What People Say – November 17th Edition
“Thank you for classes at home!!! They’re GREAT!!!”
Jadie H., Sequim WA
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“First rate service! Wonderful, wonderful DVDs. Many thanks.”
Marcia S., Sydney AU
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“As an emerging artist, I find your list of instructors and the quality of your dvd’s very helpful and informative.”
Bonnie R., St Simons Island GA
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The Findhorn Farm Workshop in October 2009
“A Barn is a Barn is a Barn.”- Robert E. Wood
“Whoever could make two ears of corn, or two blades of grass, to grow upon a spot of ground where only one grew before, would deserve better of mankind, and do more essential service to his country, than the whole race of politicians put together.”- Jonathon Swift from ‘The Gulliver’s Travels”
“No race can prosper till it learns that there is as much dignity in tilling a field as in writing a poem.”- Booker T. Washington
Most artists I know have at one time or another painted barns- on paper of course! What is there in a barn that artists are so attracted to? Is it nostalgia, or is it the weather beaten old structure that stands to tell the history? I believe it’s the nostalgia that got me started. However, there is something about the simplicity of the shape of the barn that delights the painter. He can put down some basic shapes without too much trouble and not get involved with the intricacies of foliage of trees and other landscape forms. There is a quiet dignity in each of these wooden structures. The modern metal buildings don’t do much for me. Chicago Tribune reporter William Sladick wrote, “In many ways, we in the city tend to make things more complicated than they actually are. That may be the draw these farms have for me- the simplicity of the way of life.”
All this thinking about barns comes from my yearly workshop at Findhorn Farm in Wisconsin- a favorite place of mine for almost a decade. Each year I greatly look forward to it. I don’t know what it is that I like-the wet grass with cool crisp air or the smell of the chopped woods –pine, spruce and oak. Nature is in its full glory in October, and it has almost become a ritual. Away from the crowds and the noise except the ‘cowrious’ moohs coming for a drink in the creek that flows thru the farm.
Sometimes rain, sometimes warm sunshine, snow, or freeze-we’ve had it all. My friend, Sonny, is always busy throwing one more log into that pot belly stove in the farmhouse or making hot chocolate for us. Once in a while he manages to take a quick nap in the lazyboy when we are all working outside. In the evening we have the critique in the motel with pizza, wine and beer. This is when I splurge with greasy diet (brat, beer, cheese in Wisconsin). We don’t get chai or latte- just plain hot cider and chocolate. Reedsburg doesn’t have Starbucks or WalMart. It started raining on the third day. We took shelter in the farmhouse-a bit cozy but enough room for us. The group is small. Discussions are lively and informal. And alas, those barns. Red beauties on the landscape. I shall look forward to seeing them again next year.
Ambiance
Rehearsal
Conducting
Performance/ A Paint along
Finale
Happy Painting!!!
On a wet day a wet in wet is the obvious choice
Other plein air paintings of Findhorn Farm
Introducing David Curtis
We are excited to be able to introduce you to this excellent artist. Hailing from Great Britain, David Curtis is a master of the Plein air. He has six instructional DVD workshops where he’s working in both oil and watercolor. Watch David on location at the seas and streams of Great Britain (and Italy) while he works through all types of weather. David does a great job at explaining both his techniques and the reasons behind his brush strokes. Learn to translate what you see out in the field into pigments on your page with David Curtis.
More about David:
Born in Doncaster in 1948, David Curtis headed an engineering design team until 1988 when he became a full time painter. Essentially a Plein air and figurative painter, working in both oils and watercolours, he observes transient lighting conditions and effects of atmosphere in his compositions.
Curtis is a member of the Royal Society of Marine Artists and the Royal Institute of Oil Painters. He is one of the UK’s most successful and best known artists. David won first prize in the Singer and Friedlander/Sunday Times Watercolour Competition in 1992, and has won many other awards for his spectacular art. Crutis he is the author of numerous books and has work in collections all over the world.
Anne Bagby’s, “Paper, Patterns & Glazing”
Put patterns to work with mixed media artist Anne Bagby. You’ll create your own stamps, masks, stencils, and paper as you build a truly customized collage. Work fast and free, layering homemade paper and lush acrylic glazes to design an intricate and eclectic figure.
In Paper, Patterns & Glazing, Anne makes all her own collage materials. She combines stamped and painted patterns to create the wafer-thin paper she uses throughout the workshop. You’ll transfer antique designs to hand-carved stamps and cut contact paper masks to guide custom stencils.
David Curtis
No where on earth is classic Plein air landscape painting stronger than in Great Britain. And, David Curtis is a British national treasure! So much so that when we first approached the British film company to carry their products, we asked why Curtis had no trailers. Their answer was that trailers were unnecessary for Curtis because everyone in Great Britain knew his work. Thankfully, and in part due to our pestering, they developed trailers for each of the six Curtis workshops, three in oil and three watercolor. Now those of us on this side of the pond can marvel at his skill.
Tall and lanky, and totally unassuming, Curtis settles into painting as if it were second nature. Apparently weather conditions don’t effect his work. No teeth chattering while he paints!
I watched the watercolor workshops several times. After he carefully draws his subject, Curtis applies a bit of masking fluid to hold his whites. After the fluid is dry, he moistens the entire paper and works in atmospheric washes. As the surface dries (a minor miracle in some cases), Curtis gets more and more detailed. When the paper is dry, Curtis re-enters his painting and fluidly renders the details that bring his work to an even higher level. He works on an angle, thus permitting the pigments to flow and blend in the classic watercolor way. Curtis does not explain every move, but each workshop contains multiple demonstrations. The viewer is able to pick up a lot of pointers just by watching.
Curtis is truly remarkable!
Janie Gildow’s, “The Art of Colored Pencil: The Light Touch”
Janie Gildow is your guide to the rich and elegant art of colored pencil in, The Art of Colored Pencil: The Light Touch. In this DVD workshop, Janie shows you how she selects an image and then crops it for composition. Next, she demonstrates her modified grisaille approach for establishing values. Finally, she begins her color layering process, where she often uses four or more colors in a single area for richness. Janie will give you pointers in how to improve your own technique as she shares her thoughts about the process. Don’t miss anything with a view that is so close you will see when Janie’s pencil point starts to dull! This workshop packs days of information into 90 minutes.
What People Say – November 10th Edition
“LOVE what you do and offer! THANK YOU!”
Denise C., New Freedom PA
“Would love to buy all your dvds..”
Barbara S., Houston TX
“Great products…keep up the good work!”
Juliette S., California
I have purchased a few videos from you in the past and have thoroughly
enjoyed each and every one. The quality of your videos is superb as is
your web site and you should feel very proud…
Pat
I so appreciate the very high quality of your DVDs. If it is produced
by you folks I KNOW it will be well put together. Worth every penny.
keep up the good work, i have several of your videos, all very well
done, and the service is superior!
Kathryn
I think your DVD’s are beautifully done and from the ones I own, it
shows that you really have a great connection with the artists. I am
all for artists being paid for their creativity and don’t agree with
copying materials to ”rip-off’ the original owners – keep up the good
work and keep the message on your DVD’s as i think it gives a reminder
of what goes around, comes around.
Elizabeth
Your site and materials are my very favorite and I personally have
almost all of your watercolor DVD’s!!! I am one of your best customers
for sure. Please keep up the great, professional quality of your work.
At the same time I always read and think about your down to earth
comments at the end of the newsletters.
Regards, Michelle
I appreciate the service you offer where I can view a little of the
teaching style of the different artist. I have enjoyed the DVD I
bought from you so much.
Shirley
So far, all the videos I have gotten from you are so good. I have some
from others that were expensive, and do not compare.
The thing I like, is that you show the subject while the artist is
painting. It does me no good to watch an artist mix colors on the
pallette, place it on the canvas and have no idea why they chose that
color or value.
I am giving beginning drawing classes and I find a break, watching an
artist like Craig Nelson, has been a real inspiration to the students.
Thanks so much!
Joan
All your DVDs and the older form [VHS] are just great and so very
informative that it’s almost like taking a workshop. I hate for them
to end and wish they could be longer. However I know it’s expensive
and time consuming for the artist as well as the recording Co. I try
to buy a DVD from you all at least every other month. Love the sales
and the new one.
Rosemary
#3
Q&A on the Decline of watercolor
Hi Barbara.
Please tell me if the sales of watercolor paintings is on a decline. I noticed that there was not one single watercolor article in a recent issue of International Artist. They were mostly oils sprinkled with pastel articles. Also, the huge help book sales consisted of four time more watercolor books than any other book. Please tell me what you know is happening in your area.
I have never thought of watercolor as separate from other media so when I look at a magazine or exhibit I often forget what something may have been. I just notice the image – color, form, info, intent. I do know that in solo museum shows of major artists there are often some works on paper and museums often devote entire shows to works on paper. The American Watercolor Society probably has more acrylic and mixed media pieces than pure watercolor in its shows as does the National Watercolor Society.
I know that there are tons of watercolor books and I think it is because watercolorists need to learn a variety of techniques. These books can be very helpful as watercolor technique can be illusive, but the media is not the message and too many watercolorists think it is and don’t go on to say something. I think many watercolorists don’t spend enough time studying and using art history as their influence and so watercolor can become a bit of a stepchild. Some watercolorists are less educated in the broader field of art (many came to watercolor because they fell in love with the look of the technique and failed to develop a broad enough background).
Perhaps one problem of acceptability is that although there are a lot of wonderful watercolorists there is also a lot of pedestrian watercolor out there that gets lumped together in the minds at least of some gallery directors and patrons. So many plein air painters are more like illustrators and rather that staying current with what museums, galleries, and what the public is looking at, they are stuck in the barn painting and rendering of the pre-photography days, but unfortunately without the masterful abstract design qualities of painters like Andrew Wyeth who like Turner used watercolor as a major not a minor medium.
On a more personal note, I have always felt that people are drawn to my work because they love watercolor and my love of it shows in my paintings. In the states there are probably many more watercolor societies than other groups, but in the end, people usually buy what appeals to them . I do think that sales of art in general is down, many traditional galleries have closed and we have more choices of what to put on our walls than just 2 dimensional work.
Barbara Nechis
Artist Workshop Listing Service
Find a workshop in your area with Creative Catalyst’s new workshop listing service. There are currently 70 workshops listed with more being added each week.
As art enthusiasts ourselves, we know that it can sometimes be hard to find an event to attend. Google isn’t always helpful if you can’t tell it what you’re looking for. We wanted a service that is… well… easier than that.
The CCP Workshops Listing Service allows you to browse the entire catalog of workshops or narrow down your search. Search by Artist, Category, Date, Sponsor, or Location. In other words, are you in Oregon? (Great so are we!) You can go to the listing system and without knowing anything other than “I’m in Oregon,” and find a workshop that interests you.
We’re also giving the ability to list workshops. So, if you have art events at your school / business / church / library / backyard / etc. and you want to share them with the CCP community, you now have a platform from which to do this. Contact mike@ccpvideos for additional information. There is a small listing fee for each workshop that you list, but the workshop will remain listed until its date arrives (so you could easily have a full year’s exposure for next to nothing).
Everyone at CCP is pretty excited about this. We hope you are too. Go check it out at http://ccpvideos.com/workshops. Comments? Questions? We’d love to her from you.
By the way: tell your friends.
Nicholas Simmons’, “Innovative Watermedia”
Unconventional and innovative, Nicholas Simmons brings a breath of fresh air to water media techniques. Join the 2007 National Watercolor Society top prize winner as he works large-scale and reveals how to turn the challenges unique to water media into textural advantages.
In Innovative Watermedia, Nicholas incorporates blooms, crawl-backs, bleeding and puddling, and demonstrates methods for integrating masked areas with wet-in-wet painting. Nick mixes watercolor with fluid acrylic, encourages the paper to buckle, and boldly wields a spray bottle to achieve textural effects.
Anticipating his own tendencies, he works safeguards into his process. This approach is perfect for artists striving to achieve a looser look while still maintaining control of the final painting. The workshop is approximately 2 hours in length with bonus tracks of music written and performed by Nicholas Simmons.
Ratindra Das’, “Painting a Personal Reality in Watercolor”
Ratindra Das has one overriding rule: “Don’t make a boring painting.” By permitting himself to adhere to his own aesthetic, Ratindra gives us a wonderful example of how to shake off old habits and listen to our muse. Tune in to your personal reality with Painting a Personal Reality in Watercolor.
Das begins with a value/shape drawing already much changed from his reference photo, then proceeds to design the painting as a whole. His strong design sense and willingness to question common expectations permit new freedom and individuality in watercolor.
Ratindra uses unconventional flat shapes, manipulates the visual path and mixes vibrant colors directly on the watercolor paper to recreate his visceral experience of a bustling harbor scene. The result is fresh, vibrant, energetic, unique and certainly not boring!
The Uglies
I’ve not figured out anyway around The Uglies. It’s that stage right after the enthusiasm of a new painting has worn off, and I can’t remember where I wanted to take it. The stage lies somewhere between half way through and about 80% completed. The Uglies has, more than once, been where I’ve abandoned my painting.
This is also the point where the path, in my opinion, of the wannabes and the “yes, I’m an artist” diverge.
Several things come into play. First, there is an increased sense of frustration that must be pushed through. It is no longer a pleasant hobby. It’s more like work.
Preparation and experience play a larger role. The dreaded value study becomes a guide post to the way past the stage, along with having traveled the path many times before. Beginners think they are complete failures. Those with more experience know it’s survivable.
Virginia Cobb (Acrylic Abstract Painting: The Evolving Image) said she believes every painting needs to be taken (I’d say fought) to the end. Perhaps it is enough reason simply to be occasionally victorious over The Uglies.
One can only hope.
What People Say – November 3rd Edition
“Thanks so much for the wide array of artists & media you offer to us!”
Kathleen L., Greensboro NC
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“I have a growing collection of your DVDs. Love ‘em all.”
Drena H., Ocala FL
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“Your videos are awesome!’
Kathryn D., Redding CA
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Barbara Nechis Interview (Part 2) Now Available!
Head over to the audio interviews section and listen as Creative Catalyst’s Lynn Powers interviews watercolorist Barbara Nechis.
This interview has been posted with part 1 in case you missed it!
Caroline Jasper’s, “Color Moves: Painting Water with Oils.”
Let Caroline Jasper teach you oil painting techniques that create visual movement! In this oil painting video, Color Moves: Painting Water with Oils, see how Caroline manipulates the properties of color to create the visual effect of movement in her favorite subject water.
Learn to put color-energy and capture visual movement in your subjects! Author and artist Caroline Jasper is extremely well grounded in color theory.
Caroline begins by showing you the logic from which her color decisions are based and the benefits of working on a vibrantly colored ground. Caroline shows examples of a variety of color options. She demonstrates how to break up color areas, the proper use of reference photos, how to plan a value scheme and executes a painting.
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