After I turn to my canvas and wash in a transparent tone, I am ready to measure my proportions and angles.

3. I need to look through my view catcher again, this time use the sides of the opening edges to find the location of the objects. (note*-the proportion of the canvas must be the same as the view catcher, if it is not, change it to match the canvas you will be painting on.) When I say use the sides, compare where to top of the object is in relation to the top/botton and left and right sides of the edges. Mark these one at a time. Do this first for the composition as a whole, and then for each object in your set up.

Note: To make sure the perspective is correct, I extend my arm fully each time I look through the view catcher or brush, then close one eye, and make sure that I stay in the same position while looking at the subject.

4. Now connect the dots with a light line of paint. This is your composition. Does it fit onto the canvas the way you want it to?

Note: You will have made this decision in your thumbnail sketch, so check to make sure it is approximately the same. Now is the time to move it if you decide.

5. Now put down the view catcher and begin to look for the proportion of the objects. Your marks are in place. This is an estimate. Now use your brush to find the proportion – which is a measure of increments. You will need to choose an obvious unit of measure, (a length or width of something important in the subject – such as the width of an apple – that you will compare to the width and height of another object in the set up.

Note: Hold your brush and with your thumb and index finger, line it up with the tip and the edge of your object, and compare the distance to the opposite edge, this could be top/bottom or right to left edge. Use this same unit of measure to get the height and width of the other objects.

6. After you measure, check your original marks and adjust as needed. Now begin to connect the marks to make your drawing.

Note: You will need to learn how to find the angles at this point using your brush the same way as before, only now you are tilting your brush to line up with the edge and then bring it to the canvas to record it. Just mark on your canvas what you observe with your brush.

**Note: Measure as many times as you need to get the correct proportion. Often you will not get it right the first time, so if you get the feeling that something is off, just measure again. If you continue to use this practice it will become automatic and you will soon be able to accurately depict on canvas what you see. A huge payoff!

Christmas in a Jar

2011-12-21T16:59:00.000-08:00


Christmas in a Jar 20x16"


Christmas on a Silver Platter 11x14"

Last week I had two classes, one intermediate and the other a beginning oil painting class at the School of Light and Color. The students wanted to paint something for Christmas this week and it turned out to be a fun exercise.

The first painting, a study in red, was the most challenging. I started with a red and violet wash, which was a mistake I think, because it made it all that much more difficult to get this all red setup to have something else to say. The red wasn't standing out enough, but in the end as I added more darks, the reflections in the warm and blueish tones, and the highlights on the glass, it started to come together.

The Poinsettia piece was a lot of fun. I tried to stay out of the lights as long as possible, and after the block in I began to add some light. I like this way of "sneaking up" on the lights in a painting. I find that I am much more successful at knowing when to stop.

Thank you all who have been a part of my classes this year. You have been a huge blessing to me. Merry Christmas...

Painting With Friends

2011-11-14T08:16:00.000-08:00


Allison's Red Shoes

This past Saturday I invited myself to join my friend Allison Carlos as she was instructing a wonderful group of ladies for a one day workshop. She had set up a beautiful table top with a couple pairs of her shoes and some fruit. I am blessed to have her as a friend and she is an amazing painter. She made a wonderful Italian meal for lunch also. Had a great time.

When we spend a lot of time in our studio alone, there is nothing better than to join a group of painters. It is the best of both worlds. Wonderful group, wonderful painting time and great food!!

We are planning to take a few days next Spring and teach a workshop up in Lake Tahoe. Can't wait.

Check out this piece on the FASO art contest if you want to "like".

FASO Art Contest

Small Daily Studies

2011-11-10T15:05:00.000-08:00

Painting Demo Sketch

A few years back I participated in the 50 paintings in 50 days show at the 20th Street Gallery in Midtown, for 3 years in a row. I submitted to the show because I wanted to learn to paint small and I did, but I learned so much more than that. As I painted each day I began to simplify the painting, and I noticed that my brush strokes were looser and more direct. I was getting more comfortable with my tools, and most of all I learned to discipline myself to focus on painting regularly. But in addition to that, when I went back to larger paintings, I was able to use the things I learned - things like value, shapes, and color. Over all it was very beneficial in a lot of ways.

This week in my beginning oil painting classes at the School of Light and Color in Old Fair Oaks, California, we have begun a new series of studies. I decided last week that this would be a great way for new painters to practice painting small while at the same time learning about - you guessed it - simple value shapes, shadow and light, color mixing and color harmony. My hope is that this will improve every body's confidence because when you paint one small painting in each class, you will have to put together the steps that I have been teaching and still have time to finish a painting while the inspiration is fresh.

So I asked everybody to bring in a small object that they felt inspired to paint, and we put a light on it right next to their easels. Then we used our view finders to crop and compose some beautiful shapes and shadows and light. Not much time to get over-involved, just paint. Everybody did a great job today.

Next week we will paint the same object with white and black paint only. I will teach them to mix a value scale and work from that. After Thanksgiving week, we will do a complementary color scheme using only two complements and black and white. Maybe after that do it again using analogous colors or something like that, very fun!

Follow This Link If You Like

2011-11-07T19:52:00.000-08:00

http://faso.com/boldbrush/painting/26407

Small to Large Paintings

2011-11-04T13:10:00.000-07:00

Twice a month on Tuesdays I am teaching an intermediate oil painting class. I was recruited into coming back to the Capital Art Center at S12 Studios owned by Patris Miller. Last January I left this location to teach beginning oil painting at the School of Light and Color in Fair Oaks.
Some students had been studying with me for years, and wanted me to come back. My friend Renee White made it easy for me. I'm so glad she did, it is a wonderful talented group. Twice a month is about all I can fit in but I'm loving it. We are having a good time right now. Last time we met we painted a small study and next week we will be paint a larger painting. Or, starting a larger painting.
I started out with a scene from Italy in an old village with people walking with their umbrella's. I've been wanting to paint people walking in a street scene for years.Since then I've changed my mind because the photo I was attracted to was not my own, and I thought about all the Paris photos I took a couple of years ago. Wonderful street scenes. I've looked at them over and over and until now had not had a vision for a painting. But after painting the Italian scene in a small study version, it came to me and I went to my Paris photos. I found lots of possibilities...and I don't have to paint umbrellas and rain to get the reflections I want if I use the photos from twilight that I took. The light at that time of day in Paris is amazing!!!

I have other photos with the red awnings and lights so I've decided to add those in.So, now the real challenge, to make it work in a very large format.
I'll keep you posted....
S12 Studios at 1200 S. Street, Sacramento

Don Hatfield

2011-10-22T17:09:00.000-07:00

Today I spent the day in a figure painting intensive workshop with Don Hatfield. We had a great model and that is always a good thing for inspiration.
http://hatfieldfineartblogspot.com
Patris set it up at her studio in downtown Sacramento. Check out Don's work, it's amazing. He is a really good instructor and quite a fun person to paint with.

I didn't finish, got tired. But I learned a lot.....

Ovanes Berberian Workshop in Carmel Overview 2011

2011-10-13T12:34:00.000-07:00


Let Them Eat Cake by Randy Blasquez $800.

I got back last week from my third workshop with Ovanes in about eleven months. I should be painting pretty well by now right? Well, the truth is, I'm a slow learner. What I mean is that I've discovered it takes hard concentrated work to get anywhere in the business of being an artist. I'm not talking about the business side of things, I'm talking about just picking up new information, processing it, and integrating it into your paintings. Every time I learn something new, it takes a long time to go through that process. If I don't have time to do the work, or if I don't get to it I will end up losing it. So if I'm going to spend all this money and time learning from Ovanes, I'd better get to work! More practice, more practice, more practice.

Speaking of practice, I've been doing just that for about six months now, working on a new series of still life florals. It has been difficult, but at the same time rewarding. I've been discouraged, confused, unfocused, excited, and tired! But I'm glad for the opportunity to push myself to this degree. Maybe someday you will see these paintings. Ha! Most of them will be going in the trash. Hopefully, with continued study and practice, I will have a few successes to show.

Back to the workshop. Ovanes has a beautiful cottage home/studio in the Carmel by the Sea area. Quaint little neighborhood, beautiful garden. He held his workshop right there in the garden. There were about 14 of us set up to paint plein air still lifes. The first day he did what he usually does, and that is a lecture and do a quick demonstration of what he wants us to accomplish (attempt).

Then he sends us out to spend the whole afternoon in the garden. (His workshop in Carmel last year was at the beach). The days started out cloudy, and in a couple of hours the sun came out. This made problems for me because I failed to understand that when the sun comes out, you move to another canvas. Ugh! So I ended up chasing the sun/shadows to the point of confusion.

What was very good for me was that I have come to love this new technique that he has taught me this year. He uses a gum turpentine/damar varnish/linseed oil combination medium that you use to brush in very clean transparent washes. I am finally getting the idea of this and loving it.

In the next post I will give you the process. I am teaching it in my intermediate classes in downtown Sacramento as well.

In the mean time, here are some photos from the workshop.

Ovanes's assistant, Susan, is teaching the students how to set up their palettes...

My palette in the foreground.....Chris next door.

Renee under her umbrella.....

Chris hard at work......

Connie looking good.....painting apples.

Renee and her paper towels.....

Weekend With the Masters

2011-09-26T13:27:00.000-07:00

As I mentioned before, I attended my first Weekend With the Masters Conference a couple of weeks ago. I had been wanting to go for a couple of years, and because it was so close to home - only three hours by car - I decided to sign up for a couple of lectures and a one day workshop with C.W. Mundy.

It was the right thing to do for the first time I think. Next year I'd love to buy the whole package and really delve into it.

The artists that were there were the same ones that I love and follow pretty closely. (With the exception of Ovanes Berberian and Terry Miura) The experience better than I could have hoped. Not to mention that I love Monterey.. I was glad that my friend Ronna Scott and I took it at a reasonable pace. We got in a little bit of everything including some very good eating.

The event was held at the Portola Hotel very close to the shore. Many of the plein air painters chose to conduct their workshops right there.

Ronna and I arrived with plenty of time to get checked in and unpacked and take a tour of the area on foot. When we left Sacramento it was 100 degrees and when we arrived it was only 59! As it turned out the little main street in Monterey was having their weekly market and fair. We prepared for the next day and went to bed early.

We went to lunch at the famous Casanova Restaurant, yum!

The next morning we attended our first class at the event, a lecture with C.W. Mundy. We were very entertained and at the same time I love the way CW drove home the trusted belief in the importance of the focal point. He talked about his journey as an artist and musician. You really must read up about his 7 foundational truths for a successful painting. He is an amazing painter and teacher.
http://www.cwmundy.com/artist/

The next day was our workshop with CW.

This is Mundy's demo piece

And this is my piece from the class....

Last but not least on Friday evening we attended an amazing demonstration by two artists who painted the same model.

On Friday evening of Weekend With the Masters, Quang Ho and Daniel Sprick will take the stage to conduct a side-by-side painting demonstration of the same model. Although Quang and Sprick have different painting styles—Quang paints in a representational manner this is firmly planted on the foundations of painting but that pushes into the realms of abstraction and expressionism; while Sprick’s tightly controlled, Old Master-like technique coupled with his contemporary subject matter are bridging the gap between realism and modernism—they both have strong philosophical views on the process and purpose of painting, which will they will share with audience members as they conduct their demonstrations.

Definitely worth the price of admission. Next year the conference is in San Diego, so who wants to drive??

Cantelope Finished Pieces....

2011-09-18T20:53:00.000-07:00

These are photos from Wednesday's Class at the School of Light and Color...the students did a great job!

Cantelope and Plums

2011-08-31T15:46:00.000-07:00

Today we continued in class on the "fruit still life" theme. The students are really enjoying this beautiful fresh fruit. When I got home today I was so hungry and it looked so good, I had to eat the melon!
It's been a good exercise in really learning to "see" what we are looking at. It helps to know what you are looking "for". We were looking for VALUE, SHAPE, LIGHT, & SHADOW. If you look you will find it......
I brought my two paintings home to photograph and post. One of them got mushed in the car ride, ugh!
After my trip next week (post coming soon about that), I will finish the two pieces in class while helping the students complete their works. I will post more photos at that time.

More Melons

2011-08-27T10:53:00.000-07:00

I wanted to re-post the photo from Tuesday and add the second melon piece...........

Today's Assignment

2011-08-24T16:08:00.000-07:00

Last night and this morning in my beginning oil painting class at the School of Light and Color we painted melons.......
This class had a chance to practice their angles and proportions in the sketch and then learned some about the light on a dark surface. Also it was a good lesson in changing values in light and shadow within the red of the melons and also the rind.
I'm so blessed to have these students!

Coming Soon.....

2011-08-19T15:43:00.000-07:00

I'm excited about the next few weeks because I have some fun trips planned. First is the Napa Art Festival tomorrow. I love to go and view the wonderful artwork and pay a visit to some artist friends. All my favorites will be there. I also love Yountville and it makes me hungry just to think about it. (Bistro Jeanty, yum!)
http://www.napavalleyartfestival.com/

Next I'm going to the Weekend with the Masters event in September. I was happy to learn that it was going to be in Northern California this year. It was started 3 years ago by American Artist Magazine. I'm not attending the whole conference but signed up to go with my friend to see a lecture and participate in a workshop with C.W.Mundy and then go to a demonstration with Quang Ho. Can't wait. Follow the link below to read about all the artists and workshops that will be happening.

American Artist’s third annual Weekend With the Masters Workshop & Conference will take place September 7-10 at the Portola Hotel & Spa, in Monterey, California.

Now in its third year, Weekend With the Masters has gained an international reputation as the leading art education event. It continues to draw top masters from around the world to teach workshops, offer demonstrations, lead lectures, and participate in discussions about the renaissance we're experiencing in representational art.

Atrium in Portola Hotel & Spa

Students travel from around the world to have access to this once-in-a-lifetime educational opportunity, to learn from and interact with some of today's top practitioners, and to connect with fellow artists. The artists leave the conference feeling inspired and energized, and full of new thoughts, philosophies, and approaches to representational painting.

Monterey, California has historically been considered an artist's paradise, and nearby Point Lobos has been deemed "the most beautiful meeting of land and sea in the world." This inspiring destination will be the perfect backdrop for the exchange of ideas, information, and insight that will once again take place between master and student.

The Portola Hotel & Spa will be the primary location for this event, with opportunities to paint en plein air at inspiring locations frequented by area artists for centuries.

http://www.cvent.com/events/american-artist-s-weekend-with-the-masters-workshop-conference-2011/custom-22-2dfaba13d9cb4a64949a8733d429a603.aspx?Refid=wwm110629#Quang

Finally, I get to take another 3 day workshop with Ovanes Berberian in Carmel at the end of September. I was there last year for his plein air workshop but this year he will be teaching the still life at his Carmel studio. Also included is a personal tour of his show at the Amsterdam Gallery in Carmel.

Life is Good!

Learning to See Shapes

2011-07-28T12:13:00.000-07:00

This week at the School of Light and Color beginning classes my Tuesday evening and Wednesday morning class started a painting of "shapes". As beginners we don't yet see these shapes as well as seasoned painters. We want to paint flowers and stems and vases and table cloths. In order to help our brains to learn to see in a new way it helps to paint upside down. We need to teach our eyes and brains to see VALUE SHAPES. To do this we had to paint from a photograph that I took the week before.

We started this week with the under-painting and block in phase of the painting. I started to get the dark's in first using transparent paint. Next week we will continue this project and we can see how it all works out. It is usually pretty surprising to turn the finished piece right side up and see that it really works!
Because it is a beginning class many of the students who come in have never before picked up a brush - or at least not since high school. I like the way the class has begun to take on a life of it's own and what has turned out to work the best is for me to begin a painting demonstration while explaining the process as I go. I leave it open for questions. I'll get to a certain point, let's say I might start with the toning of the canvas and then do the underpainting. At this point I will usually stop and allow the class to catch up to this point. Not everybody works at exactly the same pace but I will wait until most of the class has caught up with my demo piece and then paint the next phase of the painting which is the block in. It helps to break it down into steps.
Next week I'll post the finished piece - if it is finished. If not I'll post what we have done so far. Also next week I'm encouraging the class to bring in a painting or two for a classroom critique.

Sweet Tooth?

2011-07-21T09:10:00.000-07:00


Sweet Tooth?

click here to bid


Study in Compliments

click here to bid

I've just joined a wonderful website called Daily Paintworks. Click the link to check out the first two paintings I have added to the auction. You have seen them before but now they are open for bidding. The starting bid on these are set at a very good price. I will post additional paintings from time to time.

http://dailypaintworks.com/original-fine-art-auctions

Sunflowers Finish.....

2011-07-18T20:49:00.000-07:00

Sunflowers by Randy Blasquez
Oil on Linen 16x20"

Sunflowers II by Randy Blasquez
Oil on Linen 16x20"

I made just a few adjustments on the sunflower paintings from last week. I used a photo reference because my poor sunflowers didn't make it. Because they were painted from life I was able to throw in the few finishing touches without loosing the fresh feel. At least that is what I hope.
I started painting still life paintings when I started to teach at the Capital Art Center in Sacramento because I didn't want my beginnger students at the time to get stuck copying from photos. It's now been about four years and I've learned to love the whole process. Painting still lifes from life is a great way to grow as a painter. By mastering the still life you will be ready to paint anything!

Sunflowers and more Sunflowers....

2011-07-14T22:09:00.000-07:00

Yesterday and Tuesday were teaching days for me. I had some sunflowers that I bought last week and they we still looking good so we painted them. I started a new intermediate class downtown at the Capital Art Center. This will be only twice a month. Anyway these are the result of that class and then the class at the School of Light and Color Tuesday night. They are quick demonstrations but they are close to finish. I feel pretty good about the loose quality. A few adjustments tomorrow and then I'll post the result.

Using the "Viewfinder"

2011-06-28T12:54:00.000-07:00


Still Life Study by Randy Blasquez 10x12" Oil on Linen Panel $350

Painting from life, inside or outside requires first deciding on the boundary or size of your canvas. My favorite shortcut to this is to use a viewfinder. Think of looking through a camera to see your subject. My favorite one on the market is called the "View Catcher", and was invented by artist, Patti Andre'.
The View Catcher will adjust to the size your require with a simple slide of the handle. I like to do two or better, three thumbnail sketches of my subject in different sizes before I decide on my composition. This way I know I have conjured up some creative ideas - a sampling of shapes, values and borders.
The way it works is that it will block out the area around your subject while you adjust the distance from your eyes. Move it until you find a pleasing composition. It will allow you to zoom way in and crop for a dramatic composition or pull back and away to allow more into it.
For more information go to www.viewcatcher.com

A Week With Ovanes Berberian - continued

2011-06-23T14:45:00.000-07:00

I kept notes from the workshop and I wanted to post them. It's just not the same as being there! But what Ovanes instructed us to do is something I didn't want to forget. Most importantly though, I came home started painting - with difficulty - to get more comfortable with using more paint.
Ovanes uses tons of paint on his paintings. When he demonstrated on my canvas, I began to understand just how much paint he loads onto his brush. But before he begins painting, he uses linseed oil to loosen the paint to make sure it is all the same consistency. He calls it "juicy paint".

Shipwrecked by Ovanes Berberian

Peonies by Ovanes Berberian

Ovanes Berberian notes….

Being an Artist~

Lose your sleep over this!

Have a mentor.

If you find your mentor you will know it.

Go to Museums and sketch what you love, then go home and paint a piece of it.

You’ve got to be a sensitive person.

You’ve got to have results.

Classic painting never dies.

Theodore Lucas was one of Ovanes's mentors.

The hungrier your get the better it tastes.

So be hungry – don’t get satisfied by other things.

On painting ~

Steps to a better painting,

Draw

Wash

Redraw

Paint

Clean Everything

Flat Large Shapes

Simplify

One Value when washing, not so dark to start.

When you use dark, scrape to keep dark = no texture.

Use a wash with beautiful color using pure pigment or tone your canvas with a wash of pthalo blue and paynes gray (1/4 to ¾)

You can also use a warmer wash.

For your wash use turpentine and Damar varnish, about ½ and ½.

Look for the “key” when you do your wash.

When you do your wash every square inch should be clean….even your grays.

Do not mix your family colors in your wash, only pure pigment in the same “family”

Design~

Design is number one- If you don’t have a beautiful design don’t bother to paint it.

Value is most important.

RGH paint is very good.

Begin with flat shapes and two values for each object.

Middle key paintings- Overcast days make you paint in middle key.

Sunny days- You paint light and shadow.

Remember the light source, the sky color.

You must feel it.

Lilac flower – use burnt umber with a touch of Alizarin in your wash for the warm shadow of the flower.

If you learn to see it then you can paint it.

Use temperature to turn the vase.

Better to stop before you ruin it.

Do quick studies, small- 6x8 and 8x10.

Tone your boards and staple them on a board, go out and paint.

The shadow is effected by the blue in the sky.

No Fear- Be brave and make mistakes.

The name of the business is frustration.

Correct Temperature = Good Harmony

IMAGINE

Paint beautiful shapes with beautiful outlines.

Paint flat and blend.

Don’t be timid.

What matters is what is happening on the canvas, don’t copy everything you see but make the painting work.

Design your light pattern.

Build on your darks.

Paint the flat large shapes. Use your palette knife to lay in Large Flat Shapes – it helps you get the dark rich value – then Scrape Lightly.

Blend to soften your edges.

Use brush control.

Simplify

When you start with the washes, not so dark to start.

Medium key to start.

When you start with a palette knife start with dark then scrape it, no texture yet.

In the finish use only two values, and finish with a highlight, that is all.

No detail for the first year.

Stay flat then get warm and cool.

In the daylight don’t forget your cool colors.

The best areas are simplified.

Get the contrast and color in the colors.

It takes a lifetime to get color.

Start with composition.

Balance light with shadow on the table top.

Painting Inside~

Put your lights in the foreground when you set up your still life.

Also some lights at the top to make the middle (table) come forward.

Have tones to 8 at most for flowers and lilacs.

Hold back on your lights.

Be very selective with your final brush strokes.

Blend up and down.

Try going two values lighter on your palette using whites.

(or) Start with raw colors for your wash.

Make white your thinnest paint, very lose.

Black makes true nature colors, try starting with black and white, then add color

After you design your painting go away and come back, look again.

Don’t forget to push the background back.

A Week With Ovanes Berberian

2011-06-20T09:18:00.000-07:00

I first met Ovanes Berberian in the summer of 2006. He is a good friend and mentor of Brigitte Curt whom I have known and studied with for several years. She and her husband Jim had spent many hours working with him through the years.
Before this I discovered his work and was in love with it so when they suggested to their classes that they should join them in Idaho for a couple of weeks I jumped on board. It was an amazing experience that changed me. It also was overwhelming and the weeks were intense. I hated my paintings, and felt like a baby learning to walk. Jim and Brigitte told me this going in, but they also told me that what I would hear and see at the workshop would continue to guide my painting for many years to come.
Last November I posted about my trip to Pacific Grove for a weekend of plein air painting with Ovanes. He was much more verbal in his teaching and my brain somehow was able to comprehend it better this time, so I decided to go back to Idaho.
Idaho is beautiful. The vast countryside and skies were begging for me to paint them. However we stayed in Ovanes's yard for a week of plein air painting of these amazing floral arrangements. If I could have I would have stayed another week or two. I was just getting started.
I returned last night from the twelve hour drive. My artist buddy Renee and I took two days and it wasn't all that bad. We decided it was better to drive so we could pack our supplies and it was the right thing to do. I'm ready to do it again!

Anyway, I wanted to post during the week but I couldn't get an Internet connection. The little motel we stayed in, the South Fork Inn, did have it, but it was down for several days. I want to tell you about my week while it is still fresh in my mind.
The most important realization for me was what I learned about Ovanes. He was so passionate about sharing his love for making art with us it really touched me in a way I don't think I can describe. But somehow I felt that we share that passion. Only he has been able to disconnect from our crazy business that is such a part of our lives. I am right in the middle of it.
Just being in Idaho and away from the computer and the daily obligations of life gave me a taste of what it takes to really be in touch with creating art. It is something close to worshipping our God. I have never before been able to slow down long enough to understand this. I have read about it. I understand it and believe it, but today I get the connection. A wonderful book about this walk with God through creating art is written by a Pastor at my church, "Imagine That" by Manuel Luz.
http://manuelluz.wordpress.com/book/

I'll post more photos and my experience that last week very soon!

Color Mixing &Value Workshop This Week

2011-06-09T11:42:00.000-07:00

These past couple of weeks we have been learning about color and value in the beginning oil painting classes at the School of Light and Color.

I was surprised and delighted that these students were more than willing to use their class time to make charts. I have a wonderful group of students both on Tuesday evening and on Wednesday mornings at the school. These students want to do the work in order to learn. I know it's tough to come into a class as a beginner, especially when we feel that everybody else knows more than we do. But if you can take that risk and show up, you find out that we are all students, and eventually we figure out that it is a lifetime journey and not a quick study. I love it when one of the gals or guys fall in love with the process, and after getting through the initial stunning fact that it isn't as easy as they thought, become willing to take on the challenge. It is so exciting to see that look on their faces as they light up with an "Aha" moment.

Anyway, back to the exercises. We drew some one inch squares and put the complements on either side. It is surprising what you can learn by doing simple exercises like mixing complementary colors to make beautiful grays. We mixed the a little of one complement into the other, then a little more, then half and half. It was also interesting to begin to mix white into these mixes where the beautiful grays began to emerge.

We talked about the importance of using grays in your painting, and that it is also important to use value to state a predominant - middle and little value design in your paintings.

Then we made value charts using color, first using black and white to light and darken, and the other using analogous (colors next to our main color on the color wheel) colors to keep as much chroma (rich color) in our mixes as possible.

We talked how to use value changes to turn a form and how value and color are dependent on what you are comparing it to. We squinted to see our values.

After that we made a value scale in black and white, then found paint colors from the tube and matched the value on the scale. After using tube color, we used mixes and found the value using the same scale.

I believe these exercises are invaluable....because we actually learn from DOING. It's all fine to read about this stuff in the art books and magazines, but we will miss the connection if you don't actually do the work. Also, we will learn more from making mistakes than if we don't make mistakes. So we were freed up to make them!

My hope is that when these students are painting their next painting they will reach for a color/value on the palette, and not just think in color alone. They will begin to see value and color all around them. It is not easy but I'm hoping that they will begin to group smaller shapes into larger value shapes, and then begin to design a painting using these concepts. It will take time, and we can only learn so much at a time, so sometime in the next 6 months we probably do this all over again.

Ah! Finally A New Post.....

2011-05-23T20:57:00.000-07:00

Life has been busy. All good though. I am hoping you have had a good Spring and that the month of May has been good for you. I just heard about the horrible tornado's this past weekend and am horrified. Life does give us some curve balls. It makes me realize the blessings in my life are only temporary and that suffering is part of life as well. I am going to live the best I can for today and appreciate my blessings.
I've been working on my still lives, not ready to post yet. It has been the challenge of the year for me that feels at times like the challenge of a lifetime! I have been working to stretch and grow as an artist with my set ups, color combinations and patterns. It has been very difficult to get what I want to into my work, but I am keeping at it.
Meanwhile I've been busy with family, and my youngest will be graduating from High School on Friday. So, we do what we can do don't we? I can't paint continually and I'm hoping a little break will help with my struggles.
I've posted a study and demo from a recent class. We will be going back to color mixing in a couple of weeks and then I'm off the study with Ovanes Berberian in Idaho for a week. More still lives. More flowers. Fun......

Facebook Post from Dan McCaw A painting should say as much about the artist as the subject he or she is painting. I exaggerated and simplified.... I will try anything that will help better express my own voice, for me its all about the search. You should never paint a truth that is not your own, the journey is to find your own truth. It exists within all of us, the model is only our excuse to search for it

2011-04-30T11:18:00.000-07:00


beginning by Randy Blasquez

I love today's post from one of my favorite artists.... Dan McCaw
We are all on this journey, to find our own truth in paint. I love this!
I want to express my truth. Oh how much easier said than done. This is where I am in my own journey. In the beginning, I was a copy cat. I painted mostly from photos, or should I say I copied from them. I did not learn from this much in the way of good art, but more in the way of how NOT to paint. This was a good lesson.
Now I teach what I want to learn. To SEE the truth and express that truth to the best of our ability. I wish it didn't take so long to get that into my brush.....

Another Study

2011-04-26T12:17:00.000-07:00

Still Life Paradise

2011-04-17T14:49:00.000-07:00

Lately, been working on some still life studies at the studio. I've never really gone to the trouble to set up elaborate table scenes, so it is a new experience that I am enjoying very much. For now I am going for exciting color combinations with good light direction and design. I know it is time to be outside painting plein air, finally, but I have had some health issues to deal with, and a request for some still life paintings. So, it all works out.

I will be going to the Horten Iris Farm again this year for one day if I can. Some friends are coming along. I always enjoy painting the irises. I will have some in my own garden here soon as well. I planted some bulbs from Horton a couple years ago and they are growing like crazy. More for my still life set ups.......

I just finished a commission piece of Lake Tahoe for my friends Pat and Diane. My lesson for today is to do your studies first, and the large piece goes so much more smoothly!

I am going to get to work now, so I can post some still life studies for you..........

Dreama's Daily Paintings and Writings: "Momma Said There'd Be Days Like This"

2011-03-21T18:57:00.000-07:00

Dreama's Daily Paintings and Writings: "Momma Said There'd Be Days Like This"

Windy Day at Point Lobos

2011-03-20T14:23:00.000-07:00

I've always wanted to paint this area. I love the cliffs and the shapes of the trees. This is just a fun little piece I painted a few weeks back. 6 x 6"

This piece has been donated to help the victims of the disaster in Japan. Go to:
http://dailypaintworks.com/Challenge to learn more about this program. It was a wonderful idea put together by David Marine and Keiko Tanabe.

Remembering Sergei Bongart

2011-03-15T09:48:00.000-07:00

This is a replica I painted as a demo in one of my art classes at the School of Light and Color. I wasn't so sure about having the class copy a painting from a master using a photograph at first, but it has done wonders to loosen everybody up and has helped us to understand how to apply paint to the canvas. Many beginners want to "lick" the canvas with their brush until there is no paint left.
I'm looking forward to our next project - maybe some of this will stick.
Below are some of the pieces from our class on Tuesday night. The above painting was from the Wednesday class.

They all did a truly amazing job on these. Very exciting!

Pacific Grove Pics

2011-03-01T14:15:00.000-08:00

I have missed you! Been busy traveling and getting organized for this year with shows, workshops, and lot's more. Life has been good. I am hoping to have a workshop in Pacific Grove later this year, so I HAD to make a trip and pick out some spots. It rained for two days, but finally, sunshine. Then this past weekend my family and I made another trip to San Francisco and toured the Academy of Art University for the second time, getting ready for my daughter to be a student in the future. My son and his wife and my granddaughter also went and it was wonderful to share time with all of them. My son is also an artist and his wife in the business, so we had fun with the tour.

I will put out a newsletter soon with the events that are coming up. Soon I will post a little more about Sergei Bongart. In my art classes at the School of Light and Color, we are painting a copy of a Sergei still life painting. I forgot to get pictures last week, but wanted to share our progress. All the students are doing wonderfully! It has been another eye opener for all of us. I noticed how much it has helped to "loosen up" some of the students brush strokes and that is huge!

I will post some pictures later this week but for now just wanted to share some beautiful sunset photos of Pacific Grove, enjoy......

new one just started, from Pacific Grove....

2011-02-11T21:54:00.000-08:00

This is a large one, 30 x 40 I think. I am enjoying the use of color and am somewhat letting the design come along as I go. I have so many pics from my trip to Pacific Grove last November to study with Ovanes Berberian. He really stressed the use of "juicy color". That doesn't mean that he didn't use grays. I think the use of grays in his work is his genius. This day was overcast, but with some clearing later in the morning. I wanted to start with plenty of color though, and then decide how much to leave in. I still have some major decisions to make here, one being how much light to bring into it. That is the challenge with the cloudy weather. The rocks on the right had some light on them, so I will try to keep the water beyond them nice and rich in color. The rocks on the left are darker, so the water beyond will be lighter. At least that is my thinking right now.
I took the picture because I needed to break away from it for a while, and see it from another viewpoint. Most of the time when I take a photograph at first glance I will see glaring problem. It is the same concept as using a mirror. Just taking a break works well too.
I'm excited to take another trip with a friend of mine next weekend to paint in this area again plein air. I fell in love with the Pacific Grove. It is a little sleepy town near Monterey with an amazing coastline walking distance from the little hotels in the area. Much less expensive than Carmel, but close enough to drop in for some gallery visits and shopping. I'll come back with some painting studies for some more larger pieces. I just got some new 36 x 48 inch canvases so here goes!
Have a nice Valentine's Day weekend.....

still working on this one...

2011-02-11T21:39:00.000-08:00

final after some friendly suggestions...

2011-02-10T22:32:00.000-08:00

View from Aurel, Provence

2011-02-10T13:23:00.000-08:00

This painting was kinda fun. An exercise in atmospheric perspective to be sure, but I couldn't get away with using a lot of cool colors while doing it. I'm not sure it is really done yet. Do you see anything that would help me finish it up? A lot of the time I take photos so I can see the problems with a painting. I'd appreciate your suggestions. I need to finish it up and get it to a show in about a week....

Frank Ordaz Studio & Gallery in Auburn CA

2011-02-07T14:10:00.000-08:00

Ordaz Gallery

530-906-0716
843 Lincoln Way
Auburn Ca 95603

I've recently added a few pieces to Ordaz Gallery -a great little gallery with a lot of Frank's beautiful works and a few other artists as well. I'll have my artwork there for a couple of months and there is plenty more to see and enjoy in the gallery as well as the little town of Auburn. Read more about Frank below and stop by and enjoy!

Auburn Journal 2010
by Michael Kirby

“I enjoy people. If you’re going to be good at portraits, you have to like people,” said artist Frank Ordaz.
Ordaz recently moved into a studio space he shares with Mike Maydak on Lincoln Way. He is a friendly and easygoing guy, quirky, talkative and engaging.
He is excited by the energy of the Downtown scene, and not just the art, but the people and businesses.
Having spent the last few years working out of a studio in his home in Auburn doing mostly commissioned work, Ordaz is jazzed about being out in town.
He is a fine art portrait painter and illustrator. Working in oils, Ordaz has the talent to capture a subject’s personality in his work and shares time, talking with every person he paints, waiting for the hint, the secret that is always revealed in time that exposes their inner person, that vulnerability and insight into his subject that Ordaz wants to capture.
The 53 year-old Ordaz was raised in East Los Angeles by creative and hard-working parents and admits that as a child art was a retreat for him.
He often spent many hours in his room to avoid the harshness of his neighborhood’s environment.
“I was small and skinny and someone was always messing with me. With my art I could create my own world, I could control it. It was safe and beautiful,” he said.
From age 10 Ordaz studied with famed California master artist Theodore Lukits, a renowned art instructor.
Ordaz attended the University of Southern California on an art scholarship. After two years he then transferred to the Art Center College of Design in Pasadena to study illustration.
Upon graduation in 1980 Ordaz was highly recommended for a job with Industrial Light and Magic (ILM), working for filmmaker George Lucas in Northern California. There Ordaz did background matte paintings for specialized movie production effects and worked on films like “ET”, “The Wrath of Khan”, “Return of the Jedi” and “Indiana Jones and the Temple of Doom”, rubbing shoulders with well-known actors, musicians, directors and working with a talented production staff.
Ordaz even had a small bit part in Indiana Jones. He won an Emmy for his work as part of a team of artists working on the 1985 television movie, “Ewok — The Battle of Endor.”
Leaving movie work, and self-employed, his award-winning paintings and illustrations have been used in a line of Christian books, professional sports posters, specialty greeting cards and even a line of jigsaw puzzles.
Ordaz produced a painting that the George W. Bush White House used for their Easter egg hunt. Ordaz’s painting was used on the invitations, official program, posters and tickets for the annual event. Ordaz and his family were invited to the egg hunt, met and spent time with the first family.
He is currently involved in a portrait project for the U.S. Air Force, and teaching painting classes for children and adults along with painting portraits for clients out of his new studio Downtown.
“I feel this is what I’m supposed to be doing now, and where I’m supposed to be,” Ordaz said. Ordaz lives in Auburn with his wife and family.

Ordaz Gallery opened in 2010 by artist Frank Ordaz. He has a very informative and entertaining blog at http://frankordaz.blogspot.com

On the Easel this week & Irwine Greenberg Art Quotes

2011-01-31T15:36:00.000-08:00

I started a couple of new paintings yesterday and got the basic block in finished. Now it is time to add atmosphere and color. I will post my progress when I get back to them later in the week.

A while back Robert Genn posted these quotes from Irwin Greenberg. Good Stuff....
Read them and be challenged!

Irwin Greenberg Art Quotes

1. Paint every day.
2. Paint until you feel physical strain- take a break and then paint some more.
3. Suggest.
4. When at an impasse, look at the work of masters.
5. Buy the best materials you can afford.
6. Let your enthusiasm show.
7. Find the way to support yourself.
8. Be your own toughest critic.
9. Develop a sense of humor about yourself
10. Develop the habit of work. Start early every day. When you take a break, don’t eat. Instead, drink a glass of water.
11. Don’t settle for yourself at your mediocre level
12. Don’t allow yourself to be crushed by failure. Rembrandt had failures. Success grows from failure.
13. Be a brother (or sister) to all struggling artists.
14. Keep it simple.
15. Know your art equipment and take care of it.
16. Have a set of materials ready wherever you go.
17. Always be on time for work, class and appointments.
18. Meet deadlines. Be better than your word.
19. Find a mate who is really a mate.
20. Don’t be envious of anyone who is more talented than you. Be the best you can be.
21. Prizes are nice, but the real competition is with your performance yesterday.
22. Give yourself room to fail and fight like hell to achieve.
23. Go to sleep thinking about what you’re going to do first thing tomorrow.
24. Analyze the work of great painters. Study how they emphasize and subordinate.
25. Find out the fewest material things you need to live.
26. Remember: Michelangelo was once a helpless baby. Great works are the result of heroic struggle.
27. There are no worthwhile tricks in art; find the answer.
28. Throw yourself into each painting heart and soul.
29. Commit yourself to a life in art.
30. No struggle, no progress.
31. Do rather than don’t.
32. Don’t say “I haven’t the time.” You have as much time everyday as the great masters.
33. Read. Be conversant with the great ideas.
34. No matter what you do for a living, nurture your art.
35. Ask. Be hungry to learn.
36. You are always the student in a one-person art school. You are also the teacher of that class.
37. Find the artists who are on your wavelength and constantly increase that list.
38. Take pride in your work.
39. Take pride in yourself.
40. No one is a better authority on your feelings than you are.
41. When painting, always keep in mind what your picture is about.
42. Be organized.
43. When you’re in trouble, study the lives of those who’ve done great things.
44. “Poor me” is no help at all.
45. Look for what you can learn from the great painters, not what’s wrong with them.
46. Look. Really look.
47. Overcome errors in observing by exaggerating the opposite.
48. Critics are painters who flunked out.
49. Stay away from put-down artists.
50. If you’re at a lost for what to do next, do a self-portrait.
51. Never say “I can’t.” It closes the door to potential development.
52. Be ingenious. Howard Pyle got his start in illustrating by illustrating his own stories.
53. All doors open to a hard push.
54. If art is hard, it’s because you’re struggling to go beyond what you know you can do.
55. Draw everywhere and all the time. An artist is a sketchbook with a person attached.
56. There is art in any endeavor done well.
57. If you’ve been able to put a personal response into your work, others will feel it and they will be your audience.
58. Money is OK, but it isn’t what life is about.
59. Spend less than you earn.
60. Be modest; be self-critical, but aim for the highest.
61. Don’t hoard your knowledge, share it.
62. Try things against your grain to find out just what your grain really is.
63. Inspiration doesn’t come when you are idle. It comes when you have steeped yourself in work.
64. Habit is more powerful than will. If you get in the habit of painting every day, nothing will keep you from painting.
65. There are three ways to learn art: Study life, people and nature. Study the great painters. Paint.
66. Remember, Rembrandt wasn’t perfect. He had to fight mediocrity.
67. Don’t call yourself an artist. Let others name you that. “Artist” is a title of great weight.
68. Be humble; learn from everybody.
69. Paintings that you work hardest at are the ones you learn the most from, and are often your favorites.
70. Read values relatively. Find the lightest light and compare all other light values to it. Do the same with the darks.
71. Grit and guts are the magic ingredients to your success.
72. Let your picture welcome the viewer.
73. Add new painters to your list of favorites all the time.
74. Study artists who are dealing with the same problems that you’re trying to solve.
75. Have a positive mind-set when showing your work to galleries.
76. Don’t look for gimmicks to give your work style. You might be stuck with them for life. Or, worse yet, you might have to change your “style” every few years.
77. If what you have to say is from your deepest feelings, you’ll find an audience that responds.
78. Try to end a day’s work on a picture knowing how to proceed the next day.
79. Don’t envy others success. Be generous-spirited and congratulate whole-heatedly.
80. Your own standards have to be higher and more scrupulous than those of critics.
81. Pyle said, “Throw your heart into a picture and jump in after it.”
82. Vermeer found a life’s work in the corner of a room.
83. Rembrandt is always clear about what is most important in a picture.
84. If, after study, the work of an artist remains obscure, the fault may not be yours.
85. Critics don’t matter. Who cares about Michelangelo’s critics?
86. Structure your day so you have time for painting, reading, exercising and resting.
87. Aim high, beyond your capacity.
88. Try not to finish too fast.
89. Take the theory of the “last inch” holds that as you approach the end of a painting, you must gather all your resources for the finish.
90. Build your painting solidly, working from big planes to small.
91. See the planes of light as shapes, the planes of shadows as shapes. Squint your eyes and find the big, fluent shapes.
92. Notice how, in a portrait, Rembrandt reduces the modeling of clothes to the essentials, emphasizing the head and the hands.
93. For all his artistic skills, what’s most important about Rembrandt is his deep compassion.
94. To emphasize something means that the other parts of a picture must be muted.
95. When painting outdoors, sit on your hands and look before starting.
96. Composing a picture, do many thumbnails, rejecting the obvious ones.
97. Study how Rembrandt creates flow of tone.
98. If you teach, teach the individual. Find out when he or she is having trouble and help at that point.
99. Painting is a practical art, using real materials -- paints, brushes, canvas, paper. Part of the practicality of it is earning a living in art.
100. Finally, don’t be an art snob. Most painters I know teach, do illustrations, or work in an art-related field. Survival is the game.

A Study in Complementary Colors

2011-01-21T17:49:00.000-08:00

Hi all, just wanted to post this study from last week's class. I did a demo for the beginning oil painting class at the School of Light and Color in Fair Oaks, California.

Oh! It was such a beautiful day today and yesterday was quite nice. Finally some good weather here. Yesterday I finally took our two little doggies on a walk. It just about killed me to stay in the studio but I had to work on some paintings for a gallery drop off tomorrow.

Have a great weekend!

Keep Your Brushes Like New!

2011-01-18T11:51:00.000-08:00

I use a product I found through my lovely plein air teacher, Brigitte Curt. This product is amazing. The best part is that it is ecologically safe and harmless to your brushes. It even gets out dried oil paint in your brushes and clothes. This means I don't have to make all my clothes into paint clothes, ha! I will tell you how to use it on your clothes and dried up brushes that you thought you'd have to throw away at the bottom of this post. But first, let's go through my procedure for regular brush cleaning.

I have a little bucket that I put a small amount of Brush Flush into.

Now I take my first brush that I've been using all week, just cleaning off between paintings in the odorless mineral spirits. This means it is NOT clean. It is only a little cleaned off from the mineral spirits. Then it usually will sit around until I make time to do the real cleaning.

Now, dip your brush into the Brush Flush and get it saturated well.

Next, take a leftover kitchen sponge and wipe your brush into it, back and forth. You will be amazed how much paint is still in your brush.

Rinse, and repeat until the brush and suds are paint free.

I will put the brush and sponge right under the warm running water to rinse.

Then wipe to make sure all the paint is removed.

Now your brush is clean. It might be stained, but the paint has been removed and your brush will last you! Wipe it dry, gently.

Lie flat on an absorbent surface.

After you have cleaned all your brushes, dip your fingers into the Brush Flush. Now wipe your brush with your fingers, shaping it.

Squeeze the tip, and the hairs will stick together and dry correctly.

Give them a day to dry in a sunny place if your can. If the paint is dry because you forgot to clean it at all, just saturate the brush hairs with the Brush Flush and let is set for a day, dip again, loosen into the soap and let it set again. When the hairs are nice and soft, follow the above directions.

If you have dried paint on your clothes, pour a little Brush Flush into the paint, scrub, and let set. Repeat until the paint loosens up. Then wash as unusual.

I am a Brush Flush distributor and sell it to my students for $12.95 for the 32 oz size. This will last a long time and save your brushes. If you want to order from the company it is $9.95 plus tax and shipping. About the same price in the end.

Happy painting!

i love this....

2011-01-07T06:29:00.001-08:00

New Years Resolution

2011-01-03T18:21:00.000-08:00

Nick

by Randy Blasquez

I am posting this blog from Fine Art Views, a wonderful newsletter for artists, hosted by my website provider, Fine Art Views Online. I relate to what Keith Bond wrote in a huge way, and this year I want to actually submit some entries - fear of rejection or not. Keith is a great artist and you can view his work at
http://keithbond.com/blog
It's worth the read.......and I'll keep you posted as to my progress, but I want to commit to entering at least 4 shows....

I Have a Problem

by Keith Bond

This article is by Keith Bond, Regular contributing writer for FineArtViews. You should submit an article and share your views as a guest author by clicking here.
I have a problem. I’m sure none of you have this same condition. But let me warn you just in case…

You see, there are a bunch of shows that I have wanted to submit to for several years. Most of the deadlines pass me by, though, without having entered. Year after year, I plan to, but never do. There are several reasons, but mostly they are just excuses.

Let me try to explain.

Let’s say show “A” has a submission date of January 1 each year. I always think that I will set aside my best work to submit to the show. If I do a better work during the year, then I will set it aside instead and do something else with the previous painting. Inevitably, though, I need a painting for something else and steal the one I was saving. Before you know it, mid December rolls around and I don’t have much to choose from. I have a few paintings, but nothing spectacular. So I try to rush something for the show. Sometimes I get a good one, but often I don’t – because it was forced. So, another year passes and I didn’t submit for the show.

Other shows only require a portfolio. I don’t even have to keep the paintings around. I just have to get them photographed. But, again, I keep thinking that I’ll get something better with the next painting. Then I get busy doing other work for other things. Before you know it, the due date has passed and I didn’t submit anything.

So, I’ve identified a couple problems with my method.

1. I am not very organized.
2. I procrastinate.
3. I suffer from “The Next Painting Will Be Better Syndrome”.

Like I said, none of you have this problem. But in the unlikely case you contract this rare condition, what can be done?

Well, the first thing is to get organized. Whether you use an index card system, file system, computer software for artists [1], spreadsheet software, a dry erase board, a clipboard, or an array of post-it notes on your easel; find something that works for you. If your current method is not working, try something else. If it’s bad enough, consider getting some help. I probably should, but I always think “later.” [2]

Getting organized will help with the next problem. With an organized system in place, procrastination can be attacked head on. But how could you try to conquer procrastination if you are so unorganized that you don’t even know what you’re missing? Hmmm…sounds way too familiar. But, I am getting better. It helps to have the upcoming deadlines in a place where they can easily and often be seen.

But, then there is the dreaded “The Next Painting Will Be Better Syndrome”. I think most artists suffer from this to one degree or another. If we didn’t think the next one will be better, then why would we try? The trick, though, is to recognize the ones that are good. Choose the best and then submit those. Sometimes they are good enough, sometimes not. But if you always wait for the next one, you’ll never submit anything.

So, in short:

Get Organized.
Quit Procrastinating.
Choose from the Best Works.

Best Wishes,
Keith

[1] If any of you have used software for artists, please share your experience. I have never used any, but many (including myself) would like to know how well these programs suit your needs (or don’t).

[2] In my own defense, though, I am not this unorganized when I have made a commitment. In those cases, I make sure to deliver on my promises. It’s only for these opportunities where it doesn’t matter to anyone but me whether I get it done. Maybe there is a 4th reason. Fear?
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collectors and galleries (and anyone else who loves art).

This article originally appeared at:

http://fineartviews.com/blog/25341/i-have-a-problem
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FUN WITH BETSY

2010-12-30T19:31:00.000-08:00

Fun with Betsy Oil on Linen Board 20x16"

Available

NEW CLASSES starting at SCHOOL OF LIGHT AND COLOR

2010-12-30T13:40:00.000-08:00

January, February, March 2011

Weekly Classes in Fair Oaks

Light & Color Classes with Susan Sarback:

Monday evening: 7:00 – 9:30pm begins Jan. 10, Mar. 7

Thursday afternoon: 2:00 – 4:30pm begins Jan. 13, Mar. 10

Monday afternoon: 1:00 – 3:30pm Ongoing

New! Beginning Oil Painting Classes with Randy Blasquez:

Learn the basic techniques of oil painting, from start to finish. Learn to paint values, color,

edges, shape, drawing, and the use of light and shadow. You will learn the vocabulary of

painting, how to mix your colors, how to use your tools and materials, and how to avoid the

most common pit falls an artist will encounter. No experience necessary.

"Rouge un Parapluies" by Randy Blasquez 12x16”

Tuesday Evenings: 6:00 – 9:00pm begins Jan. 11, Feb. 22

Wednesday Mornings: 9:30am – 12:30pm begins Jan. 12, Feb. 23

Figure Painting Classes (live model) with Terry Miura:

Wednesday Afternoons: 1:00 pm – 4:00pm Ongoing

Landscape Painting I: The Essential Concepts with Terry Miura

Thursday Evenings Jan. 13 thru Feb. 17 6:30pm – 9:00pm

Landscape Painting II with Terry Miura

Thursday Evenings Mar. 3 thru Apr. 7 6:30pm – 9:00pm

Drawing – The Foundation of Art with Bill Monaghan:

Thursday Mornings: 10:00 am – 12:30 pm begins Jan. 13, Mar. 10

Portrait Painting Classes (live model) with Debbie Gualco:

Wednesday Evenings: 6:00 pm – 9:00pm Ongoing

Pastel Classes with Irene Lester:

Tuesday Mornings: 9:30 – Noon begins Jan. 4 (ongoing from this date)

Watercolor Classes with Jeannie Vodden:

Tuesday Afternoon: 2:00 - 4:30 pm begins Jan. 18, Mar. 15

OPEN STUDIO with Live Model (Nude and/or clothed)

No Instruction

$10 per session

Fridays 10:00am to 1:00pm Fair Oaks

Susan Sarback

To register call: (916) 966-7517 or

Email: sarback@lightandcolor.com

The School of Light & Color

10030 Fair Oaks Blvd.

Fair Oaks, CA 95628

www.lightandcolor.com

Paris Cafe with Red Umbrellas

2010-12-29T13:26:00.000-08:00

untitled - Oil on Panel 12 x 16"

by Randy Blasquez

I haven't settled on a title yet, but I think it's done. The snow started coming down again up here and I'm sure we got at least another 6". Beautiful. I must go out and get my snow shoes on! We have a great little trail for that here.
The painting went well I think. I loved working in all that color, but I was careful to think in "values". Two values really. I tried to keep the color spots within the large value masses within the correct value, using color. I like the pattern and rhythm of the painting. Well, it's too cold and windy to paint outside and this is the day I would have a chance, so I'll have to decide on anther photo. I hope you are enjoying your holiday as much as me!

Christmas Week in Truckee

2010-12-29T08:10:00.000-08:00

Every year my family spends the week between Christmas and New Years day up in our family cabin in Truckee California. It is usually a quick drive from Folsom. This year a little longer with the recent snowfall. It is amazingly beautiful up here. Last night we got at least 2 feet of new snow. It has been a wonderful few days so far, and I've been catching up with my twin sister Candy and her daughter Ashley.
Last night I was ready to paint. It has been too long.

It was late in the afternoon yesterday when I got started on this scene in France from a photo. The lighting in the cabin is not good at night so I wanted to just lay in the under painting. It started snowing last night and stormed until this morning. I couldn't believe the amount of snow we got overnight.

It looks like a good day to stay in and finish my painting!

Open For Dinner

2010-12-13T19:49:00.000-08:00

A new one from yesterday. I love it when I start and finish a painting in one sitting. It doesn't happen often. I wanted to paint another bistro scene for our little show at Gonul's on Thursday night. I am showing with some of my students some new works from our class. We are having a little reception from 4 to 7 and anyone is invited to stay for dinner at 7. Our class will be celebrating Christmas.

Open for Dinner Oil on Panel 10x12"

(will be available at Gonul's Thursday night, framed $495.)

Blessings..........

A Celebration of Fine Art & Fine Food

2010-12-07T20:56:00.000-08:00

That Time of Day, Venice original oil on canvas 30x40”

by artist Randy Blasquez

Fusion Fest!

A Celebration of Fine Art & Fine Food

Thursday December 16th

4:00 – 7:00 pm

Gonul’s Restaurant * 3839 J Street, Sacramento

Please join us for a special showing of new works by emerging & established artists. This may be the perfect opportunity to get that treasured gift for someone you love at a very affordable price. Gonul will be serving the finest and freshest Mediterranean-inspired horse d’ oeuvres and a 20% is offered to you if you decide to stay for dinner.

We are looking forward to seeing you there……

NEW CLASS at SCHOOL OF LIGHT AND COLOR

2010-12-05T20:02:00.000-08:00

NEW CLASSES AT THE SCHOOL OF LIGHT AND COLOR

I am mostly excited about a new opportunity to teach. As you probably know by now – I found myself teaching oil painting a few years back and it has turned into something of a passion. I have been teaching in downtown Sacramento for some time and have decided to move my classes to The School of Light and Color – in Fair Oaks.

Once again I did not plan this, but it fell in my lap in a way- but I have had a desire to teach there for a little while and the next thing you know….?

While teaching my very first artists workshop up in Truckee last September I found that a few of my new friends who were taking the workshop wanted to continue classes, but they worked during the day. After some consideration I decided to call the School of Light and Color. I have known Susan Sarback for a few years and took some classes there with my Son some years ago. Susan is the founder of the school and is a renowned teacher and artist worldwide.

Susan was happy to hear that I wanted to teach at the school, and needed a beginning instructor to teach during the day. I was planning to start an evening class and long story…..I ended up signing on for both. I will be starting this coming January on Tuesday evenings and Wednesday mornings. The good news is I will be learning so much because I will be working with some wonderful teachers and great artists. And I love working with students who have discovered that painting is a gift and that we can use this gift to joyfully create.

See the attached brochure for more information. They are taking sign ups now for 6 week sessions, but you are welcome to sign up for one class at a time.

School website: http://lightandcolor.com

Class schedule: http://lightandcolor.com/2011jan.pdf

HAVE A WONDERFUL THANKSGIVING

2010-11-25T10:16:00.000-08:00

Have a wonderful Thanksgiving celebration today.......

TODAY'S PAINTING

2010-11-13T16:28:00.000-08:00

Today I took my small piece that Ovanes worked on the first day at the workshop in Pacific Grove last weekend. I re-painted it using similar colors. I tried to keep it simple and create the same kind of light. I think it is still a little dark. It looked the same up in my studio, but when I brought it downstairs and put the two side by side, the little one was quite a bit lighter. Oh well, back to the easel as they say.... if I do decide to lighten it up I will post it again.
Have a nice weekend......

Ovanes Continued

2010-11-13T13:07:00.000-08:00

It's nice to be home today. I get to paint in between my chores of course. I'm working on a special Christmas project with an actual deadline, but also I'm starting with some seascapes from last weekend. Just practice while I can remember something.
On Day two at the workshop Ovanes was kind enough to do another demo and then continue to paint 5 paintings in a matter of about 2 hours. Amazing. He didn't talk about his process as much as the day before and used a little different approach, with no under painting this time.

I painted a little larger and bit off a little more than I could chew....Now when I see his paintings and see mine, he uses even more grays than I thought. I need to use more mixed grays. (mental note to self)

This is his palette set up in the studio

The best part came that evening. We were invited to his Carmel-by-the-Sea home where he set up his studio in what would otherwise be a living room. He had prepared a beautiful table of vegetables roasted and European cheeses, crackers and flat bread, fruit and wine. He set up a large canvas, what looked to me to be about 48x60. He set up an amazingly beautiful table of vases, fruit, silver trays, a silver sugar bowl, a beautiful throw, etc. He put the music on and at about 9pm he started to paint. When he does a demo like this he does not talk at all. The room is quiet. With the exception of one short break he painted till midnight.

OVANES WORKSHOP DAY TWO

2010-11-11T14:14:00.000-08:00

before Ovanes painted on it...

and after!

Well, I got home on Monday evening and have been catching up here. I had to give myself a day at home on Tuesday and had one of those headaches - so I got somewhat unpacked, did some laundry and had to do some preparations for yesterday's class at Capital Art Center.
I've been dying to paint my studies in a larger format, or just repaint them while the lessons I learned with Ovanes are still fresh in my head. But, well - life just gets in the way. This morning it was a dental appointment, grocery shopping and so on....you know what I mean. Perhaps tonight? If only I had a live in cook and housekeeper!
I can't really call this day two because I did not finish with that post, so maybe I should do that first.
Pacific Grove was the most beautiful place, I could not get enough of it. The weather on Friday was cool, cloudy in the morning with the sun peeking through in the afternoon.
Ovanes arrived and walked up to me, as I was freezing and said, "It's a beautiful day to paint!" Okay. And it turned out that he was right. The colors in the water and the sky were amazing and as he painted his demo I could see more and more. It took some time for me to adjust to just staring out at the ocean. It's not something I get to do and I have never painted plein air at the sea.
I froze up some when it was time to paint. I am showing the before and after painting when Ovanes made some adjustments. I quit working on my piece and began to follow Ovanes around as he coached the other students. It is a great way to get the most out of a workshop or class. He looked at my piece and said it was a little busy and needed warm shadows, contrasts of cool and warm. He asked if he could paint on it and I said of course!
I will continue with a demo that Ovanes did that first day.

He started with a very thin wash using warm colors.

He gave it a few minutes to dry and then started with lots of paint and plenty of color - juicy paint.

You want a fairly absorbent surface so the paint will adhere. Your under painting is very important
Preparation is very important. I think he stresses this because people don't understand that painting is hard enough without having a wobbly unstable set up. He wants your easel and table to be stable and clear of clutter so it will be comfortable. Otherwise it will get in the way of creating....

Take your white paper towel and hold it up to the canvas so you don't get the value of the foam too light. Compare it!Remember to consider the "key."

Don't think "too much" about local color. Create harmony, "Make it sing."
Compare the value of the water to the rock in the foreground and then compare the water to the rock in the distance. It is much lighter in value. Value comes first and color comes second...

www.ovanesberberian.com

OVANES WORKSHOP DAY ONE

2010-11-06T05:04:00.000-07:00

It was a beatiful day. We parked across from the bathroom on the beach in Asilomar, CA. Ovanes set up and started paintng. I'm so glad I'm here.

I'll try to post tonight or tomorrow so stay tuned.......

OVANES BERBERIAN

2010-11-03T22:43:00.000-07:00

I'm going to Monterey tomorrow for a three day workshop with Ovanes Berberian, one of my favorite painters. I've been studying with Brigitte Curt for some time and she studied and continues to study with Ovanes. I had the opportunity to study with him myself in Idaho back in 06 for two weeks. It was amazing. We painted outside in his apple orchard, still life's set up under each tree. It was a wonderful and difficult experience. It was difficult because I was stifled by what I learned for a while, until I began to absorb it weeks later. In the end it was soooo beneficial. I can't wait to find out what happens this weekend. I feel that I am much more prepared to hear and see what he is teaching.
I'll let you know when I get back!

Born and raised in Russian Armenia, Ovanes Berberian received his first academic training from his father, a college art professor and designer of theater sets. Shortly after immigrating to the United States in 1977, he met Sergei Bongart, a philosopher and painter who taught in Los Angeles and gave summer workshops at his Idaho studio. Ovanes was immediately drawn to Bongart’s art, whose sense of values and colors were Russian in spirit. It was Bongart who convinced him to paint directly from nature and fully experience his subjects while painting them. Ovanes notes in a South West Art interview, “Painting from nature is honest and by being honest my intuitive character and style are translated to the canvas.”

Although working from his outdoor field sketches, Ovanes paints his larger studio landscapes and still-life's primarily from memory, incorporating abstract aspects as the painting develops. Citing color harmony as the most important element of his work, he creates a variety of textures, using short, thick strokes of paint in the foreground and longer, dryer ones in the distance, thus creating the illusion of rhythm in the painting.

Ovanes Berberian lives on a six-acre homestead in Eastern Idaho, his studio built in the form of an American church. He also has a studio in Carpinteria, California where he is in much demand for his painting workshops.

Just What I Needed This Morning

2010-11-02T09:13:00.000-07:00

A Beautiful & Inspirational Song by Chaya

NEW CLASS at SCHOOL OF LIGHT AND COLOR

2010-10-30T13:57:00.000-07:00

My Dear Friends and Students,

I wanted to get a quick letter out to you and hopefully answer some questions in your mind about the upcoming class changes.

Most of you know that I will only continue to teach at the Capital Art Center until the end of the year. So here is what is up:

I will begin teaching at the School of Light and Color in January, twice a week. The classes are going to run for six weeks, but it will be just how it has been otherwise, on an ongoing basis. On the next page you will find all the information you need about the new school.

I hope you know how important you are to me, and that I care that this will be a longer drive for some of you. It was a difficult decision for that reason. For most of you it will be more convenient. I came about the decision because I have some people who want to take my class, but cannot because they work during the day. I called Susan Sarback at the School of Light and Color to find out if I could add an evening class at her school. Turns out she was looking for a beginning teacher to teach during the day as well. Well, this was a new development. What to do? I considered teaching at both locations, but I feel like I would be spreading my efforts too thin. I really want to be committed to being the best teacher I can be. I love being downtown and hope to do a couple of workshops at Capital Art Center during next year.

Other than the change in location, you will be registering for classes through the school instead of directly through me. Classes can be registered for one class, or you can save by buying the full six week course. You will have four months to make up any classes you might miss. After the first six week course, you will be getting a discount for the next six week course.

My evening class will be on a Tuesday, from 6pm to 9pm, beginning on January 11th. My weekday class will be on Wednesday’s, from 9:30 am to 12:15 pm, beginning on January 12th. We will have until 12:30 to leave the classroom on Wednesday because another class comes in at 1:00pm. I am going to see how this works, and then make adjustments as needed.

This will mean that you will want to really try to get to class a little early if you want to paint for the full three hours. If you want to paint for a full 3 hours on Wednesday, come in at 9:15.

I will miss our little lunch gatherings, but look forward to meeting for coffee or lunch at the little café just down the street.

I just want you to know that I hope you can continue to take my classes. I would be sad otherwise, but want you to do what you need to do. I have more plans to paint on a regular basis, either teaching if you want, or just painting together on a couple of Fridays a month, plein air style.

I am planning a little get together for the holiday season, and will get the details out to you about that soon. Please call me or send an e-mail with your thoughts, ideas, or concerns about anything.

And one more thing, the school is going to begin sending out class announcements for the New Year at the beginning of this week, so I have to encourage you to go ahead, call the school, and sign up for the first six week course as soon as you can. The class size will be limited. You can pay by credit card over the phone or print and mail in the registration form (on the website) with your check.

The cost for six weeks is $175.00

THE SCHOOL OF LIGHT AND COLOR LOCATION

10030 Fair Oaks Boulevard, Fair Oaks, CA 95628

916-966-7517 www.lightandcolor.com

Go to the website and read about their other very good classes, as people come to this school from all over the world. There are students who drive 3 hours to go to this school. Susan Sarback founded this school in 1989 and last year started down a new road with more classes, workshops, and instructors. Since then the school has expanded and integrated their class offerings into a wide range of courses suited for any artist at any level – from beginner to advance. Students can learn to draw and paint still life, landscape, figure, and portraits using a variety of mediums – oils, pastels, watercolors, acrylics, drawing, and design. Susan is the author of two books and a few DVD instructions videos.

I have to say I am excited to be an instructor at this school. I think you will like it and I’m looking forward to growing together in the creative process as we continue to get to know each other better.

Lindsay Outdoor Study

2010-10-23T17:15:00.000-07:00

Lindsay Outdoor Study

I took about 85 pictures of my daughter and 65 of my niece Kimberly. My plan is to do a new series of paintings - classic romantic poses out of doors. I'm going to take more photos of my friend Jennifer this week. This is new for me and will be a good learning experience I think. I'd love to paint the figures directly out of doors, if they had the time. Anyway, I am continuing to read and re-read Hawthorne on painting and he has plenty to say about painting the figure outside.
I'll share some tips, and continue with the small studies until I am more comfortable with larger pieces. That is if all goes as planned.
See you soon!

Lindsay

2010-10-20T05:10:00.000-07:00

This was just for fun and practice. I want to try again and loosen up!

VIDEO DEMONSTRATION Brigitte Curt shows us how to make a gray scale....

2010-10-17T12:53:00.000-07:00

PART ONE

PART TWO

CALIFORNIA ACADEMY OF PAINTERS
http://www.classart.org/

Russion Impressionism with a Modern Twist - Original Oils on Linen/Canvas & Limited Edition Giclees by Randy Blasquez

2010-10-15T12:30:00.000-07:00

at THE SMITH GALLERY

Show continues through October 31, 10 am - 6 pm

Monday through Friday

11:00 am - 4 pm Saturday

1020 11th Street

Sacramento

916-446-4444

www.smithgallery.com

Why It's Hard to be a Women & An Artist

2010-10-12T14:19:00.000-07:00

Class Study from CAC

I love my life, I am not complaining! I am so blessed to have the gift of painting in my life. It has been a journey and a blessing.
So why is it hard to be a woman and an artist?
Well, it has to do with a lot of things, but the number one reason for me is because I don't have to make a living and support myself and my family. Um, okay, so maybe that 's not a drawback. I have the freedom to paint when I want and to take time off and it's okay. But what I'm dealing with is the balance of it all.
Don't get me wrong, the biggest problem is myself and my own lack of self discipline. Let me put it another way.
I don't have a "job" and I don't have to pay my household bills. My husband does that. Of course I'd love to get to a point where I am contributing, and I could be right now, if I wasn't busy buying art stuff and taking workshops. But that is another issue. My struggle is dealing with how to find a balance in my priorities, and still invest in my long term art career.
It would be so easy to slack off. And I do. But mostly I give my all, with limitations. I don't have a regular schedule, I don't have that many deadlines, I don't work as hard as I could and should. I do work hard and I love it. It is my passion and my desire to work hard. I want to study and learn and do what it takes. It takes a determination to succeed. Painting well does not come easy, and that is what I'm trying to say. Okay. So to be a good artist, to be a good art teacher, to learn, we have to work hard at it. That we all know. Or at least we find out. I don't have an issue with that. My struggle is in the area of balancing these goals and passions with the other obligations and priorities in my life.
To be a good mom and wife, to take good care of the household, to invest in the important relationships in my life and to be invested in my spiritual growth is all a real balancing act. It takes a commitment in each area of my life. But when I'm in the middle of one of these things, I'm still thinking of the others. I get overwhelmed thinking about it all at the same time. I feel like I'm pulled in so many different directions. So I need to change some things.
My goal for the rest of this year is to get better organized, physically and mentally. And to start separating and delegating and prioritizing my spiritual growth, my work, my relationships, my exercise activity and fun activities, my family, my household chores and getting that in place. I need accountability in order to stay on track. Fortunately I have people in my life for the personal stuff, but not the business stuff.

First, I need to start getting my paperwork organized. My filing and records are a mess! I will create a task list on line and check it frequently. I want to get on a schedule, and I want to start a new painting series. So those are my goals for starters, and now that you've read this I guess I'm really accountable to give you a report of my progress and time goes by. I'll keep you posted. Ouch!
I am excited about a couple of things in particular. I'll be adding a new evening class in January so my students who work during the day can learn to paint at night. And, I took some wonderful photos yesterday of my daughter Lindsay, and I'm going to start painting them. I want to paint a series of romantic female scenes. Thursday I have another photo shoot planned with a very good friend, and then I'm going to shoot my niece next weekend.
So please stay with me and please send me your comments, and also your tips and advice on how I can get my act together. Now you are also responsible to e-mail me if I don't report to you on my progress of course! So now you have to be accountable......

I want to share my feelings with you......

2010-10-08T15:28:00.000-07:00

I just have to share with you a recent letter I received from a friend. She and I used to share in some things in life together, and we have somehow lost touch with each other over the years. Our kids are friends and we do see each other, but only occasionally. I had posted on my blog and shared the post on facebook. I was overwhelmed with gratitude when I read her words, so honest and heartfelt.....

Randy,

This is going to seem really strange to you to hear from me, but artists are people who "feel"in order to create and I want to share my feelings with you.

I was on Facebook, I saw your beautiful painting, and I wanted to look at it more, so I clicked on your blog. Suddenly, I was in another world. I started clicking the older posts link so I could read more about Paris and Provence. I found myself getting very emotional, and suddenly I started to cry. I didn't know why, but I imagine it has to do with several things. One, the beauty of the country held me. Then, reading about the joy that you were feeling while you were there moved me greatly. When I read about the man at the station trying to help you, I imagined you all alone, a bit fearful, and how brave you were to try to maneuver through this unfamiliar territory. I began to think of all the times that I have been in that position and thinking to myself "What's the worst thing that could happen? I could die, surely, but other than that, I'm ok." Unfortunately, it was never about a wonderful journey like yours, but nonetheless, it was the same feeling, I should think. I began to think about how I have always wanted to paint. I am a very good sketch artist, but painting has always intrigued me. I then began to think about my life and how it is solely made up of working and raising kids. I will never have an opportunity to go to France and study art. I will never be able to even stay anywhere in a first class hotel in America! I'm 57 years old, I have done most everything I ever wanted to do in my life, except have money enough to relax and enjoy it. Your blog touched me beyond words. In a way, I am sad for what I miss out on, but mostly, I am moved by the beauty of this world. Should I make a bucket list, or should I be content that God has given me a home and healthy children? Do I leave care to the wind and charge up a trip to a place that pulls at my heart, or spend all my money on this house and the repairs? In a few years, both my kids will be grown and I will be nearing retirement age. Will I have enough to survive, let alone enough to enjoy what remains of my life?

I am not asking for pity, at all. I am not even sure why I am telling you this, except the painting of a well dressed homeless French man brings me to tears and a picture of beautiful gardens where a famous artist once painted does the same. Is this the power of art? Does it move you so much that you begin exploring within yourself and go to places where you don't want to? I am not going to paint, as I imagine you will invite me, because I simply don't have any energy left. But, I thought to myself, "I wonder if Randy thinks about what people are feeling when they read her posts? Does she think that only artists and students of art are reading it? Does she think that her friends are reading it because they love her and want to see what she is up to? Or does some old friend from the past curiously explore her world and find emotions that haven't dredged up in a very long time?"

I think I should thank you, for the emotion that has come over me. I am not jealous, because I learned a long time ago that what I have is what God wants me to have. I just want you to have this gift, this knowledge that a simple post on Facebook has changed me today. Maybe just for today, I don't know. Or maybe it is the beginning of something that needs to stir inside of me.

I asked her if I could post her letter. She said I could, maybe an excerpt. But I had a hard time leaving anything out. Yes, she is an artist. But until I read this I thought she was an actress and I didn't know she was interested in painting. So, maybe some day she will decide to give it a go. I hope so. What I love most about being a teacher is seeing how much painting can bring joy, just pure joy, into one's life!
Why do I get to live my dream and not her? I think we shall find a way my friend. Blessings to you......

"That Time of Day" (rework)

2010-10-07T17:36:00.000-07:00

That Time of Day by Randy Blasquez

Oil on Canvas 30x40"

It's time to get this one out of the studio. I've had it sitting around for months. Do you ever have paintings like that? I started this last year from a small study from a couple of years ago. Anyway I had some difficulty getting the "time of day" light into the painting, so I put if away, frustrated and not knowing how to finish it. Sometimes this works just fine. I finally pulled it out and went back to work after some considerations but found some splashed paint on it, so I definitely had to rework it. I added more light to the sky and the distant water, working from warm to cool in temperature. Now it's going to the Capital Art Center in Sacramento with a price tag on it, finally!
This is my next dream destination so it's time to start saving!

CABIN WORKSHOP SUNFLOWERS

2010-10-02T16:32:00.000-07:00

Sunflowers & Cup in Window

Oil on Linen 16x20"

by Randy Blasquez

Well, I learned something from this little demonstration. I liked my painting a lot more at the earlier stages. I would not have noticed had I not taken all of those demo photographs. I might still go back in and move some edges around. Too many edges!
Anyway, at the workshop a couple of weekends ago, Kenzi snapped the photograph for this painting. We all painted it in last weeks class. It's funny because the more I paint from life the more I realize that I don't like painting from photographs. Even after this many years I tend to "copy" the photo instead of relying on my memory and the feel of the subject. Good reasons to paint from life.

I began with a wash of odorless mineral spirits and two paint colors. I used alizarine crimson and hansa yellow orange. I wanted a very warm and transparent wash to begin my lay in. No drawing here, just noting location of the subject and looking for a pleasing composition.

Here I just added my darks, using transparent red oxide, alizarine crimson and some blue for a dark. Still transparent.....

Also, you may notice that I wiped out my lights with a paper towel dipped in mineral spirits. I almost always use this technique.

I started adding color and some opaque colors. I relied on my premixed grays that I always add to my palette these days. I also mentioned to the class to continue to use your piles of paint and the grays that come from them. Use them all the way through the painting. Mix the colors that you've already been using into each other. This will insure that your painting will be harmonious.

Now, some local color, keeping the paint thin and almost dry on the brush at this stage. No medium or mineral spirits. Continue to lay in the LARGE value shapes of color until you have covered the canvas. It is easy to get too involved in one area of the painting that you like, and forget to continue covering the canvas. It is way too early to get involved......

After you have finished covering the canvas, re-evaluate and use your mirror. Walk away and come back to take another look. Is it a good time to make any changes in your composition, and to look at the music of the piece. Think about what you are trying to say. Look for the darks and lights to lead you through the painting. Is anything too centered??

Use more paint now. Use the most paint in the area of interest, in this case, the large sunflower that faces the viewer. Now, I need to go back and handle those edges!

Back to Bistro Jeanty

2010-09-24T11:38:00.000-07:00

Plein Air Dining, Bistro Jeanty

Oil on Linen Panel

10 x 10" by Randy Blasquez

I welcome your comments and suggestions for this piece. Was tougher than I thought. I do love the subject though. I'm finally getting back to painting today! I've been on the go and needed to catch up on life. Next I'm going to start a very large piece for my church gallery, Art and Soul Gallery. This will be a painting about the light of God through the birth of Jesus Christ.
I have been meeting by weekly with the Covenant Artists Group to pray and talk about what we will do for the show. If you'd like more info, shoot me an e-mail. You are welcome to participate.

Wow! What a weekend......

2010-09-20T14:48:00.000-07:00

This past weekend I held my very first Painting Workshop/Retreat.
I am calling it a workshop/retreat because I wanted it to be both. It turned out to be the right thing I think. We had a wonderful time up at our family home in the Lake Tahoe area. It is located in beautiful Tahoe Donner outside of Lake Tahoe, very close to Donner Lake.
It houses 8 or 10 people very comfortably so I invited my students/friends to join me. We drove up Thursday afternoon, shared our first dinner together and settled in. After that we got our jammies on and watched "The Impressionists". Wonderful movie!
Next morning we took a drive a few miles along the Truckee River toward the big lake on hwy 89 and painted at the River Ranch Lodge and Restaurant. They were very nice to allow us to use their patio with an amazing view.

I did a very quick demonstration of a simple composition for the students. A couple of the ladies have painted in plein air before, but some had never painted outside. We had a blast. The weather was perfect!

Below are a couple of the student pieces

Amazing!

Saturday we stayed in and did a couple of exercises to help the painter succeed. The first one was a color mixing exercise. This was very eye opening for everybody, including myself.

After lunch we did another really fun exercise that was equally enlightening. I borrowed this exercise from Peggy Kroll Roberts. We counted our brushstrokes with a limit of 35 to 40. I was amazed at how the paintings came out, and of course, we all learned a lot - including the surprise element of how beautiful brushwork can be when you load up the brush and limit your strokes. No more "licking" the canvas or overworking the strokes.

Well, I can't say enough about how much I enjoyed being with these women. Yesterday morning we went for a wonderful hike and then packed it up. I can't wait to do it again!

Now it's time to get back to work. I have many unfinished projects and paintings to finish. Hopefully if I'm successful you will see some new work up on the blog soon.

Happy Painting!

Bistro Jeanty

2010-09-06T13:09:00.000-07:00

I started a new painting this morning. Will finish later today I hope. If you have not eaten at this French Bistro in Yountville, you must. Authentic French food. Yum! It's the next best thing to being in Paris!

10 x 10" Oil on Linen

Three's A Crowd

2010-09-02T11:20:00.000-07:00

Three's A Crowd

Oil on Linen Panel 8x16"

$300

I just finished this piece. It is one of those photos that I've had in my pile for years. Who knew I would ever want to paint chickens? I guess there is a reason I never threw it away. I love the format and not every subject will work on an 8 x 16 inch panel. It would be really fun to set on the kitchen counter inside an iron easel, or just as nice in a frame.

Path Around the Lily Pond, Monet's Garden

2010-08-31T12:21:00.000-07:00

Path Around the Lily Pond, Monet's Garden

6 x 6" Oil on Linen Panel

$75.

Back to Monet's Garden

2010-08-28T21:15:00.000-07:00

That Time Of Day

2010-08-23T19:54:00.000-07:00

That Time of Day

Oil on Canvas 30x40

by Randy Blasaquez

Available

I started this painting months ago. It is from a small study I painted a couple of years back. It is never as easy as I think to take an 8x10" piece and enlarge it to 30x40". I had to get away from it for a while, and then I lost interest until this week. I'm going to let it dry and do a tiny bit of glazing over the sky and land in the background. Do you have any suggestions? It has taken me some time to get the feel of the light coming through the canal at sunset. I am finally almost satisfied with my efforts.

More about the Napa Valley Art Festival

I mentioned in my last post about the generous words of wisdom shared by so many of the artists showing there. Well I've been thinking about one particular comment from Brent Jensen. He first heard it from Kevin Macpherson. "Paint one small painting everyday for a year and see your abilities jump". He said to limit your time on these small pieces to maybe half an hour.

My plan is to challenge some of my students who might be ready to take this exercise and commit. I will share in a future blog about our specific plans. I want to start soon, but it may have to wait until January.

So, what do you think? Are you on board?

Napa Vallery Art Festival

2010-08-22T20:21:00.000-07:00

Yesterday was the third annual Napa Valley Art Festival. It was a beautiful day, gorgeous actually. I went along with a couple of artist friends, Renee White and Barbie Smith.

There were over 300 original paintings by 31 of the West's premier representational artists.

The artwork was the best yet. The artists were so gracious and generous with sharing their suggestions and ideas about painting with us.

We left inspired and excited about painting.

Dinner Time for the Mr. & Mrs.

2010-08-20T19:51:00.000-07:00

Dinnertime for the Mr. & Mrs.
Oil on Linen
24x24x1.5"

I'm reaady to sign this one. I added a bit more color and some light....

Mr. & Mrs. Final Touches....

2010-08-14T10:29:00.000-07:00

I spent a little more time on the hen and rooster painting this morning. Not quite finished, all but the final touches.....

I'm still stuck in France. Oh well! I took some photographs of these hens in a pen at Monet's Gardens in Giverny last summer. I'm considering a series of the gardens as well. Maybe even some more of the water garden. I don't think I'm quite done with the water lilies yet. I can't help it!

Dinner Time for Mr. & Mrs.

2010-08-13T19:43:00.000-07:00

Yesterdays Project

After todays progress.....

I liked it better after yesterday's start, but I'm not finished yet. Check back tomorrow!

In the Mood for Poppies.....

2010-08-10T21:44:00.000-07:00

Coming Up Poppies Oil on Linen 24x24x1.5"

I decided to post a new photo of this painting that I did on Tuesday. It was such a whirlwind experience that I quickly snapped the photo I had up there and went to bed. I was tired and had class yesterday so now that I took a second look, decided to post a better photo. Although it still isn't coming out that good.
You might know that I've been working on a new series of paintings from the streets of Paris, France. Still consumed by my experience last summer in France. Anyway, I was struggling with these street scenes, (all new to me), and needed to let loose! This painting is the result.

In other news....
Life is good, and busy. Classes are going great on Wednesdays at the Capital Art Center. I also just hung new paintings at the Smith Gallery in downtown Sacramento. Come by for second Saturday if you can! Click on the link for more info.

Also, I want to thank all of you who have been coming by the blog and leaving your comments! This is really fun, and I'm enjoying your blogs as well. Check out some of them on the right side of the blog, by scrolling down.

I am also really looking forward to my first workshop/retreat! I am bringing a few students up to my second home in the Lake Tahoe area in September. This will be a special time to share tips, do a couple of demos and perhaps some plein air painting in beautiful Lake Tahoe. Not only that, I want to take time to relax and just paint or play, watch some how to videos, cook for one another and hike. Good times ahead.

Soon after that trip I will be traveling down to Los Angeles to take a workshop myself! More on that later.

Hawthorne on Painting - More Good Stuff

2010-08-06T11:27:00.000-07:00

New Painting - "Plein Air Garden, Paris"
Oil on Linen, 20 x 16 "
Available

If you read my blog regularly you know I am re-reading my "Hawthorne on Painting" book again. It is hitting me as though I had never read it before. Maybe I'm just ready to hear it this time.
Anyway, it if filled with so many tips about color and light that I feel I have to share.....

It is divided into sections and right now I am reading from the INTRODUCTION & LANDSCAPE sections:
INTRODUCTION:
pg 18 - Everyone knows what a man looks like, or a tree or a house, but it is our job to tell the world something about these things that it has not known before, some impression that we alone have received.
pg 19 - If you are not going to get a thrill, how can you give someone else one? You must feel the beauty of the thing before you start. Good painting is an excitement, an aesthetic emotion--reasonable painting destroys emotion. Painters don't reason, they do. The moment they reason they are lost--subconscious thought counts.
The only way to learn to paint is by painting. To really study, you must start out with large tubes of paint and a large palette and not stinit in any way as far as materials go. If you look into the past of a successful painter you will find square miles of canvas behind him. It is work that counts, experience in seeing color.
Don't try to be an artist all at once, be very much of a student.
pg 20 - Do studies not pictures. Know when you are licked--start another. Be alive, stop when your interest is lost.
LANDSCAPE:
pg 54 - It's the artist's business, the painter's job to point out to the public the beauties of nature.
Try to see them before you paint. Don't try to see a picture--go around and look at the subject until you see something, say in trees or houses, coming together, that inspires you. We do well the things we see already painted in our mind's eye--don't do it until you see it or you are defeated before you begin.
**Look at the view with your head sideways to get better relations, so that you get a sensation of the color spots rather than a perception of objects as objects.
pg 70 - Realize the value of putting down your first impression quickly.

**It seems like this works like squinting. Also Don Hatfield says to look at the value/color of what is next to the area you are painting in order to find the correct color/value. Very valuable information!

This is the way I want to paint. Some of the teachers I've worked with who talk like Hawthorne are Anita Wolff, Jim Smyth, Brigitte Curt, Ovanes Berberian and Don Hatfield. Wonderful painters all.

The Art of Christmas Show

2010-08-03T17:22:00.000-07:00

Art & Soul Gallery, housed in the lobby of Folsom’s Oak Hills Church, is calling local artists to submit work for the 4th annual “Art of Christmas Show”.

Community is a vital part of the arts at Oak Hills Church. This year our show will be hosted by the Covenant Artist Group. Any artists interested in participating will meet together biweekly for inspiration while considering our works for the show. Based in prayer and scripture, our hope is to create a show that will convey the Spirit of Christmas in a Sacred Space. We will talk about what this means as we encourage each other along the journey to create our own inspired pieces.

Our goal is to include many forms of expression; fiber arts, painting, sculpture, clay, photography sketching and others.

Join us 7 PM at Oak Hills Church Lobby for these special times of gathering to explore our role in God’s plan for our gift from Him, the Creative Spirit.

August 5th August 19th September 2nd September 16th September 30th October 14th & October 28st

If each of us committed to one piece of work for this project, we could fill the gallery & bless many people. It is my firm belief that this is what God would have us do & I'm praying that all who are called will respond obediently.

Even if you don't think you can participate or are not sure, you are always welcome at these creative sessions - we will all be looking for fresh insight, inspiration & new eyes to help us evaluate. (Plus you would get sneak peeks into this process & might be inspired yourself.)

While we want everyone to come as much as they are able, don't let having to miss a couple meetings keep you away from this endeavor - this will be a wonderful time of sharing the creative Spirit of God, no matter what the products may or may not be.

So let’s meet and see what God has in store for us this Christmas.

Hawthorne on Painting

2010-07-26T10:22:00.000-07:00

I got out this book again. It is one of those that will never leave you without some new insight....
I have been teaching the Still Life in my weekly classes. I have some very new students and this is very new for them. We set up a simple still life, get out our view finders, and start painting. This is how you learn to SEE!
Excerpts from the book:
The painting of still life gives one the widest range for study--
a bottle is as serious a subject for the portraiture as a person. In arranging, place things so they have color and so that you can see it well. If you cannot decide on color and values in the beginning, move your still life around until you get things simple so that you can see big relations.
Select one light thing against a dark thing--a kitchen utensil and a lemon cut in half--try for spots coming together.
You don't hear me say much about drawing. It is because I think drawing the form, and painting, are better separated. The first thing is to learn to see color. You will draw better a year from now if you disregard for the time being the thing you call drawing. Realize that you haven't yet the painting point of view--after you have got the spots of true color in their proper relations, you have something to draw with and you can then consider it. Don't consciously try not to draw but do the other thing so well that it will draw itself.
Don't look up at the nature and consider an inch at a time. See what one big spot is in relation to the other big spots.
Search always for more beautiful notes of color, don't search to put more things in.
Study larger spots of color coming together--don't break objects up into too many colors.
Establish big general things. You can't make all the differences you see.
Insist all the time on one spot being right relatively to another. I'm trying to say that when you think straight that thought alone is worth while and when you put down one or two notes that are right that's all that is necessary. You'd be surprised at how little work it takes to make a picture.

This is about a page. There is so much in this book - tons of information. Every time I read it I understand it on a new level.
I find the above information very exciting. This is what we are striving to do in class, to SEE COLOR.. I learned a lot of this from Don Hatfield who is also teaching at the Capital Art Center in Sacramento.

Green Vase and Oranges

2010-07-13T20:43:00.000-07:00

Today I went down to the studio at the Capital Art Center in Sacramento. It was open session and I wanted to paint this new vase I found. I will be demonstrating for my class tomorrow so I wanted to get some practice in as well.

We just got back from Hawaii and I got some great shots there. I might have to paint the ocean soon......

New Demonstration, Class Study, "Ready to Eat"

2010-06-24T13:56:00.000-07:00

"Ready to Eat"

Oil on Linen, 9x12"

I painted a demonstration for my oil painting class yesterday at the Capital Art Center. I decided to post the progression of the work, since I had to finish it up from a photo at home today.....

I blocked in the shapes and values FIRST. This has proved to be the best way to achieve success for me. Keep it simple, 3 to 4 values and shapes, a happy composition.

I added more saturated color. I was able to compare the value of the under painting to the colors that i could "see". I went for the rich shadow colors of the grapes first.

At this point you can see that I continued to add more color to the grapes and worked some on the plate. I adjusted the perspective of the plate also.

I'm using more paint! I added the grape in the shadow. I worked in the "light" areas of the painting and tried not to get to much into the idea of painting little grapes. I redefined the shadow areas and put more color in to light of the table.

The plate is looking better. I adjust the shadows on the grapes themselves. I added more light.....

I 'dusted' the painting - "used my paper towel to swipe at it very softly". I like the way it makes the edges softer and makes the light bounce around.....

Here you see I added the stems and just a few more highlights, and a touch of blue in the shadows on the grapes.

New Painting in "Paris" Series....

2010-06-24T13:16:00.000-07:00

"The Well Dressed Street Man", Paris Series

I sneaked a photo of a man on the streets of Paris last summer. He just looked so different than the people you might see on the streets of San Francisco or New York. My thought was "wow, even street people in Paris dress well!" If I didn't see his belongings sitting there in a basket I wouldn't have believed that he lived on the street.....

I was so embarrassed to take the photo that it is a "moving photo" which was good for the painting because it left me with very little detail. I might make a few adjustments now after seeing the photo. What do you think?

2010-06-15T21:36:00.000-07:00

This is a picture of my son Joseph Tate who is also an artist, and a very good one. Above is some of his artwork.

I'm just sharing a few photos from last weeks Art and Wine Festival for Women Realtors in Old Sacramento. It was a fun event.

contact Joe at : josephtateart.com

916-601-9612

Paint Mobile

2010-06-15T21:20:00.000-07:00

Today I went to Livermore to pick up a car load of oil paint. It was better than paying $225. for shipping about a 100 miles. I bought a lot of paint. I've decided I want to have it available to my students for their convenience. Classic Artist Oils is very good paint for the price, although the prices have gone up considerably. I ordered enough to get a discount that I can pass on to the class.
I've been painting a little and socializing a lot, but that is what I have felt lead to do lately. God calls me. I respond. At least I am trying to do His will. He is in charge of EVERYTHING!
Here is a quick bad photo of the replica I'm demonstrating for the class. I'll try to finish it tomorrow and take photos of the class paintings tomorrow and post them for you.
God Bless!

Birth of the Impressionism Tour

2010-06-09T19:27:00.000-07:00

Last week my class and I traveled to San Francisco to the de Young Museum to view the "Birth of Impressionism" Tour. It was the first time for everybody, except myself, to see these works from the Musee' D'Orsay in Paris. I visited the exhibit last July while in France and wanted to share the experience.
Everybody loved it. On our way home we decided to paint from some of the prints of Monet, Degas, Renoir, and others.
It became an opportunity today to teach the value of learning to see "values". We did a small value study in only 3 to 5 values, then after our lunch break, began the larger works. Everybody did great and I'm looking forward to getting some photos up soon.
If you haven't visited the exhibit, it is very worthwhile! We plan to go in September for the Post Impressionists Show at the same museum.

ART ON THE BOULEVARD

2010-06-06T19:41:00.000-07:00

Friday night turned out to be a lot of fun at Hang It Up Gallery in the Town Center, El Dorado Hills. I was having so much fun I forgot to take pictures!

I ended up finishing the demonstration before I went home. Here is a quick shot.

"Must Be Love" 16x20" Oil on Linen

2010-05-27T10:25:00.000-07:00

"Cherry Me" 10x20 Oil on Linen

2010-05-23T13:43:00.000-07:00

Another Class Study I'm Working On....

2010-05-21T16:39:00.000-07:00

"Juicy Fruit" by Randy Blasquez - STILL LIFE DEMO

2010-05-15T19:00:00.000-07:00

After the initial lay in you can see in the previous post that I wiped out the lights, being sure to keep the shapes very simple while looking for the lights and darks, and very importantly the movement of the darks through the painting.

At this point I checked to be sure I was happy with the lyrical feel of the piece. This is very important, and this is the time to get it right. The basic structure has to be pleasing to the eye or you will be building a painting "on the sand".

I began to lay in the color, shadows first, then the lights (opaque colors). At this point I mixed some "general" color piles on my palette, using plenty of paint. I was keeping in mind that I need not go too light until much later in the process. I am always keeping in mind that when I'm working in the light I am staying the the light values- and when I'm working in the darks I am staying in the darker piles.

I am using a more transparent approach in the darks and more opaque paint in the light and middle values. Although the middle value at this point is still a lot of the under painting.

Here I have continued to work in color while adjusting shadows and lights, comparing one to the next, adjusting again.

More paint, more juicy cantaloupe color. I used as much "rich" color as I could, staying away from adding white. I used hansa yellow/orange, mixed with cad red, rose, and naples light.

I added the reflected lights on the table, being careful to keep the edges soft and the color muted.

A few more lights.....

and adjustments....

and final touches....

I really laid on the paint at this point, scooping up the paint from my mixed piles. I added some lines and edges, and softened some areas.

"JUICY FRUIT"

Oil on Linen 16x20"

by Randy Blasquez

Wednesday's Oil Painting Class Demo

2010-05-14T08:25:00.000-07:00

Wednesday's Oil Painting Class Demo

We had a full class Wednesday and I set up a still life that was inspiring, (to me anyway!)

I loved the beautiful colors and shapes within this set up - also the dramatic light situation.

I wanted to paint bold, expressive shapes and explained to the class how important it is to begin a painting with the abstract in mind. I instructed them to use three values and three shapes only - for starters. This will help you see the beauty in the dark shapes against the beauty of the light shapes........

After you get that far, look at your abstract composition before going further.

Use a mirror. Walk away and look. Squint at your setup! Look for beautiful flowing darks that move your eye. See the lighted shapes and how they are leading you on a journey. Look for movement in your painting. If your eyes are pleased by what you see, move on to more paint.....

I will post the next stage later today and then the finished piece so stay tuned.

Don Hatfield Still Life Class at Capital Art Center

2010-05-10T20:44:00.000-07:00

Don's Demo

I started this 4 week class last week. When I heard about it I jumped. Don is an amazing teacher and painter, so I made time for this. I am teaching still life to my students on Wednesday, so I knew I could learn something (a lot!) from Don that would enable me to be a better teacher myself. As a teacher I want to give my students what they need to succeed.
We were very blessed today to witness this beautiful demonstration. Don paints in a manner that resembles Sergei Bongart, whom he studied with 8 hours a week for two solid years. It was exciting to see this painting come together from start to finish. Even though Don complained about how things were not working out, it is obvious that things worked out very nicely!
He talks a lot about large color/value shapes. I cannot stress this enough. I still want to paint smaller value shapes way too early in my paintings. But Don says just wait, and it will pay off. He starts with a lot of grayed down color where as I usually start with more color. I find it interesting the way he "finds" the value/color, by studying his subject and "comparing one value next to another". I saw it work right before my eyes. It was wonderful to see his subject come alive when he found the correct value! I want to paint this way and I feel very fortunate to be able to work with Don here in Sacramento.
Don just put out a new video, so go to his blog and find out more.....
http://hatfieldfineart.blogspot.com/