February 10, 2015
I just read the transcript of Bob Dylan’s speech last week at MusiCares, when he was honored as their Person of the Year. It’s part of the annual Grammys events. I wish I could have watched him, but it wasn’t broadcast on television. However one reporter, Randall Roberts, thought to transcribe it, and the LA Times published it. Its a hell of a good read.
“Fuchsias” ©Jill Rosoff 2011, 6″ x 17.5″
I think it’s important to remember that creativity doesn’t happen in a vacuum. It is almost as if its a redistribution of wealth, that everything that we take in, visually, aurally, emotionally, spiritually, through taste, through feel, through smell, all of it can come back out of us in the art we make, if its painting, cooking, making music, writing, or any other creative endeavor, all of it reflects what we have learned so far. My artwork is influenced by so many things, by what I learned growing up, what my parents taught me, what I saw in museums, what I tasted. Anyone who knows me knows I’ve usually got a cup of coffee with me while I’m making art. I’m influenced by a great latte. Yup, I said that.
Dylan talks about the music he listens to, how he hears the songs and then writes something that reflect them. Read especially the part about the “Come all ye” songs, and what he wrote after that. You’ll have a V-8 slap-your-forehead moment. I look at Van Gogh, and Thiebaud, and Klimt and Diebenkorn, and so many more, and then I indulge in them as I paint my paintings. Going to museums to see the actual work of these artist heroes of mine is like plugging me in, I get all excited and fascinated and wish I could paint right then and there. Thank goodness for my iPhone, I can now take notes on it. But I still often take a notebook into a show with me to jot down things. Musically I try to channel Gabby Pahinui as I struggle to get my fingers, which are ingrained in American folk music rhythms and patterns, into playing Hawaiian slack key guitar. Its my new, great struggle.
Read the transcript here, even if you don’t subscribe to the LA Times online, you can read up to 10 articles a month there for free. I’ve downloaded it so I can go reread it now and then. So can you.
And if you live in or near Orange County, CA, come take one of my watercolor workshops!
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!
April 20, 2014
In my workshops, especially the newer students often use the word “dark” when talking about colors that are the opposite of pale. So I like to ask them, “What do you mean by dark?” This question usually gets a lot of stumped looks.
The word ‘dark’ means having little or no light, when you look it up. So it’s really not a very accurate word to use for a descriptor of deep or rich color values. So I’ve developed a list of contrasting words that I encourage my students to consider instead of the words light and dark. It opens them up a new way of thinking about how to describe colors, hopefully.
These comparisons produce a lot of different ideas about colors. Can you think of any more?
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!
January 19, 2014
“Tulips (Bonanza)” ©Jill Rosoff 1992 40″ x 60″
I love painting spring flowers. I paint them in watercolor, I paint them on my silk scarves. Is it the colors? The shapes? That they make me happy? Yes, yes and yes. I just can’t get enough. I walked into my local Trader Joe’s the other day, and saw the first spring tulips in the flower bins. So I bought a bunch. No hesitation, just leaned down and picked the color that was hollering “pick me!” at me. They were orange with dark orange infusing from the lower part of the petals to the tips.
Now, it’s been hot in Southern California the past few days, and those buds drank a lot of water. So they were buds on day 1, fully developed flowers on day 2, and wild things on day 3. They were starting to droop because of the heat. I refilled the vase, and on day 4, they were upright again. I know they only last a week, but oh how I enjoy them.
My watercolor workshops are starting up again in 2 weeks. My Saturday morning workshops start on Feb. 1st. I also have two 6-session workshops scheduled at Orange Coast College Community Education, “Flowers in Watercolors” starts February 5th, and “Watercolor Still Lifes” starts March 19th. As much as we’ll concentrate on watercolor technique, we’ll also focus on how to analyze the subject to be able to build a composition using the watercolors to their best effect.
The painting above was painted in 1992. It lived in a restaurant in St. Helena, CA for 8 years, and now hangs in my living room. The size noted above is the paper size, it’s framed in a simple dark wood frame, and floats on a linen background, so it’s even larger. A wonderful large art presence in the room.
July 19, 2013
Homemade color wheel, approximately 3″ x 3″
I made this color “wheel” a few years ago during a one-on-one lesson with a new student from my Watercolor Workshops. We were going through the primaries and how the other colors were made from them. I found this little scrap of watercolor paper and painted the colors and numbered them. The primaries I numbered with “1”, the secondaries “2”, the tertiaries “3”. This was all new information to my student, an adult, who hadn’t learned it in grade school. She had gone through her whole life until then not knowing something that is an elemental building block of information, not only to making art, but I think to life.
This happens more frequently than I had ever thought. I have been teaching more frequently lately, in the local Jr. College’s community education, to teens at a local library in an after school program, and in my Every Other Saturday Watercolor Workshops. I’m amazed and sad that art is less and less a part of primary and secondary education. So soapbox time!
Kids need to be introduced to art early, so they have the experience of being artistic, creative, think inductively. And because its documented that art especially helps young brains think more creatively. There’s so much information available about this, about how art helps people to think in alternative pathways. Art was a regular part of my primary education, regularly in elementary school, and then I took ceramics for all but one semester of my four years of high school. I ended up a painter, but though I don’t work in clay any longer, there are things I know from those hours of potting that still inform my art.
So now I have my students paint their own color wheels using their own watercolors. Yes, you can buy very functional color wheels in an art store, but there’s nothing like the experience of creating a new color by mixing two others, or layering one transparent color over another one, to make a third color. And it lets them know what colors the paints in their palettes will be able to make. Oh the discoveries they’ll make!
I kept the color wheel I painted, its pinned to the wall next to where I paint. Not because I need it, but to remind me of the basics, and how fun it is to open others’ horizons about color.
January 2, 2013
Detail from “Paperwhites”, ©Jill Rosoff 2010
These workshops are open to everyone at every level of experience in painting with watercolors. Each session’s work is focused on what those who are there bring in, whether it be a new project or technique, or working on ongoing paintings, and developing them to completion. When I find new ideas or ways of creating an effect, I bring those in and we experiment with them.
The workshops are held in Santa Ana at Karen’s Detail Custom Frames, which is on MacArthur Blvd, one block east of Harbor Blvd., across from the Home Depot. Each session is $25.00, or you can purchase a six-session pass for $125.00 (six sessions for the price of five).
Contact me with any questions using the ‘contact’ link at the end of this or any posting!