Creative Catalyst Newsletter November 11, 2008
SAVE $5 on Sketching in Perspective, Drawing and Composition
If you’ve ever had trouble with perspective, this is the workshop for you.
Carl Dalio presents eight lessons on perspective and composition, each featuring an easy-to-follow exercise. Carl establishes the basic principles with a sketch of a country house. He explains how to recognize vanishing points, a skill that forms the foundation for the rest of the workshop. He then demonstrates one, two and three-point perspective, illustrating the advantages and pitfalls of each. Using a simple, one-story building, he establishes a system that can be used for equal spacing of any set of objects: fence posts, cars, clouds or people. Next, Carl demonstrates how to draw proportional figures from eye-level and an elevated vantage point. He introduces time-saving methods for populating landscapes and applies his techniques to larger landscapes. Carl concludes with principles for composing sketches for paintings. He selects intriguing shapes from his reference material, determines dominant values, and edits major elements to suit his design sensibilities.
This video includes bonus features on painting figures in landscape and selecting colors.
Valid on Online or Mail-In orders only … Retail price is $39.95 – Sale Price is $34.95 + S/H – Sale ends Tuesday, 11/18/08.
Learn more about Drawing in Perspective
SHERRI HAAB has done the research so you can release your creative spirit to work with precious metal clay. Sherri takes you through the processes required for correct construction and firing to insure success. Learn how to smooth seams, strengthen wires, set stones, personalize charms and correctly size rings. You learn to make your own molds from family heirlooms and create fantastic, one-of-a-kind gifts. One block of silver metal clay can make a family full of keepsakes. Check it out!
Valid on Online or Mail-In orders only … Retail price is $32.95 – Sale Price is $27.95 + S/H – Sale ends Tuesday, 11/18/08.
A surprising benefit of seeing my paintings reduced to thumbnail size in the gallery has been to realize that there are some things I like to do in my poster work that has not carried over into the portraits. I guess that should come as no great surprise in that the posters are hard edged mouth atomizer pieces and the portraits are more traditional watercolor. Anyway, the thing of which I speak is the use of negative space as an active design element. Specifically, it is where the white background cuts into the subject matter and becomes part of it without any defining line. This might be the next thing I play with in portraits.
This brings me to an observation. I think the human body is so familiar to viewers that a surprising amount can be left out of a painting and it is automatically filled in by the observer. A simple curve can become a breast, a dot can be an eye. The trick is to bring personality to the curve or dot that reflects the individual being painted. This is one of the reasons I love the work of Amedio Modigliani. He has abstracted the portrait to the essence of the sitter. It appears he felt very little compulsion to document the exterior likeness, even to the point of eliminating the whites of the eyes in his later work.
Personal artistic direction is a process of freeing ourselves to our own set of standards. Years of struggle help us distinguish, for ourselves, what is important and what is not. In the mean time, I’ll move on to incorporating more implied edges into the portraits and try to ignore the frustration with my own work.
Cheers,
Lynn Powers
Congratulations to Clara DeMott, Oregon, USA for being the winner last week (11/02-11/9/08).
First, let me tell you, I am an oil painter, and would not normally sit down to watch a video on watercolor.
Since I had met Sue (Archer) sometime in the past, and seen her very strong work. I assumed her video must be as good as her work, so the idea of watching it intrigued me.
I thought the video was excellent. Really excellent.
Most videos are just a little more than a demonstration. Sue’s video was packed full of very important technical information. I loved the way she explained her use of color, her use of grays, and her really rich darks, in such a way, that a beginner could easily understand it, and an advanced painter would enjoy the excellent review, and think to themselves: “Oh, yes, I had forgotten that.” This video is definitely very well suited for the both the beginner as well as the advanced painter.
Together, you have produced a video that was a treat to watch. I learned a lot. It was excellent. I would recommend it to anyone.
Did I use the word “excellent” to many times? That’s because it was excellent.
M. Baynes, FL
Sue Archer’s workshop is COMMANDING COLOR
“Industry in art is a necessity – not a virtue – and any evidence of the same, in the production, is a blemish, not a quality; a proof, not of achievement, but of absolutely insufficient work, for work alone will efface the footsteps of work.”
~James Abbot McNiell Whistler
1834-1903
From ARTIST TO ARTIST compiled by Clint Brown
Ann Baldwin
Carrie Brown
Carla O’Connor
A Way to See Yourself Improve
by Lynn Powers
Craig Nelson says in order to improve your painting; you simply need to put in the brush miles. In his first workshop, Quick Studies, he demonstrates how, if you narrow your focus on specific issues, you can speed up your progress. Additionally, you can see one thing improve. His suggestion applies to other media as well.
To focus on specific issues requires some objectivity about our work. If you lack the confidence to pick an issue, I suggest you simply pick a specific subject and attack one part of it at a time. For example, I enjoy painting faces. I’ve focused on one feature at a time. For a while I studied mouths, then noses, then eyes. With each additional feature, I’ve gained confidence and became braver. The process has become more and more rewarding. If I were interested in still life florals, I might choose foliage, petals, crystal, etc. Then I might choose backgrounds, table tops, etc. You get the drift.
Part of the fun is the investigation on how other artists paint the same thing. You will find that when you narrow your attention, you will see and retain more because it will have more meaning to you.
Next, hands. Yikes!
Cheers, Lynn
What People are Saying
I saw the Carla O’Connor video at art school and liked it so much (I) decided to purchase one for myself.
B. Brands, Australia
I may be hooked on these DVD’s …Penelope
It’s always a pleasure to get one of your excellent videos! Thank you very much for your kind service and efforts!
Lots of greetings from Germany, Yours Ute
I have learned so much from the videos/dvds that you offer. They’re of great quality and the length of instruction is well worth the price. Keep producing them. They are better than taking a workshop.
C. Furman, N.J.
Lynn Powers Gallery
Lynn Powers Gallery
Creative Catalyst’s very own Lynn Powers has finally posted a few of her watercolors and posters in our website gallery. Does this mean she’s coming out from behind the camera?
-Jim-
Creative Catalyst Newsletter November 4, 2008
SAVE $5 on DESIGN WITH THE FIGURE
No matter your medium or subject, Polly Hammett offers ways to think about design that will expand your horizons. She uses the figure to explain her multifaceted and open ended approach that assures strong cohesive paintings.
Polly begins by describing what she looks for with her model and how placement and proximity impact the direction of the painting’s content. You see how she assesses value patterns, designs backgrounds, manipulate texture and include mixed media. You also learn how to find direction and strength in your own work when evaluating your paintings. No matter your media, you will gain confidence and learn ways to strengthen your paintings with Polly Hammett’s Design with the Figure.
Valid on Online or Mail-In orders only … Retail price is $39.95 – Sale Price is $34.95 + S/H – Sale ends Tuesday, 11/09/08.
Learn more about Design with the Figure.
LAST CHANCE TO SAVE ON SALMINEN
Learn the process John Salminen uses to shape his complex imagery into a world class painting. He hits the streets of New York to gather candid reference shots for his urban scene. He shoots with a designer’s eye. When he returns to the studio, he modifies the color and composition of his reference materials. John teaches a simple system for accurately transferring his complex image to watercolor paper.
John lays a foundation with careful masking and vivid washes of hard-to-define colors. He concentrates on value relationships as he fills his landscape with shimmering streets and glowing neon. He uses mesmerizing reflective effects as an entry point to the composition and directs attention with white paper. John tones down conflicting passages with a mouth atomizer. He continually solves design problems, modifying colors in his foreground figure and lifting to enhance lines. The workshop includes exercises in perspective drawing and extensive discussions of design and reference photography.
This is the final week to receive the pre-order discount … the DVD arrives in our warehouse this week!
Retail Price will be $52.95, Pre-Order Price is $47.95 until the DVD arrives in our warehouse.
Learn more about this DVD workshop
Sometimes I receive phone calls from someone who wants to know more about a particular workshop and I am delighted to supply all the information I can. However, during the course of the conversation, I sometimes learn that the thing the caller wants to learn can be found in a workshop done in a style or media in which they are not interested. Polly Hammett’s workshop is a good example. A realistic painter of boats may think that Polly’s stylistic presentation of a woman holds no value for them. In reality, Polly’s workshop talks about issues inherent in any painting: the viewer’s relationship to the subject, importance of edge quality, expressive contours, value pattern appropriate to the subject and the list goes on. All one needs to do is exchange the word figure with boat.
Artists bring much more to their art than how they put paint to paper or canvas. They bring a way of thinking. They bring an approach to their work that has set them on a course that suits them. Sometimes it will impact us more when we learn how an artist thinks than how they handle their materials.
Most artists remain open to new influences. By staying receptive and curious, it permits continued growth and energy in our work. Self satisfaction, coupled with fear of change can stagnate creativity.
I’ve found that many of our CCP artists have altered the way I think about painting. Exposure to their ideas has been one of the best parts of being part of Creative Catalyst.
As a side note, let’s rejoice one and all! The elections will be over today… maybe
Cheers,
Lynn Powers
More from Lynn in the CCP BLOG
Creative Catalyst’s very own Lynn Powers has finally posted a few of her watercolors and posters in our website gallery. Does this mean she’s coming out from behind the camera?
-Jim-
In This Issue
SAVE $5 on Design with the Figure
Last Chance to save on Salminen’s New DVD
From Behind the Camera: Look Outside the Box
Congratulations to Harry Shields of Texas USA or being the winner last week (10/27-11/2/08).
I saw the Carla O’Connor video at art school and liked it so much (I) decided to purchase one for myself.
B. Brands, Australia
I may be hooked on these DVD’s …Penelope
It’s always a pleasure to get one of your excellent videos! Thank you very much for your kind service and efforts!
Lots of greetings from Germany, Yours Ute
I have learned so much from the videos/DVDs that you offer. They’re of great quality and the length of instruction is well worth the price. Keep producing them. They are better than taking a workshop.
C. Furman, N.J.
“All paintings start out of a mood, out of a relationship with things or people, out of a complete visual impression. . . a painter is bound to reflect himself and his times.”
~Richard Diebenkorn
1922-1993
from Artist to Artist compiled by Clint Brown
Ann Baldwin
Carrie Brown
Carla O’Connor
LOOK OUTSIDE THE BOX
by Lynn Powers
Sometimes I receive phone calls from someone who wants to know more about a particular workshop and I am delighted to supply all the information I can. However, during the course of the conversation, I sometimes learn that the thing the caller wants to learn can be found in a workshop done in a style or media in which they are not interested. Polly Hammett’s workshop is a good example. A realistic painter of boats may think that Polly’s stylistic presentation of a woman holds no value for them. In reality, Polly’s workshop talks about issues inherent in any painting: the viewer’s relationship to the subject, importance of edge quality, expressive contours, value pattern appropriate to the subject and the list goes on. All one needs to do is exchange the word figure with boat.
Artists bring much more to their art than how they put paint to paper or canvas. They bring a way of thinking. They bring an approach to their work that has set them on a course that suits them. Sometimes it will impact us more when we learn how an artist thinks than how they handle their materials.
Most artists remain open to new influences. By staying receptive and curious, it permits continued growth and energy in our work. Self satisfaction, coupled with fear of change can stagnate creativity.
I’ve found that many of our CCP artists have altered the way I think about painting. Exposure to their ideas has been one of the best parts of being part of Creative Catalyst.
As a side note, let’s rejoice one and all! The elections will be over today… maybe
Cheers,
Lynn Powers
LAST CHANCE TO SAVE ON SALMINEN
Learn the process John Salminen uses to shape his complex imagery into a world class painting. He hits the streets of New York to gather candid reference shots for his urban scene. He shoots with a designer’s eye. When he returns to the studio, he modifies the color and composition of his reference materials. John teaches a simple system for accurately transferring his complex image to watercolor paper.
John lays a foundation with careful masking and vivid washes of hard-to-define colors. He concentrates on value relationships as he fills his landscape with shimmering streets and glowing neon. He uses mesmerizing reflective effects as an entry point to the composition and directs attention with white paper. John tones down conflicting passages with a mouth atomizer. He continually solves design problems, modifying colors in his foreground figure and lifting to enhance lines. The workshop includes exercises in perspective drawing and extensive discussions of design and reference photography.
This is the final week to receive the pre-order discount … the DVD arrives in our warehouse this week!
Retail Price will be $52.95, Pre-Order Price is $47.95 until the DVD arrives in our warehouse.
DESIGN WITH THE FIGURE
No matter your medium or subject, Polly Hammett offers ways to think about design that will expand your horizons. She uses the figure to explain her multifaceted and open ended approach that assures strong cohesive paintings.
Polly begins by describing what she looks for with her model and how placement and proximity impact the direction of the painting’s content. You see how she assesses value patterns, designs backgrounds, manipulate texture and include mixed media. You also learn how to find direction and strength in your own work when evaluating your paintings. No matter your media, you will gain confidence and learn ways to strengthen your paintings with Polly Hammett’s Design with the Figure.
Valid on Online or Mail-In orders only … Retail price is $39.95 – Sale Price is $34.95 + S/H – Sale ends Tuesday, 11/09/08.
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