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?

Design, Part 4

Coming Up Rosy

Original oil painting 18x24"

by Susan Roux

Part 1

Part 2

Part 3

Just as I was pondering possibilities on how to adjust my painting, a special phone call came in. It was from the master himself, Don Hatfield. He offered helpful suggestions. Don't you just love a good critique? I embrace them. A non-biased opinion that recognizes your achievements and gives good advice on how to make your painting stronger. Good points and bad points, strengths and weaknesses are welcomed bits of information.

Having heard someone's opinion shouldn't mean that you jump right in adjusting what you've been told. After all it's still your painting and you make the final decisions on what actually gets changed and adjusted. Don pointed out the lawn edge. "Have the landscapers come in, cut out a corner of the driveway, put down new soil and plant more grass." Curving the lawn to draw in the viewer more gently seemed a very good suggestion. It doesn't remove it as a pointer, just swirls you in for a softer approach.

Softness. It seemed to be the overlying feeling of this painting. I'd been extremely cautious to keep my roses soft and after talking to Don, I began to notice other places that could use softening. I also found the entire painting too cool. I went in with yellows. I hit some of my flowers. I hit some of my leaves. (Key word here is some) I warmed the driveway and curved it in loosing the hard line at it's edge. I liked what it did to the painting. Softening that line just added to the softness of my blossoms. I proceeded to soften the tree shadow and the bottom of the brick wall.

I'm very pleased with this painting. I have to admit, it became somewhat of a scary thing to do it this way in front of you. I was really exposing my thought process. What if it all fell apart? I tried to ignore that crippling voice. I can do this, I told myself. I pushed on. I wouldn't accept mediocrity.

I was happy with the play in my roses. Using a variety of colors, as explained in Part 3, really helped this to happen. Some blossoms are left in shadow, others catch the light brightly, while still others are in softer sunlight. I was able to regain my focal point to the roses easily by adding lighter yellows. I also, ever so slightly, punched the darks around one blossom.

Thanks for bearing with me as I shared my journey through a painting with regards to design. Sticking to one original thought without wavering is essential for a strong design. Even when the paint begins to pull you in a different direction, as mine did in Part 3, don't let it win. Remember you're in charge of your painting. As I tell my students. You're in control of your painting even when you feel totally out of control! For beginners who struggle with brushstroke, this always gets a hardy chuckle. The decisions you make when choosing colors and where you apply them is uniquely your own. So take some time while painting to make good decisions and try to keep in mind, the power of design.

Thanks again, Don. You're such an amazing teacher...