February 12, 2016
Earlier this week I got to see “Red”, the Tony-award winning play about one of my favorite painters, Mark Rothko. In the first act there’s a terrific back-and-forth between Rothko and the young artist he’s hired to be his studio assistant, of different things colored red. Its a verbal panoply of all things red, and in my mind’s eye as I visualized each thing they mentioned: tomatoes, blood, lips, cherries, apple, red pepper, rose, red hair, beets, lobsters (cooked), sunsets, strawberries, pomegranates, poppies, I saw all those different versions of red: cadmium red, alizarin, vermilion, scarlet, carmine, crimson, garnet and more. All so different, and all so red. I use them a lot. Its a fun exercise, and illustrates so well the differences between warm reds and cool reds to boot. In my workshop 2 nights later we started doing a similar thing, so they could all start envisioning different variations of just the one color.
Its a fun exercise, and illustrates so well the differences between warm reds and cool reds to boot. In my workshop 2 nights later we started doing a similar thing, so they could all start envisioning different variations of just the one color.
Next: I was born in the Year of the Monkey, so it’s ‘my’ year according to the Chinese zodiac calendar. There have been some interesting illustrations for it online on various social media sites, but I wanted to share one with you all especially. A friend of mine, Kay, who does sumi-e, created a lovely tribute to this year here.
And finally, speaking of reds, have a lovely Valentines!
January 1, 2015
Recently in my Saturday watercolor workshops, I told my students that if they ever wanted to go to a local museum to see a show, or to an art supply store, that I could easily be persuaded to join them. One of my watercolor workshops students took me up on it, emailed me and made a date to go to a small, local, private museum, the Irvine Art Museum. We went last Tuesday afternoon.
This small museum is “Dedicated to the preservation and display of California art of the Impressionist Period (1890-1930)”. The show they have up now is of cover art from Westways Magazine, the monthly magazine of AAA. Up until 1981, Westways’ covers were all original artwork of landscapes, commissioned expressly for the magazine. These works of art for the magazine covers are as wonderful as they are varied.
Many of the artists that were engaged to do the works are known California artists, including many of the California Plein Air watercolorists: including Phil Dyke, Maynard Dixon, Maurice Logan and Rex Brandt, along with other plain air masters and illustrators. For me its always just plain fun not only seeing the actual works, but also studying each piece, working out how each artist composed their painting. And when I’m with students, talking about how the paintings were made, what the artists did to create their artwork.
For me, seeing original art is a ready-made lesson, where I get to study not only the images, and the techniques and visions of each artist. My real excitement is seeing if I can figure out how the artist painted the image, particularly with watercolors and gouaches simply because its my chosen medium. In general its fascinating to work out because in watercolors, you have to build a painting specifically due to the transparency of the paint. The more I can glean from how each artist paints, the more it feeds my own work. When I go home and paint, usually using the imagery I know, I try applying the techniques and colors I’ve just seen, and see if I can incorporate their colors, the economy of their brush strokes, and how they use dry brush over wet on wet. I sat in front of this Phil Dyke piece of Mt. San Jacinto, marveling at the broad under-painting of the shape of the mountain, and then those very few, specific brush strokes that essentially show the mountain extrusion from the ground. Wow.
Want to see some of these treasures? Just google “westways cover art“. Here’s a brief bio for Phil Dyke, too. And if you can, go see the paintings in person. There’s another one of the Grand Canyon that’s simply remarkable! Thanks for calling, Lori!
Happy New Year!
March 20, 2014
I have a workshop of new watercolor painters that just started last night. For new painters, I give out a list of supplies they’ll need to have, including a list of paint colors they need to get. This list includes a breadth of reds, blues, yellows and greens, mostly, noting that they can choose to add any colors they want, that a combination of those colors might not create…usually for me this means pinks, purples, turquoises, and some greens. Black and white are not on my list, neither are the umbers or siennas. I talked about this in a posting a year ago: https://jillpaints.wordpress.com/2013/02/27/about-using-of-brown-and-grey-in-watercolor/
In getting ready for a set of workshops, this one is all about still lifes, I do some research online about the genre, refresh my memory, and find known and unknown painters’ work to show my students. And you know how when you go online that the thread of what you look at can look like a ball of string your cat unravelled? This time I stumbled upon pictures of a eucalyptus tree I’d never seen before: a rainbow eucalyptus.
One sample of a rainbow eucalyptus
A quote from Love These Pics, where I found the above picture (and many others) notes: “The landscaping article Under the Rainbow explained, “As the newly exposed bark slowly ages, it changes from bright green to a darker green, then bluish to purplish, and then pink-orange. Finally, the color becomes a brownish maroon right before exfoliation occurs. Since this process is happening in different zones of the trunk and in different stages, simultaneously, the colors are varied and almost constantly changing. As a result, the tree will never have the same color pattern twice, making it like a work of living art.”
Now, I get to have some fun explaining to my students how all tree trunks are not brown. Happy First Day of Spring!
April 18, 2013
“Tuscan Hillside” ©Jill Rosoff 2012, 9″ x 12″
Imagine how funny it was that this question came up in two different workshops, two completely different groups of people. We were working on how to paint landscapes in each session, so it’s not a complete surprise. I love that it did, and it also made me a little curious. Is painting a tree a paint-by-numbers proposition? Nope. The starting point is: lets take a look at the kind of tree you want to paint.
“Trees have a spirit and personality; none of them are the same.” Trees come in all shapes, sizes and colors. The trunks of trees can be all ranges of browns, greys, even green, blue or, as in fruit trees, burgundy. The leaves are any and all shades of green, with touches of all the other colors used to create contrasts. The fun here is the learning, observing: first figuring out what the tree’s shape is, and then deciding how to put it down on the paper. Is the trunk the more visually interesting element? Or the way the crown of the tree is shaped? In watercolor, you put down the lighter elements, then build in the darker, more richly colored ones. Because, as always, in watercolor you paint light to dark. The other trees also punctuate, more because they are a textural contrast to the stripes I used in the patchwork of fields.
In the painting above, the trees, especially the pencil cypresses, act like punctuation marks, creating small points of contrast, which keeps the rest of the rich colors from sort of going flat. Put a finger up and block out the cypress trees and you’ll see what I mean.
Or look at this painting done by a fellow watercolorist/shopowner on Etsy, JC Strong. You know its a tree, but it’s a deftly shaped tree silhouette of lovely combinations of purples and greens.
I read this quote the other day on Facebook: “The best teachers are those who show you where to look, but don’t tell you what to see.” When I teach my job is to lead people down the path to explore, look and learn by observation. There’s no one formula.
January 29, 2012
This painting is done in the same vein as some watercolor monoprints I did in the late ’80’s and early ’90’s. I fell for the Tuscan countryside when I was first saw in it ’78, and when I get to go back, most recently last May, I get that same sort of ‘love-at-first-sight’ thrill of seeing that countryside that simply resonates in my soul.
I use color and pattern layered on to the composition, always aiming to infuse more color to an image. I always want more color! This piece turns out is about color and texture helping defining an almost surreal composition. Except for the pencil cypress and one small structure that lyrically punctuate the landscape, this could almost be a patchwork quilt.
December 11, 2011
TA DA! The reproductions you all selected are now available on my Etsy shop. These signed and numbered, limited edition prints are $35.00 each, or $125.00 for a set of four.
But! just for the next two weeks, they are specially priced at $30.00 each, $110.oo for a set. And when you buy the set, all of the prints will be the same number in the edition. Order by December 17th for standard delivery before Christmas! Overnight is available for orders made up until the 22nd for an additional cost.
And by the way, I want to thank all of my blog readers, for reading my blog and especially to those who have subscribed, I appreciate it. And to all who participated in the selection of these reproductions, I appreciate your responding!
November 8, 2011
Off tonight to do a presentation/demonstration to the Saddleback Art League in Mission Viejo, CA. For this presentation I’ve deconstructed a painting that will be a part of my Tapestri Collection, showing the process I go through to make one of these paintings in four stages. Using four different versions of a painting, I show the layering of content and composition, and how the transparent quality of the watercolors themselves build the intricacies and richness into completing a painting.
This little watercolor was completed yesterday, a small garden of Iceland Poppies and buds, cranberry red impatiens, coral bells, and lavendar star-shaped flowers. It will go up for auction tonight at the Saddleback Art League, after my demonstration.
In the meantime I’ve got reproductions of the four images you all chose last week going to print, look for them to be available soon. These limited edition prints will be printed on 12″ x 18″ paper, and will each cost $35.00 apiece. They’ll be available through my Etsy shop.