Nosh

Garden Girl

Original oil painting 28x22"

by Susan Roux

Hit the road running.

It's been me these past few days. I was so absorbed in art la la land at my retreat, that getting back to reality was sure to be a struggle. My mind didn't want to think about anything other than art. But reality exists and it became time to return to it.

No sooner had I emptied my car of all my belongings, my phone rang with an exhibition opportunity. It was afternoon and I had a class to teach that night. In less than 24 hours I had to be hanging. I've never hurried so much to put an exhibition together!

The venue is a restaurant/bar in Portland Maine called Nosh. It's located on Congress Street in the heart of the art district. It's newly renovated and the menu is exciting, creative and fun. What a cool place! If you're around please stop in to see my exhibit. Some of my new "girls" are hanging there. It's a perfect opportunity to see them in person. (and they're so much better in person...) The opportunity came from Paul, one of my students. His art is hanging with mine for the month of March. Paul has been taking lessons for only a year and his work is wonderful. Do stop in.

Garden Girl is the second painting I completed while on retreat. She was a struggle. I've been working hard trying to depict nature around my figures while still keeping it subdued. I'm playing with layers of color that neutralize until they become only values. Ocean scenes are simpler to achieve. Gardens on the other hand are a real challenge. I use so many colors layering, it's difficult to have local color dominate. I do want to figure it out, so I keep trying.

I worked the better part of a day on her hands. It's the first time I ever really defined some. I worked with a large brush and had planned to continue them the following day with a small brush. Fresh morning eyes can be a gift. I liked the softness and relaxed pose on her hat. I decided against using a small brush to preserve the delicateness the larger ones created. Being totally immersed during this retreat helped me focus deeper than I could have at home. Full days in concentration has it's benefits.

Today is the first day I can breath since my return. The world hit me by storm with each day filled to capacity. I've been running and running. No wonder I resisted returning to reality. I look at the all the girls I've painted recently. They are the complete opposite of my reality. There they stand, relaxed in a world all their own. Not a care in the world, existing in a dreamlike state. You'd think I'd be painting chaotic hustle bustle scenes. Instead these girls just been pouring out of me.

Do you think deep inside, I wish I was this relaxed and carefree?

Neutralize

Golden Warmth

Original oil painting 14x18" (sold)

by Susan Roux

Neutralizing color.

Its so important in painting. Its so simple to do. But I think its one of the aspects of painting that is not clearly understood by all. I also think its a lesson that can greatly improve art.

Its the magic tool to create depth on your canvas.

Yes, I know perspective lines create the illusion of depth. But what if there are no structures with receding lines in your painting? Its often the case with landscapes, even still life's. What then? How do you show distance? There is more than size reduction available as your tools.

I teach to beginners. I mean people who have never painted before and don't know how to draw. In 8 two-hour sessions I get them to complete a painting that totally surprises them. There is depth, contrast, unity in color, a captivating composition and a clear focal point. They are so excited about their achievement that most continue on as my students. How do I get them to achieve all this when they've never done or studied anything about art? Neutralizing color.

I will explain it to you as simply as I explain it to them.

Particles in the air. Lots and lots of particles exist in the air. Moisture, dust and who knows what else. We've all seen it. That ray of sunshine that flows in the house with all that "stuff" hovering in it. Can my house be that dusty??? Its everywhere, though we can't usually see it. Now imagine a snowstorm. (In Maine, this analogy works very well...) When its snowing lightly, you can see across the street, but everything looks muted, hazy, filmy. Not like a nice clear view. If its snowing very hard, you can't even see across the street. Why? Its due to all the snowflakes obstructing the view, right? Yes. (For those of you in sunny Florida, you'll have to use your imagination...) Particles in the air do the same thing.

They obstruct the view. The farther something is from us, the more the view is obstructed. This causes every aspect of it to become muted, hazy, filmy. This relates to its color, its detail (usually lack there-of) and its form.

We are all aware that mountains in the distance appear blue, gray, even purple... But what about something across the street? In painting, neutralizing color in various degrees will show distance every time.

Its the most repeated phrase in my teaching. "If something is in the distance, what do we do? Neutralize color!"

Here's the secret formula. Better take out your pen, because its very complicated...

Every color can be neutralized. All that is needed is all three primary colors together. Red, yellow and blue.

When mixed equally, your paint will turn gray. When mixed with one prominent color, it will continue to hold the property of that color, but it will dull out. If you mix the color you want, say "green". Stop and think which primaries are already present. Blue and yellow. The red component is missing. So any "red" on your palette, be it alizarine, cadmium, magenta, purple etc. can be added in small quantity to your green to neutralize it.

There's no need for a complicated color wheel with primary colors, complimentary colors and everything else to confuse you. Just the understanding of needing all three primaries. Red, yellow and blue.

It works for every color. Just mix the color you desire first and then add what is missing. If you want a soft yellow, then mix your desired shade and afterwards add a very small amount of red and blue. If your dealing with light shades, pastel shades, you may find it easier to create pastel versions of both your red and blue before adding them in. (You can make a pale lavender to use...) If your soft yellow neutralizes to gray, simply add more yellow until it pulls back to the yellow property. With time neutralizing, with the correct amount of added primaries, will become easier.

Tomorrow I'll explain how to get neutralized color to work for you. How to implement it into your paintings for optimal impact. Be ready to see instant improvement if you're not already utilizing the wonderful tool of neutralized color.

Happy painting everyone!

I didn't mean to...

I lied.

I don't usually, but last night I did. I started this painting with my wonderful Wednesday night ladies. Just before leaving, one chuckled that I would continue working my sky and present a very different look next week. I immediately told her, "No. I never touch a class painting outside of class."

Sorry Tricia, I lied.

In the overly-used words of my son, "I didn't mean to..."

Really, I didn't. Its just this morning the colors were not at all what I remembered from last night. There's a very fine line between softness and no contrast. While attempting to soften my punched colors, I ended up by washing it all out! I really needed to correct it while the paint was wet.

Otherwise, I would have saved my corrections as part of our next lesson...

Unfortunately the camera lies too. Much more than I do, actually. The image posted reflects none of the soft transitions between colors. Isn't that a maddening thing for all artists? We work so hard to adjust every value, every color, every stroke, to capture what's in our hearts. A constant battle to project ourselves on canvas... And from reading many of your posts, it is a battle indeed. (But a battle we sure do love!)

All of this passionate energy, poured out, ends up at the mercy of the camera. Do you know of an artist who was ever pleased with their images? I don't. But there is a very encouraging "nice side" to this dilemma.

There will never be a reproduction that surpasses the actual work.

Our originals will always be in sole possession of that "magic" we captured. All that feeling. All those subtle nuances. All those juicy brushstrokes and thick paint you could lick like frosting. No camera will ever be capable of capturing it all.

And that life. That wonderful "life of its own" an original painting has. The way it reflects light and changes as you walk by it or as the darkness falls upon it. Its not only Thomas Kincade's paintings that change with low light, as he would have the public believing. We all know it affects every work.

So be proud of your accomplishments. Your original works. Nothing will ever compare to the greatness you captured while toiling in front of your easel!

Class fruit

I never paint fruit.

That realization hit me last night while talking to my husband. I found it especially funny since painting the apple is my first lesson with beginner students. The lesson is how to capture form. Why did I ever choose a subject I never paint?

Puzzling...

I just started a new class of such beginners last week. Its a grueling night for people who've never picked up a paintbrush. In two hours we go from how to put paint on the palette and hold a palette knife, to painting an apple, four times! When I say beginners, I really mean beginners. I advertise my class as not needing to know how to draw...

No class this week, due to school vacation. Class is held at the high school. To my grand surprise some of my students asked if they could come to my house. They knew I taught classes here and they wanted to continue painting. Wow, apple night isn't the greatest fun, yet they were inspired to paint!

I just love it when people are instantly captivated with oils. The joy on their faces is why I do this. Its so rewarding to give the gift of painting to someone who's never experienced it.

So last night, I planned an additional exercise for three students.

Its only their second time with a brush in their hands. I wasn't sure what to prepare for them. A simple still life was my decision. I gave them the option to do only part of the arrangement if they felt it was too complicated at this stage. They all chose to do the entire grouping.

Posted is the demo I did during class. They followed along with me and left with striking paintings. We all had a unique angle of the still life, making light and shadow different for each student. It turned out to be a great lesson.

I had fun with the tiny still life. I was working on canvas paper, but I'm inclined to finish it just the same. Painting fruit is colorful and fun. I was just getting into the reflections, which is a favorite subject of mine.

So later, teacher will give herself a lesson...