A Day With Dad ...on his "Job"- Lovingly dedicated to my fine son Liam James

My son Liam joined me for an outdoor painting trip to the small rural village of Kettleby... as a part of a provincial program in all high schools across Ontario on November 4th. It provides students a hands onopportunity to gain insight into the work-a-day world of their Dads. I was most happy and honoured to have Liam join "ME"... to share time with me and to better understand that my making art through painting... is indeed work and an alternative way to earn a living.

The day was chilly...and on several occasions spit a bit of rain... but in general, it was very pleasing... and productive for us both. I had chosen Kettleby as our target destination because I have painted there on many occasions before. Not only are there numerous sites to choose from in this small area... but the whole village is "painter-friendly" and welcoming. There were a few changes since my last visit several years ago... but the hamlet and its people cling to their rural roots and heritage fervently. Many of the homes are restored to their original glory...and bear plaques with the names, occupations and dates on their facades.

During the course of our day-long session... we were visited over and over by inquisitive,interested and friendly citizens... as they came to pick up their mail... or to have lunch at the new Italian Bakery/Bistro located just up the street from where we had set up. I was very proud of the confident and informative conversations that Liam initiated on his own to answer their many questions.Self-esteem... present and accounted for!

We ourselves wandered into the establishment before starting...and found to our surprise that the friendly woman owner...a recent escapee from the "Big Smoke" (Toronto) served a wide selection of "Hot" lunch possibilities... and the full gamut of Bistro beverages. Gone at once was the initial plan to eat the cold lunches that I had brought along!

Liam jumped into the process and selected our site...an elegant century old brick...Ontario central floor plan... with good details about it to support a good painting session. Good eye Son! I offered a little encouragement and a few strategies to get him started into the drawing part. I told him just to "grab on to my shirt tail"... and follow the leader... and to ask questions when he encountered any problems. At first, he was a little tentative and uncertain about proceeding... but within a half hour he was running full steam ahead...seldom asking for more than colour mixing tips. By our much anticipated lunch break... we both were sitting with a good structure... and lay in.

The wonderful, delicious... and HOT "vittles"... accompanied by a steaming mug of Earl Grey Black tea propped up our painting spirits... and dissolved any reservations or reluctance either of us might have had before lunch. We launched directly... without missing a beat into the painting mode. Within another hour and a half... we both agreed that we had enough recorded... to take the studio for fine tuning on the upcoming weekend. We packed up the gear cleaned our brushes and hands and then delivered all of our rags, etc to the bag I keep in the van. I stressed the ABSOLUTE importance of leaving the site as pristine as we had found it. In that way... we insured a hearty welcome ...if we ever returned.

I am including some photos taken during the foray that illustrate the total success of this project...and the Dad Day for Liam and "I". I think that a picture does "say the same as a thousand words". The picture of Liam's radiantly smiling face says it all.

"Art Matters!...and so do our children." Together they say we lived and accomplished good during our given days here on this beautiful Earth. They are our gifts to future generations. Why do our powerful decision-makers in government and educational policy-making continue to underfund..devalue... even worse.. eliminate the Arts programmes in our schools? What kind of society will we project and leave behind without encouraging the Arts? Imagine a world without pictures, music, literature or dance.What a sad and bleak place to exist.. not "live" in...a land void of dreams...or dreamers!

Good Painting to ALL!!!

Last Autumn Fling...in the Park

Yesterday I was up early before the sun rose...headed to Algonquin Park to pick up the three pieces I had exhibited in The Mystery in the Park Juried Show. I hoped to be able to get in a painting foray as well...if the projected rains and cold front expected to move in... held off. I quickly picked up my work at the Visitor's Center and dashed off to an area where I knew I might find a number of potentially good painting sites...and maybe even ...some tamaracks that might have miraculously held on to their golden finery. Right at the entrance to Opeongo Lake Road... I got out and immediately found a nice site...protected... out of the wind...and with a few tamaracks in it! Bonus!

The site was located well off the highway...which wasn't at all busy anyway because the traffic of fall has departed. So I had this ethereal...peaceful place to my "Self"! Well... not quite! I did have to share the spot with a quiet couple...of hooded mergansers who were cruising and fishing the Opeongo Creek.

I set right down to work on the 20x24 inch canvas I had chosen to use. I had prepared my palette... ready to go the night before...so after a short carry I was busy at it. The light was very subdued ...non-existent for most of the lay in... so I merely mapped out a "shorthand" line guide using a mixture of alizarin permanent with ultramarine blue. The photo indicates "drizzling" turps into the dark sap green-Alizarin and the otherwise rough linear guide I developed to begin the actual painting. Looks a bit sloppy...but the weather was not going to remain constant...no time to get picky! Onward... the paint!

I quickly massed in the far shoreline with rock tones...greens...reserving space for those tamaracks and developing the beginnings for the distant smoky ...purplish pink hills in the background. I then dropped the dark shadows into the water area...and moved up to the foreground grassed area to throw in the contrasting lights. I added some greens and reds and blended those with the taupe grass colour.

At this point, I decided to drop in some verticals to help balance the totally developing horizontal feel...selecting trees that interested me in colour, shape and height. I then started to work around the canvas randomly...refining forms,colour values and angles. I even added a few of the sticks and stumps that poked out seemingly every-which-way in the immediate foreground.

Suddenly...a gust of wind littered my wet canvas with a dusting of fine gold....yes...tamarack needles! I realized that any attempt to remove these at this time...would result in disastrous markings all over the painting service. I quickly decided to get the canvas out of further harm's way by taking it from the easel and reversing it to face away. The wind continued to build, so I took a digital image of the scene...in the new light that had appeared briefly...packed my minimal gear...and headed back to the car. This "start" could be finished up nicely back in the warm... wind.. and tamarack-free studio. After the paint had set up overnight... I knew I could easily and safely remove all of the offending needles and continue with the painting...using the digital image for reference.

I headed down Opeongo Lake Road and again found my "Self" in solitude. I found a wonderful view across a wheat coloured marshy stretch reaching out to the Algonquin Highlands in the distance. A quick glance at the sky told me to set up and to get down to work quickly. I chose a smaller 10x12 inch masonite panel already toned with a dark value of acrylic burnt sienna.

I laid down a very rough line drawing or guide...focusing on interacting lines and interlocking shapes...pure geometry really. I then began the painting process by sorting out of tree colours,forms and groupings on the far shore.I "muddied in" some vague sky references and colours...and then dropped down the dark reflection of the distant hill into the middle ground water area.
I dropped in some (approximate) marsh grass colour...wherever it occurred and then the reflected sky colour...lowered in value into the water area.I finished the sketch by fine tuning the colours and values across the whole composition...tweaked and added a few details 'n sticks in the foreground.I had "said" what I wanted to say and packed 'er up...satisfied with the one hour result. Shouldn't need much ...if any changes back in the studio.

With the weather still at bay...I dared another start...this time a quick study on another 10x12 panel. The subject was a large erratic (glacial boulder deposit) in the middle of Opeongo Creek...as it enters Opeongo Lake. Locals tell me that the First Nations People... the Ojibway and the Algonkians...refer to it as "Turtle Rock"... a sacred spot because of it mossy, lichen shell shape...sitting in the centre of the creek ...looking like a half submerged turtle.Many of these animals have totemic meanings and applications in the spirituality and clan identity of these people... even up into the present time. They would have to pass by it on this water highway as they journeyed from lake to lake ... stream by stream ...all through their Algonquin Highlands territories.

The sudden drumming of water on the brim of my ball cap...and the water-pocked surface of the earlier dark mirror image in the creek told me that this session was over. I packed up in a hurry...and put everything under the lid (cum porch roof) of my van.I quickly cleaned my palette and brushes...and my paint-soiled hands with automotive orange hand cleaner. Looking at the "start" of this attempt as I cleaned up...I realized that it led nowhere... ever ...for "Me"....so I "scrubbed" the sucker! Another day!

The day could have ended on a productive two sketch day...yet on a sad...wet,soggy note. But the Universe...and my Creator conspired to make the day end right for "Me". Just as I prepared to get into the van... a bird dropped onto a low-slung spruce branch...just above my head...and then another close by. Two Gray Jays... or Whiskey Jacks as they are more affectionately are known to "Me"... and others who often share our lunch...and their space...with a sense of awe and belonging... in peace and without fear! These are cheerful, friendly and brash harlequins... and are found everywhere in our North. My North country is my Cathedral!....

"I"....am truly blessed! Good painting to all!

Fall Colour Festival Closes

This exciting... but very brief season of dramatic colour change in our Canadian landscape centres totally upon trees. The rich reds, yellows and oranges belong to the maples...predominately the hard maples...and the Sugar maple is "The King of Colour". These the undulating ribbons of hardwood coilour are broken everywhere by the complimentary greens of the stands of various coniferous varieties which share our forest spaces. Needless to say, the artist's eye and heart are overcome ...to the point of colour "drunkenness" under its influence.This effect on the artist is akin to the anticipation of opening day to waterfowlers and deer hunters... or to July for the avid gardeners. It is the "High Holiday" period...the "Passion" for "Me" in my artistic life!

As with all things in the cycle of life... there is a beginning ...and joy with it. Paradoxically... there is an inevitable end as well...and with it comes some bittersweet sadness. Yesterday was that day for "Me". I had a few remaining forays on the planning board board to complete... but the Witch of Hallow e'en blew into our Oro-Medonte Hills viciously overnight on the coat tails of a rainstorm to douse and destroy those plans for the season.

I had found a lovely stand of tamaracks, or larch, as they are called in some parts. They are tall...straight and stately bluish green conifers, but become golden and feathery at this time of year because they are the only conifer to lose their needles over the winter. They are a marker for "Me" in the process of seasonal change... and I always dedicate one foray "out there".... to do at least one sketch of them in their autumn costume. As I approached this stand...I could see golden skeins stretched across the barren grayness of the paved road ahead. I realized immediately, that this opportunity was lost to me.

I had allowed myself two hours for the trip and task combined... planning to make a 10x12" panel study within an hour span. I had to be back to the Gallery to open at 10:00 am...since my lovely wife and partner (in everything) Deb had flown yesterday to Yorkton, Saskatchewan to meet her new Grandgirl Ella... to trick-or-treat for the first time with her beloved Ava... and to spend time with her Son Spencer and his lovely wife Jody. Deb is the backbone of The Paint Box Gallery."She" makes it run efficiently....and brings a peace to "Me"... that permits me to do what "I" choose to do...and must....PAINT! Something to remember for those who aspire to own their own gallery business. Don't be confused! The Gallery owns "You"...not the other way around! You have to be there to sell your work. Otherwise...pay the gallery commissions gracefully...and "play" by the "rules" of that business arrangement... and be free to travel and paint without worry about the sales initiatives.

With this plan in a way..."gone with the wind"...I moved in thought immediately to Plan "B". I headed back to Rumble's Flour and Feed Mill... a lovely faded red behemoth located about two minute's drive from our home and Gallery. I set up quickly... rain was threatening...and my view was located in the middle of the pasture that adjoins the mill. The dash was too quickly undertaken and I paid for that lack of care... by catching my pant leg as I passed through the hole in fence and falling backward with gear in hand. I caught hold of the fence with my right hand and broke the fall, but in so doing... grabbed the unforgiving barbed wire and punctured my index finger. I passed the gear through the fence first... then followed and got to the chosen spot. I stemmed the blood flow with a clean shop towel and set up quickly. After a moment of deep breathing and "looking"....I launched into the painting process. Everything progressed well after that initial "fall from grace". The weather held off...and I headed home exactly one hour after starting... with the 10x12" sketch in (bloody) hand...satisfied with the outcome.After tending to the wound in my finger, I set up the sketch on my easel and "tweaked" a few areas over ten minutes.... signed it and placed it into a frame. It was obviously a worthwhile morning. "Faded Rose" seemed somehow cheerier... to be "indoors"... surrounded by "Friends"!

I apologize for the lengthy post... but the purpose of this blog is to familiarize and share my thoughts, process and methods. Think of it as a chance for us to chat...or even to be together for a painting session outdoors. Such a wonderful thing is Cyberspace... when that can be accomplished in seconds across vast distances. Forgive my wordiness... and take from the posts what "You" wish.

I wish All...Good painting!

Creating... and adhering to a painting process-Part Three

I have discussed my palette, kit and set up procedures in the previous two posts, so this post will cover how I approach and carry out a painting project. I paint on numerous surface materials ranging from canvas duck, linen to solid surfaces to include masonite, MDF board and birch panel. I work on a range of differently sized formats to include 5x7"... 8x10"... 10x12"...11x14"... 12x16"... 14x18"...16x20"...20x24"... 24x30"... 30x36"... 36x48"... 48x60" and on occasion triptychs which are composed of a combination of three of these other formats.

I work outdoors mainly on 5x7"...10x12"...16x20"..20x24 inch and 30x36" formats. I do not feel at all uncomfortable with larger sized pieces on location...provided that weather conditions are favourable... that the subject deserves a larger format and that it excites my interest. I lay in with a single larger flat brush...one inch variety usually....working the whole area of the canvas randomly... until the entire canvas surface is covered.If I am employing a "colour massing" approach...I squint at the subject through my eyelids and apply a broad area of colour using large strokes which are close to the value I "see". However, I do not push to find the most accurate value... that comes later in the session after the entire canvas is covered. I work quickly...trying to find "the Flow" as I will refer to it... a state reached where you are working intuitively... searching... seeking out patterns...and creating gestural passages as opposed to details.At the end of this "fleshing out" focus...I step back, or even go for a short walk to get away from the "path" I am thinking about. When I return to the project... I feel refreshed and start looking for new areas to focus on... to add "specifics"... which include stronger areas of colour... vertical and diagonal lines... value corrections... anything that might contribute a stronger statement. This is especially true in focusing on the main subject in the painting... where the darkest darks and lightest lights should converge to create the highest visual interest for the viewer.

When I am satisfied that I have successfully absorbed and arranged the essence of my subject, I can choose to end the session at this point and use my digital camera to record a useful reference photo to "fine tune" the piece to an ending in the studio...away from the actual subject. Or if time (and my energy level) permits... I can push forward to completion right on location. Both situations do occur frequently and do produce equally good results. Often, I will pull out an 8x10" or 5x7" panel and quickly attack a nearby subject I might have noticed during the session...or on my "stroll" at the mid point. I never worry about creating a "masterpiece" with this effort... I treat it as...my "run-for-the-sun"....stealing time at the end of the day... an opportunity to take home yet another "Idea"...which can be developed further in the studio...or even be returned to at a later date...a "memo" to my Self.

This is but one strategy or appraoach that I employ to work successfully in the field. I regularly use other approaches and create what I call "mental gymnastics"... to refresh my enthusiasm and to avoid systematic and predictable conclusions...all dead ends in the creative process. No learning can occur...when the end is predictable...or defined. I will describe some of these "alternate routes" I regularly include in my own painting journey... in upcoming posts. Stay tuned!

Until then.... Good painting... to ALL!

Creating... and adhering to a painting process- Part Two

In this post I will outline my customary set up routine while painting on location. I refer to this routine as my "Two Carry" set up.On the first carry to the selected site, I transport my plastic blue box containing all the loose and spillable items.

I then survey the location looking for a suitable subject... with a fairly level area to set up my easel. After finding these prerequisites I return to my vehicle to select the appropriate canvas...my paintbox...along with my lunchbox...and if not too far into the bush... a small folding chair that I use on occasion to give my legs a break and to look at the work in progress from a suitable distance.

The blue box snaps shut and prevents unwanted odors or stains in the rear of our van. In it, I pack my Coke carrier filled with 200 ml tubes of colour... smaller sized primed and ready-to-go toned panels of various sizes... 4 liter kerosene supply... small turps....shop towels...willow charcoal sticks...can of fixative...small length of cord and bungees...brush cleaning can...hand cleaner and plastic bread bags to store dirty cloths,etc. in (to carry out from the site).

AS the picture demonstrates... the box with lid on serves as a place to put my brushes, a drink and toweling during the session. The Coke carrier loaded with the heavy tubes of colour is affixed with cord or bungee to the crosspiece to the legs on my easel to counter the disastrous effects of possible gusty wind conditions. This set up routine usually makes my outings trouble free and enjoyable...and takes only minutes to arrange.Prior planning is a real advantage to painting enjoyably and successfully in the outdoors. Watching the weather reports beforehand also helps lessen the chances for last minute disasters and to guide your choice of locations.

Creating...and adhering to a painting process-Part One

The place to begin in first describing my own personal painting process is to examine my choice of colours...aka my "palette". My palette closely follows the palette suggested by John Carlson in his "Bible"...."A Guide to Landscape Painting".I guess you could call it a split palette. I use two reds...two yellows..two blues and titanium white as my basic choices...and add other colours I choose to use occasionally for specific properties or tasks. I ALWAYS place the colours in the same place on my palette...thus allowing me to create a pattern of selecting colour that becomes automatic over an extended period of time.

My reds are cadmium red light and alizarin (permanent). My blues are French Ultramarine(red phase), cerulean blue...and occasionally cobalt or thalo. My yellows are cadmium yellow (mid) and yellow ochre....and often Indian yellow or raw sienna.

I use Winsor and Newton's jaune brillant to heighten colour...burnt or raw umber to make lovely greys and viridian to develop a greater selection of rich greens.

The primary colours obviously include a warm and a cool choice to create values and temperature in my mixing. I use Winsor and Newton Liquin to speed up drying time in slow driers like the cadmiums and sap green. I employ titanium white in alkyd form as well as "Soft Mixing" form. The alkyd aids drying...while the "Soft Mixing" retards tightening up in the sub-zero temperatures I often work outdoors in during winter. I use pure turpentine as my solvent, but clean my brushes in a can of kerosene attached to my paintbox.

My choice of outdoor painting easel is a lightweight telescoping aluminum easel. It holds my canvas and my paint box effectively and is easy to take down and to anchor with the spikes attached to each of the three legs.

My brushes are most always a variety of the flat hog bristled type...with a rigger thrown in for detail work and signing. I find through usage that many of my bristled brushes become "brights"...due to the constant scrubbing they receive fom the canvas.

I guess that I could summarize this post by saying that your choice of colours and equipment will evolve as you progress in your painting as mine has...and will be determined more by your individual needs and preferences than what might be suggested in books and other artists' ideas.Even student grade colours will suffice in the beginning of your search. They are economical to buy...and for my money handle and cover well. You can purchase most brands of oils in 200 ml tubes at a fraction of the expense of a 37 ml of artist grade colour. Those colours are for professional use and work intended for sale.

Creating...and adhering to a painting process

Finding your "voice"..."style"...whatever one calls it...is a lifelong search for every artist. The search is really a sorting out process...trying different mediums... attending some classes... reading/purchasing books,magazines... joining groups to paint with...and yes....reading and exchanging ideas via cyberspace through web sites and blogging. All of these sources contribute to artistic growth and advance one's confidence and information base.

However...it is the single act of drawing,mixing colour and painting which advances that growth exponentially overall. Much of this search is...or in my opinion should be conducted alone. It is in this environment that one can risk...experiment at will and study earnestly and undisturbed. Not every artist has the immediate luxury of having studio space or the extra time and money to attend classes...which is why I chose to work outdoors initially. This decision is the single most contributing factor to my own success and happiness in painting. Outdoor painting on a regular basis teaches one everything that you can read in the best of "how-I-do it" books. It is both personal and fitted to your own perception...or way of "Seeing"...either subjects...or colour.

Through sharing this experience with a number of artists who, themselves had this passion for both the outdoors and painting... I joined a fraternity of friends who over the years developed personal and working relationships which continue to this day. Their critical input regarding my painting is both valuable and enriching to my continuing journey. I might never have met them ...had I not reached out... risked and built those friendships.

I do not separate myself from the value that studio painting brings "to the mix" either. In my sense of things...participation in one space supports the other... and neither is more defining in terms of excellence or importance. I cringe at the oft' used and now pedantic expression: " I consider myself to be a plein air painter". It is as if that school ...or method of painting supersedes painting done in any other manner. I do paint outdoors... or "plein air" as I believe the term is derived, but only because as a "hunter-gatherer"... I find resources out there which are portable in the form of "sketches" on panels, canvases or sketchbooks...to develop a thought or "Idea" further. In short...CHOOSING to paint outdoors...does NOT in any way make me special...just better educated to natural settings and processes... excited visually.... and better prepared and motivated to push forward.

I am going to try and "flesh out" an overview of my own painting methods for two reasons. The first reason is to share with my readers... my ideas that they might glean some insights to help them in their own individual searches. Secondly by going through this self-examination process... I might better understand that process...because after all of these years of painting... I do so almost out of reflex and as a ritual. One can never stop learning... without risking staleness and "stunted" artistic growth.

I will begin this process with a three post series... the first to examine medium/palette/equipment,... the second to address planning and start... the last to describe the painting process itself through to the conclusion.

Stay tuned...and Good painting to All!